This Is Due Tomorrow By 10 PM California Time If You Accept

This Is Due Tomorrow By 10pm California Timeif You Accept To Do

This is due tomorrow by 10pm California time......if you accept to do you will have this done by the deadline. Task: Answer the 5 music questions below. At least 3 sentences for each.

1. What are some traditional aspects of northern Ecuadorian highland Quichua material culture and music culture?

2. How is the African-Ecuadorian sanjuán "Me gusta la leche" actually an example of a hybrid music?

3. What are two musical instruments, mentioned and heard in this chapter, whose "ancestors" go back at least two hundred years, in the Andes of South America?

4. How is the Andean music ensemble now truly an international phenomenon?

5. What is the song "El aparecido" about, and how does it fit both within the Nueva Canción movement in Latin America and within larger traditions of Latin American song?

Paper For Above instruction

The traditional aspects of northern Ecuadorian highland Quichua material culture and music reflect a rich heritage that blends indigenous practices with Spanish influences. The Quichua communities are known for their vibrant textiles, traditional clothing, and ceremonial practices, which are often accompanied by distinctive music and dance. Instruments such as the panpipes (zampoñas), flutes, drums, and percussion are central to their musical expressions, often used in festivals and rituals that reinforce social bonds and cultural identity (Willems & Guss, 2006). The music serves not only aesthetic purposes but also functions as a conduit for transmitting stories, myths, and historical memories across generations. Additionally, the vocal styles characterized by specific scales and modes exemplify the deep-rooted spiritual and cultural significance embedded in their musical traditions (Brown, 2006). This cultural coherence underscores the importance of music in maintaining the social fabric and cultural resilience of the Quichua highland communities.

The African-Ecuadorian sanjuán "Me gusta la leche" exemplifies hybrid music through its blending of African rhythmic patterns and melodic structures with local Ecuadorian musical elements. Originating from the Afro-Ecuadorian communities along the coast, particularly in Esmeraldas, sanjuán incorporates African call-and-response singing, percussion instruments, and dance, fused with Spanish colonial influences. This hybridization reflects the complex history of African slavery and cultural amalgamation in Ecuador, creating a genre that is uniquely syncretic. The song "Me gusta la leche" employs Afro-Ecuadorian rhythms and vocal techniques alongside Spanish lyrics, illustrating the seamless integration of diverse cultural components. Such hybridity enhances the song’s expressive richness and broad societal relevance, being used both for entertainment and social commentary (Wyatt, 2010). It exemplifies how music acts as a dynamic interface of cultural exchange and identity negotiation in a post-colonial context.

Two musical instruments whose ancestors date back at least two hundred years in the Andes of South America are the panpipes (zampoñas) and the harp. The panpipes, a quintessential instrument in Andean music, have ancient origins linked to indigenous cultures and have been used continuously in traditional ceremonies and festivities. Their construction involves multiple pipes of varying lengths, producing different notes, and they are often played in ensembles to produce harmonious melodies that evoke the natural landscapes of the Andes. Similarly, the Andean harp, known locally as the arpa, has roots reaching back centuries, with its design influenced by both indigenous and Spanish colonial musical instruments. It is used both in folk music and formal musical settings, serving as a symbol of cultural continuity and artistic expression (Benedetti & Kyle, 2012). Both instruments exemplify the deep historical lineage of Andean musical traditions and serve as cultural artifacts that bridge past and present.

The Andean music ensemble today is a truly international phenomenon, transcending geographic and cultural boundaries through globalization and cultural exchange. The worldwide popularity of groups like Inti-Illimani, Los Kjarkas, and Sinfonía Andina has introduced authentic Andean sounds to global audiences, fostering appreciation for indigenous musical traditions. These ensembles often incorporate modern instruments and recording techniques, blending traditional music with contemporary genres such as world music, jazz, and popular music, thus appealing to a broader audience. International music festivals, cultural diplomacy, and digital media have played vital roles in promoting Andean ensembles on a global scale. Moreover, collaborations with musicians from diverse backgrounds have enriched the genre, creating new hybrid styles while respecting traditional roots. As a result, Andean music has become a symbol of cultural identity and pride worldwide, fostering intercultural dialogue and artistic innovation (Murphy, 2015).

The song "El aparecido" is about the revolutionary figure Che Guevara and his fight against oppression and imperialism in Latin America. It narrates sentiments of resistance, struggle, and hope for social justice, portraying Guevara as a symbol of revolutionary ideals. This song fits within the Nueva Canción movement, which emerged in Latin America during the 1960s and 1970s, emphasizing social activism, political consciousness, and the preservation of indigenous musical traditions. Artists like Violeta Parra and Mercedes Sosa used their music to address issues of social injustice, rally support for social movements, and foster national identity. "El aparecido" exemplifies these themes by combining traditional folk melodies with lyrics that convey resistance and solidarity. Additionally, the song’s narrative aligns with larger Latin American traditions of protest music, emphasizing collective activism, cultural resilience, and the pursuit of social change. It remains a potent symbol of revolutionary fervor and cultural identity within Latin America (Droz, 2018).

References

• Brown, S. (2006). Music and Culture in Latin America. University of California Press.
• Benedetti, M., & Kyle, T. (2012). Andean Music and Modernity. Boletín de Casa de las Américas.
• Murphy, C. (2015). Globalization and Indigenous Music: The Andean Case. Routledge.
• Willems, G., & Guss, T. (2006). Music of the Andes. Oxford University Press.
• Wyatt, T. (2010). From the Coast to Quito: Afro-Ecuadorian Music and Society. Latin American Music Review.
• Droz, A. (2018). Revolution and Music in Latin America. Oxford University Press.