-MEMORIASIY | ‘Smnano Nacona be Mosc na Na Hats ¥ Misco Toes aan py Benen Vane Aono Pr een atlas in-ear niin Om sicaegeetf roe Un Cia iota Sandel dt Ca nolan Galena Ai acne Drew Ds FrsDicCqec Cue Eager Mone Tooe Stearn Conant fereees Sime Crm Kime Mimnde Powe Myc Page EL Seninaro eb sppo de sgencnnionee Ew ob 2 @ wm FD ex IV Cotoqyio Musicar ‘Harmonté Munpr: LOS INSTRUMENTOS SONOROS EN IBEROAMERICA, SIGLOS XVI AL XIX cid a cargo de Lucero Bnsiquez 2 UNIVERSIDAD NACIONAL AUTONOMA DE MEXICO ‘COORDINACION DE HUMANIDADES Since ‘México 2009‘Musicat. Insraumenrs wv Cucruran Context ‘Musica Insrauwenrs ws Cucrurat. Context _____ “anno Libn oct Hisesca de Organs © Richmond Hisoricl musical instruments deserve tobe stud fom many viewpoints, ‘nly from the modes musiciasorHstener’s perspectives Instruments Fave many functions and mean diffrent things to diferent people, 0 if we Teo encourage appesation and preservation of historical instruments, st explain cel whole range of meanings ané functions, not only their husical uses. It str chat msi crosses cukual boundaries more easily "than language Inevery prt ofthe world, people associat jo with ast po ie igh pitch, and connect sess with low tempo and low pith. But the {dea shat low pitch is male and high pitch i female is not universal. In pats ‘of Aca, for example high intense sound is considered masculine, while in Bs Ass, the deep sustained tone ofa lage bel is eminine, Such ariades fnflunce people responses to rusia instruments intexms of Feings ender signification, ymbolim, and other atibutes. ‘Of course any objet can be wsed to make sound in a musical con- ‘texts0t canbe ard to define what a smusial instrument i apart fom its tive A Peruvian whistling jar is an aeropbone and a container at che same time In old Japan, the shtuhach was both a ute and a weapon. Moder composers have cored for anvils, guns, sirens, ypewriter, and many other “Gnusval sound spurces. The question whether a clarinet stops being an in ftrument iit is made into an electric lamp is 2 mate of definition, and not ceveryone will agree “Archacologss probaly would oc ecognize mankind's eaves noise- makers. Most likely these were mulpspose objects whose sounds were ‘secondary to othe functions, such as huntingand preparing fod. Only slowiy Aid tools, containers, weapons, and other implements become specialized toTLaunence Lis proce parr ea pte wel organ, cori, es ply nd magi sta, Acutal enement of utes pan post of ommunicaton cried fr ileal nana eae feaane were afm, Bt insonepursofth wo te comepeat iis amy st expec ee emerged ome popes hve 10 word fr mbt thy he ntrent ne Tw ingto ke whet nino Amen ve cuir ngs eeepc isounen snp fr peo ny ct we hare Sse se ao nein eps ine log belie thine of Patra powers gio Jen he gene ath an prt oe ts nd eon ner Even ty 0 ene hat rae Inui sae enteranent. Some rine ndanenalas ch the Tabane nk ofr tol ofthe deel rae pole sn. One ren inet might cem serie these ls megs canbe dingy antiguas Ravel Boe sos Ds ings some movements of Mal sph nd many mrs of ter rmple of ers itu mc it soa ot poll roar When ch reauoni pied dance mon chich ops in 18 they wre dently mocng Catolbele, ying poeir ‘ies on huh organ al mats sn pole ucomfrae ee tnd med manage te dion betwee ed sa so ‘pee Tica nguyen fr thot ny Chie people epi nad Chin, haved a oe ingen naperopintiy cn pt the eres mand ad gest soi Inport ar woe weed ince Aan aad phe still is among foll who preserve an ancient worldview. i Bre whether nunent sounds inte or oan ean- ing bene owen inet nk yet me od so ‘Moses. Isresnaers i Cuurvans Comet ci Wht en in ne i i ton bese ar set pean ray wth ccuntne, Amon et kin tree fg cove a eer rng bee too Wet! fiom cama pee ntnation ingot, Ao, mot ene wl yen ou of tne ying len ay aati gba deen nd on bce eh perion not he pa. Shr promanecs 8 who woul coed ning sconce al Ripple and cea expense ams Peony ey Me pron note payed oneal orate upg aot Mtn on pee enpred concer dy ee te impr tp ste any pt ponte pov, ann fhe enc af cat wiform ich dot ot then an insrument or voice can not be out of tune. I wonder whether pitch | Ritu cued ensper belie th uth etry Aci sa ph i re inueat ae egies pie ERE aeky ae lye eget in nce, Ont ther and at eens bey ve Bat een ph wanda di xin he ‘Ronan ee ert emu he ter wuld ot have come ‘ier Spnih canoeing ob onde eh fl here pray nmor ‘Apu om theism ramets cry eninge in the ors an mall and playing weg. Tor xp, cel laying os Son nd he at ofbeaing rum wer cone indent Viton [ea Boone bie pay socmble mae gal heya wed Shain Beg