Instruments

=__Instruments__=

**Aerophones**
//Panpipes and Flutes// Today one of the most well known and historically significant instrument in the Andes is the panpipe (Aymara: "Siku"). There are many different panpipes styles, most of which depend on the region. A panpipe is usually made of wood, but also can be made of bone and clay. The individual pipes are then tethered together to make a row of tubes, from longest (lowest pitch) to shortest (highest pitch). While the instrumentation that accompanies these flutes has evolved and changed greatly over time, the panpipe remains as the center of all Andean music. A few of the varieties of panpipes include: While whistles and music date as far back as 4200 BCE at Cahuachi, the Andean panpipe was first found in the archaeology record as early as 400 BCE in the Paracas culture, but many of the surviving panpipes and flutes come from the Nazca cultures between CE 400 and 1000. We have also found Moche vessels in tomb sites depicting flute and panpipe playing. These first flutes were made from wood and bones, but later, the Incas Nazca people took the clay technology (also used to make whistles) to make panpipes as well. The first evidence of intentional tuning of these instruments date to between CE 400 and 1000 where they represented pentatonic scales and diatonic scales. While these scales have been found around the world in Asia (Pentatonic) and Europe (Diatonic), the Andean tunings were quarter-tones "off". Today in Western culture, most Americans could only differentiate half-tones (basic unit of the diatonic scale). At the same time, these can not be ruled out as coincidences due to the fact that certain wavelengths respond to others in predictable ways, making certain harmonies more pleasing than others.
 * Antara[[image:andean131.jpg width="159" height="164" align="right"]]
 * Siku
 * Chuli
 * Sanka
 * Malta
 * Toyo
 * Rondador
 * Quenna/Quena/Kena
 * Sikuri
 * Pitu
 * Pinkillu/Pinkuyllu
 * Tarka
 * Zamponas/Zamponeros (Spanish general terms for Andean flutes)
 * Ocarina
 * Falawatus[[image:moche_whistle.jpg width="93" height="93" align="right" caption="Moche Whistle"]]
 * Sampona

Today, panpipes are usually made from reeds and are now tuned to the Western diatonic scale. This can be attributed to the Spanish colonization, bringing with them their own musical styles and religions and forcing them upon the natives. Men are the only ones permitted to play these instruments, but women occasionally get the chance to play drums. The main purpose of the women in the musical events are to sing and dance. Interestingly, the panpipe shares its origins with the Greeks, giving the us the name "panpipe/panflute" from the Greek god, Pan (half man, half goat) who played this instrument.

//Horns//: Qquepa/Concha Because of its rarity, the strombus shell was held with high regard. Its use as a horn (differing from a flute in that a horn requires vibration of the lips to produce a sound) dates to the Chavin period from around 900-200 BCE. Also, because of its rarity, other cultures fascinated with its sound were forced to recreate the shell from clay. While some represented the shell directly, others were altered to make other shapes such as spirals. Today, the qquepa can be heard to call townspeople together in emergencies or for festivals and religious events.

Interestingly, the conch's use as a horn also shows up, most notably in Southeast Asia. Its function there is to call Buddhist monks to worship.

Membranophones[[image:Bombo_Leguero.JPG width="123" height="163" align="right"]]
Often accompanying panpipes are deep shelled drums. The generic term used today, bombo, comes from the Spanish and Portuguese names for bass drums. The actual term is used to mimic the sound of the drum (//boom//). There are many styles today in the Andes, varying by depth and diameter. Most are double headed, meaning a hide is stretch over both ends of the drums. Some other names include:
 * Bombos
 * Wankara
 * Caja

Other variants of the instrument include single heads and drums with tightened strings on the heads, similar to snare drums introduced by the Spanish (originating in Turkish Janissary/military bands). Often times, a performer with play both the panpipe and the drum with one mallet simultaneously.



The drums found in the Archaeological record, however, differ greatly from those used today. While most are made from wood and treek trunks, the earliest drums were ceramic vessels with hides stretched over the top and held tight by chord. These vessels date to around 200 to 100 BCE.

Chordophones
While panpipes are one of the most timeless instruments of Peru and the Andes, the national instrument of Peru is actually the Charango. This instrument is nearly 100% Spanish. When the spanish came to South America, they brought with them guitars, mandolins, and lutes. When they arrived, they began making the body of their new stringed instruments from armadillo shells. This then gave rise to the Chanrango, giving it is unique sound. The instrument usually contains ten strings grouped in pairs, but can be found in a variety of versions. Now, this instrument often leads musical ensembles and accompanies the native panpipes and drums.

The history of the instrument is unsure, but two contrasting stories survive. Some believe that the Spanish forced the natives to convert and practice Spanish music, so they made them mandolins from armadillo shells, while others believe that the natives merely liked the sound of the Spanish guitars and created their own version. Either way, the charango is a critical element in Andean culture.

Idiophones
Other instruments used in the Andes include:
 * Guacharaca: Relative to the guiro, it is usually a hollowed out gourd with ridges on top that are scraped with a stick. They originally came from the Taino tribes of Northern South America.
 * Maracas/Shakers: Along with panpipes and horns, shakers have been found and depicted on many ceramics.
 * Cajon: This instrument is one of the few that was influence or even developed by the Africans in the area. Because the Spaniards brought the blacks with them as slaves, the blacks were forbidden to make music. Bringing with them however their traditions of box like drums, they used shipping crates and dresser drawers to drum on. They were convenient beca[[image:477px-ToneCajon-Snare.jpg width="157" height="192" align="left"]]use of their ability to quickly desguise them as chairs. The cajons now are played by a perfomer who sits on top of it and hits the face of the box. Now, it is not uncommon to have snares/chord on the back side of the face, creating a snare drum sound when played. This instrument quickly became a recognized part of the music that accompanied the Marinera dances of the area. While the cajon is one of the few contributions of black culture on native Andeans, the cajon shares the title of national instrument of Peru with the Charango.

Images

http://www.precolumbianwood.com/images/andean131.jpg

http://ancientartifax.com/images/moche_whistle.jpg

http://pro.corbis.com/images/HB003419.jpg?size=67&uid={597096B9-55FA-45E2-A688-8220F32B5136}

http://www.markamusic.net/images/Bombo%20Leguero.JPG

http://www.kam.uiuc.edu/images/collection/americas/Nasca.jpg

http://www.metmuseum.org/toah/images/h2/h2_1979.206.1097.jpg

http://photo.goliathus.com/bolivia/pictures/instrument-bolivian-charango.jpg

http://www.familiagarciatrillo.com/blog/wp-content/uploads/2008/09/charango_vistas.jpg

http://hearstmuseum.berkeley.edu/exhibitions/images/cen/phoebe_era/ancient_peru/nasca/4_8481.jpg

http://upload.wikimedia.org/wikipedia/commons/7/70/ToneCajon-Snare.jpg