pining of pean egy —you do othe Ue te eget tndenand esol age Then back ‘Gat rined Renae unter gant woah ey. eda feng ava oie wi abr ng pon Gh ad dey. Sv of he dvating scans ean wh wary pcos feng nthe 94 and 1970 ede eto blo —Lamnenes Lam ‘moral decay. In the hands of rock performers such as Jimi Hendin, guitars ‘became charged with seat, and that dangerous image reverberated cven hen the guitar was silent. Its interesting tose the guitar's etaorphosi fom a feminine palr instrament in the 1860s toa potent ymbol of ado~ lescent rebellion by the 1960s. Mexico's fascination with death also leads to ‘tani and satirical imagery of instruments in gone fom folkartto Port, ‘The power of musical instruments to amplify felings and influence techavior explains why Imi radicals fear them, and wiy Orthodox Jews and Byzantinete Chistans do not allow them in worship, except for tual ‘plement such as bellsand ranshorns. Englishmen tried to suppress Scot- tish bagpipes and rsh and Welsh harps because these had become symbots 0f Celtic nationalism, in other words, symbols of cultural otherness, Spanish press were more clever; they incorporated pagan inst ‘ments into colonial worship and so made them les theatening, [have bee told that the tepone embodied a god who had power over le and death, bout in ome village churches, the tcp was used as bell, to summon worshipers and punctate the litre. Since Spaniards believed church bells tobe sacred and protective, the difference in atisude toward these idtophones ‘was perhaps not so great a we might expect, Superstiious Christians stil venerate church bells and name thera afer stints. This sopersion goes back to ancient belief that certain matei= als ten from the Mother Barth —materials such as gold and copper jade sand turquoise, quar, flint, and even clay and some kinds of wood — have protective powers, Similarly instruments made of shells have sypersati= +l powers becuse oftheir origin inthe mystevous living ocean; and instrs- ments made of animal pats such askin and bone, or shaped ike animal, embody the quilts of those beasts —strength, courage, frei, tli, ‘This magic power was reinforced when these materials were made to sound with the voices of spirits. In Meaico, such belies opened the door to com ples imagery in which instruments sometimes dominate people, ———————— ‘Mostat Inssaonanrs Catron. Conreer Se struments canbe ood orbad depending on their url con and roakng sound is only one way they projec power, Some rtal serruent suchas drums in New Guinea and Tiberan trumpets nets, porte human bones and bload and are surrounded by strong taboos. sukingisthe grotesque decoration of Mexican baroque org pipes tel he eT ecortion renin tat whe soe l= dha fist head a pipe orgs, they thought st was inhabited by singing Shen or spits, Mexican Sonography i Fl of images offer astra Irene and of musicians in roubling situations, Alf this poins o deeply “ns gute em rom medieval Arabic ere which yale cordo- ee een eae eee Nee jon, Ohno ble King Des lad rt Fee a ad eae Pgh pegs eines eee esac eer Ree eee eae awrecs ere ere Tee ees eet ange vere sa in ay eg ey ae ap ees aoe reer Go way Un wl caren co core koro = re cee ae core Peer ns gett seas ame ee ee aremcages mae a See ere eae wee ee ae pee oe ae ee ramen a afcLaonevce Lan ter a shamaris rat, ora piano is not to move something, but to enrich Jhuman understanding. ‘The word “instrument” comes fom the same Latin root asthe words “instruc, “constre’, seructue, “construct and “destruction all words ‘elated to building. So, what do instruments build, if not physical objets? Scientific instruments build factual knowledge about the univers, from the sub-atomic level to the whole of outer space. Musical instruments, onthe other hand, robe inner space the interior peychic word of moods and fee! Ings and then help musicians express the ress of thet inner dscovsies in ways that words alone cannot convey. ‘Musician in diferent places and times have experimented with dif ferent kinds of instruments, depending on what areas of the psyche they have wanted to explore. Instrument innovation also depends on avaiable resources and technologies. Materials and exufis —for example, the avail ability of animal pars for making bone whistle and skinhead dems or the ‘more advanced aility to bend and glue wood oto cast metal or draw wire— these basic materials and technologies affect instrument’ acoustic proper= ties and playing methods, and thus affct tone color, loudnes, pitch and ‘other expressive qualities, In these primary respects, instrument makers p= are the acoustic plete for musicians to employ and refine, Aside fom musicians we mist also consider the inluence of piss, ‘warrior, huntes, mother, and othr social groups on the development of instruments. All these groups have dilfeentpratcal and spiitual purposes for the instruments used in theie domains. For example, hunters and wariors ‘need loud, durable, easly porable types fr use outdoors. On the other hand, ‘until ecently, Buropean ladies typically prefered graceful quiet instruments ‘whose sweet sounds projected their own atactvenes. Beaute ideal young ladies of pastimes stayed mostly at home or in church o schoo, this pre= ‘erred instruments, such as harps and harpsichords, dd not have to be espe= cially loud or portable in fic, pianos kept young women at home o practice Moseat Iirranes i Cuurvant Conest a play and hon they served a instrament of sea contol Also, Vieto- Ides were not expected to operate machinery, 4o harps and pianos hid 2 Sle necharns in oe ookng faite that ao pote Frese mage Weal think of slr hare a grace and dba, a> ay actly Dev an ala to move jot the oposite of Pee Ce hape, which may look compare enue Bt ae easy: Hes pn ona te work Pay where Europea woul ot exec o Se gi Bacpan sce tel oft el iad moter fra to create harmony in her family by uniting their diverse activites and Mchavors Because harmony within the family lke large social harmony, Mealogs to mul conor, women propery took p sing estar Te cecil ve with eben ich wee cpa of ying neal Fuecoy We aly find pictures of acho men playing hap oF bagi chard Men wee supe ts belndepndens, ace lene, 0 endemen "amateurs tended to play soloestruments, mostly wind, which eannoe sound cate OF ours, may now Westen people, ung SOS Retin sas acta sn oth hao oe ere hedlbamony nd ono ying inarnen on ng ‘eorex an clave eet, Chopbones emerged ye Japa fer buran haley gated o Ausra andthe We erence: Acophones nd Wlopine ste uch oder thi hor Spor ond we moe widespread andre in fom and con, “The encep ofa ich mit be ven orem, nde save devapd tin Eat Ai than cere. Art his what he ‘iss tne ntramenss gest sna Cnes toc ely {cnr beeen memati ton sna expla his emigre Tr car gh atin any ctr nal ye depend on the peo teen abl tendon fnew pet ep 8Laoresce Law ‘whole new om for musicians to explore. New 1ypes can sts rom experi- ‘ent and invention or by accident, or by importation from somewhere els, ‘Therefore we have to considera sovietysattude towand innovation and the importance of population migration, trade, and social nobility forthe ‘wansfer of novel instruments The ancient Southeast Asin development of ‘ued bronze idiophones; the Cental Asan invention of bowed stings some~ time before the tenth century A.D; the invention of the finger-operated Jeyboard in medieval Europe; andthe European reception of East Asian free reeds are all examples of how novel technologies travel around the word, sivng birth to new instruments and idioms, ‘The proces of transmission and adoption was especialy striking in "New Spain because the confrontation of indigenous and European peoples ‘secured o suddenly and with a gest imbalance of power, yet both cil ‘Sons were intensely musical, Here, then, wa an opportunity for comon n= derstanding, whereas the concepts behind things such ae projectile weapons, ‘wheeled vehicles, and the alphabet were wholly new to mative Americans. Instruments can travel together with their associated meanings of Jose them in transit. I doube that he native inhabitants of New Spin under= stood the cukual implications of Spanish harps and pipe organs, o later of ‘Afsican xylophones, but this di noe stop them fom adopting these novel- ties and making new music and myths for chem. The subsequent develop ‘ent of Latin American musics unthinkable without plucked and bowed strings and A ican-derived percussion, inludingxylophones and Tinidadian iano pans But ongans posed a grate problem, To serve the Catholic liturgy, pie ongans spread quickly in New Spain afer the sistenth century, even Jno remote village churches. Organs were fst received with amazement, ‘ut later chey were lagely ignored because they were hard to maintain, not «uly portable, and nt praeical forthe kinds of music the peopl enjoyed Jose because an instruments introduced in anew place doe not mean it will Muscat Ineravanrs m Cuervann Context ected into musical ethers; many pes fil because the technology depot est to manfictire of mainaa them in ei new envionment an folk idle, for example, presumably sounded ualike their Euro- uodels, due to diflerences in material and construction methods and ng techniques. For one thing, pitch was probably kept lw to preserve atone, Folk des ako serve different functions from European vio for evample, homemade Sales wee not considered status bls or es for investment or objects of art inthe way Sae Italian violins were, in the seventeenth and eighteenth centuries. The relationship of player instrument also difered inthe Ameri- ov have heard that in ome indo Arner ig, ok nr teat tadonally were inspanle ro hi players who wera en {her ale, The nprumentcmbotied the makers personality so when the me ded his instrument ws sed to, ined of eing pased ono he ft genention. I hve hed of sere caves in Mexico where these dead inseents ae biden, Cerny i ther pars of the wor, strane _retometnes ound in rane along wth other propery ofthe dead pes. Some of tes instruments were sitll to preven the power rom filing ne the wrong bands. ‘Ave hve bserred indigenous Aeros entered Bogen rovel acon o tei vB tes and waitin, js the way they inept Catolico, Pre-Chiun baba pony prdinpred indgenous peoples to peer ome Kinds of irene and avid ote Europeans es and cecores seem not o hive been very poplar n New Spain, perhaps been thy cele the omiovssounds of magiaLaonescr Lane \whistes, or they just were not loud enough for playing outdoors where so ‘much music wat performed. Alo, the Spanish themselves apparently con= sidered utes nd reorder les appeopsate for ceremonial and church mi sic than louder double-eedchirimtas and dulcians. These reed instumsents ‘were easly heard outdoors and in lrg churches, and they lacked the sexs connotation of futes and recorders. In Europe, these were phallic symbols associated with courtship an love. Here in Mexico, however, we id angle. playing futes embroidered on priests vestments, no deube 28 reminders of Celestial harmony. Bass instruments such a trumpets, horns, and trombones became very popula in nineteenth-century Mexican bands, be brasses were not ‘ypically manufactured locally Their commercial production equses a= vanced sheet-metal ibricaon, Making reliable valves and aides in paricu- lar demands great precision. The Mexican market for newbrass instruments ‘was not large enough to sstsin the investment and taining necesary to produce them her, since European brases were readily avallble fromm ‘an importers begining inthe mid-nineteenth century "For example, about 1855 the company of Wagner y Levin started seling imports manuficrared in Markneuktchen a stores in Mexico City Puebla, and Guadalajara, At leat wi! World War, Latin America and the Uniced States both relied hesvly on German factories for mass-produced ingrument, and the tones ofthese German instruments, which sound quite Ailferen rom French ones, subtly inuenced tonal preferences in this hemi= ‘sphere, OF course, s did the infu: of German musicians during the nine teenth centuy- The characteristic sounds of Gexman and Bohemian brass instruments colored the tonal palette ist in cites where dealers such as ‘Wagner y Leven were located and ltr in ral villages as ol sed instro- rents ended up there. Instruments azo came from Franc, Belgium, Ia, and Bngland, but I muppose these were les commons more study ie needed to provide reliable dats sbout commercial imspor. Musica, Intruunenns sm» Cotronat Contes | Altlough Buopean-atle wind intruments wee nat mich man "pcre in Meco, Latin Americas hae become famous fr making and sing lucked ing isemen pei git bt ao arangarand ed pes an el a bars Woodring ler already igh dee- Spat here befor European ved stat was no problem. Alon Mexico fs Teri placed ering instrament wren genenily cone e- unter could ply them without erbarsnet, and in ft Messe “Jaclped macho sieof performance tnt erophasie ts sym ne om tach sin amence For ntsc, Mescan fl apis omens rato ei harp, ast as Garneneo gain ke hi istrment. eee contention beween Eicopen wel and Mesa imag oa produced a fresh iconography and some novel designs chs he ied iln developed by Jess Abin Thi of nncration cas © ov today in the marvelous guitar schools of Michoaeén and clewhere,and sina instrament sigs by Ray Guerrero, Jonathan Sana Ma ad "other young Mexican luthiers, ‘Wile girs and harps became very poplar in New Spin ee evidence srvires of harpsichord 1 ow of oly woimages of harschords in eigheenth-cntury Msc nap which ho neruent xe layed by angel masa. Alo, Tow of only eo wood harpsichord bi Mesa provenance, This ers od considering tat og an l= hon which hare mich ofthe harpichr’ pers, were common in churches and convents, Harpschrds might hae been are because thee trechuisms aso mach are to mann and more venitve temper ture and um. lb, wealthy people nd inttons who eo aod thee expenieintrument cold oan them fom Europ, 20 domesse Froducton war never igh pi “Tae same ws tren he nineteenth century wth pianos When the mere Agusta de nie wanted piano forbs auger be bought one Ima by Emlos Scherr in Philadephia (now i the Chicago Hino =Laonesce Law Society colleton).On the other hand, already inthe late snteenth century ‘became necessary to build organs her because it was impractical to import 2s many as were needed, The Spanish and German barogie organs that di arrive in Latin Americ provided fine model for ambitious local builder ‘But by the later nineteenth century, many churches were using European reed organs, which were elatively inexpensive, easily portable, and seldom in need of ting. Tndigenous American reactions to certain sypes of ietraments Were predictable. For example, organs bras instruments and cirimas were oth, tecrifing and appealing because oftheir loudness. The same was tue for lange bells, Ie was easy to tansfer to these amazing imports some of the supernatural qualities easier arbuted to native serophones and idiophones, Even in Europe, lage organs held a special statue ae cv monuments; we see this tus reflected ia the rch ccvings and paintings that decorate ba rogue organs ia Mexican churches, Today these gest organs function as tourist atraetons as often photographed a heard. Of cous, the technological sophistication of Buropean instruments ‘compelled respect inaland with ited metal resources and no machinery. Like elocks and gun, European musical instruments were vehicles of cul- ‘ural imperialism. These instruments arsved in two overlapping phases fest, the conquerors brought lod but simple mlitary and signal types, including rams; these projected power and dominance. Then the colonists, who i= cluded wives and daughters of colonial adminirertors, bought mor ened instruments for domestic wse and entertainment. Gradually ll hese types found their way inc ilage lite and ual ‘The Spanish and Pormgueseon the othe hand, regsaded indigenous ineouments merely as primitive curiosities, and viewed them at evidence that native Americans were uncivilized heathens who had tobe converted. At fia, ew Europeans showed interest inthe deep cultural functions of mative instumens or made any elt to preserve them. Much lates, thou nthe MirseatSssrnenrs m Cutruna, Contest eth century Latin American traditional instruments suck ay the Mand ofher idiophones and whistles gwe distinctive tones to or Tal compositions of Ginestera and other nationalist composers. Most er today are unaware ofthe sacred and sexual implications of these 9 instruments E Atchough the Europeans may have more complex Kinds of instra- han those originating inthe Americas, this dference does not indi- cher orlowerinelgence or ratty On the contrary so-called prmi= Fetumente can be played with gent suber. So we must nt conse dium with the message; a set of panpipes or ajarana ensemble can perfely eloquent, especialy flyers and lteners are i a ecepve [Enhancing mood with alcoho or drugs has ingbeen normalin popo- Kan stul music performance, bu this is one reson why some morass Spe sepicious of musicians. ‘Since the very defitition of beauty i culturally determined, we can potas chat any tonal deli universally vai. Pechaps only the percep- tion of octave equivalence is universal; certaialy the ewelve-note chromatic cle an goal-directed harmonic progressions ae not. Cultura particulay thakes all he more remarkable how readily indigenous Americans adopted foreign instruments. To native musicians, these strange devies opened pre- ionsly inconceivable aural testo for exploration. While fo calare i ve Americans have uppored to be conservative and resistant to change native Ame ‘pen adventurous in developing fresh and unexpected idioms for European ‘Goingin the other dretion, maracas and bongos became popular in swenticth-century American dance bands, and piano pans, which evolved in ‘Tindad and Tobago in the 1930s and 1940s, ave been incorporated into ‘Buropean scores, such as Roman Haubenstock-Ramails opera, Ameits, "Thus, instrumen’s and idioms spread in all directions, not just from con quero to conquered or rch to poor.Laveence Linn ving sid al hy et evi ome her fictions of mia samen We hve any mentioned hire sia ee fen outdoor tn anno tte cha: corms bo crtowum of danger nnn arin Alo mow cae we ne Inramets y f eern ndeachckten, Far removed function fom toy and nolemake ently ‘bape inaumens nc te oe, Deore are dled by ‘cure and aq calles who ay have noite ame ee den ome of te mort oman ietrenet a mau cleo wee tary means bear bt ther toe died ar rs oat Ort may ‘eth an ld arp tha was once ed or tone a Beco eee spp nw fr ray andl pearance: Thos an nse FEneson and ie ton change ove tine. Ora pe firme ase witha rok fk mmc migt become anand elem, ach te Tesh harp wich pps now on rae sd portage pe ‘A Thre ty ed i Europes ge suntng picked ina tn ich sharps gt an kapha ply cited tn pry bcm ping te sie og und oe ot ito he fe rte up he eth the yw de ies Seva econ’ red io gute bent women sdb old how helo ‘rok hi sot caves an senne ing Many mas he ss al sa ig enor who Pee rintnceby ging mans antag perme hem, ike haricors ight-c panon wee qui wee scundnginsramen erly eased einne Ona le he rest ty aew la e te cineca the changing appearance Fans, rm Skate to ‘nin fs throes. Tht rth dost ot mea that women sopred pling aon Rete al player fund inthe modern pe toostboaderange fm noes th wich exes eine Musica Inernouesrs m Cutrurat Cowsext dyes; maybe it was berating for both male and female amateurs to leave the safes, sweeter pianos of earlier nes. Anyway, although gender Pi are charply defined in Latin Ametica also in Theia, men have had Go pastes in apreacing the pan, jus as they ex took up dhe gut Oy she way, Ihave noticed that Mexican music schools often own de in several diferent countries, Iwas suprised to find in one tor Mexican consrrstory concer rand pianos from Germany, Aura, Tad Japan, but no Steinway; by contrat, almost all concert grands in US. rateies ae Steinways- In peoples homes in Mexico, Ihave also seen ffl old Evropean pianos. I suspect that concert pianos other than says re common allover Latin Ameria. Also, many of Latin America ct anit go to Europe for adranced stud and come home with diferent fd in their ears than do pianists who have played only American “Maybe this fairy with diffrent kinds of panos helps ex- lain the colorful appel of much Latin American piano msc Let me briefly mention afew other funetions of instruments, fr ex umpe i childhood education. Learning to play any instrument improves "mental concentration, self-discipline, and physical coordination, and so this © taining is valuable even when a high level of sil noe the aim. Ensemble | playing, fr istince in a vilge band also teaches tolerance, cooperation, nd e-estecm —of course the sme iste of choral singing—. One won erful pect of Mexican popular ensemblesis their involvement of perform of ll ge, all of whom leam together and strengthen thle social bonds, Tes worth mentioning that poverty and distance might have mite the spread of large, heavy instruments (other than organs and bel), so 1 opect that in rural Mexico before the ninetenth century the deep base egiter was not muuch heard."The unfamiliarity of ell ow musical ones suey affected village’ responses to church organs, because not many other instruments could sound 30 low. Imagine how exiting it was for musicians rm explore he bass register for the fist die.Lawnrwce Lay Beyond this, instrament making tansmits loca folklore and know cee of treitonal cats, Patsing raft shils and sect from father t $0 reinforces family sdarigy and differentiates insiders from outsider. Of course fol instruments preserve much local vusity, because these ae not ‘mass-produced, but often made to ft each individual player. Resourceful ‘Mexican craftsmen have developed distinctive regional styles, of files for example, and probably harps and organs too. tis very important to presere these regional ype together with their playing techniques and repertoire before to0 much moe lca variety i lost. In summary, fom the viewpoint of socal development, musical in struments give important evidence abou belief systems, traditional arts and raf, pattems of soil interaction, economics, communication, and other ‘human behaviors. The evolution of instruments should therefore be studied not only in relation to purely musial trends, but from the broader pespec- te of cultural history. If we limit our view to the musicians alone, we wil not lear all that instruments can teach ws Busuocean: Lars Auesica: Oxcan covoon Bernie, Egherto y Jorge Gamboa Ta mn om arte colonial de Com lobia, 24. ed, Bogos, Fundacisn de Misica, 1995, Crosey-Holland, Petes, Musial Avis of pre-Hispane West Mexia to~ ‘wand an Iteaigtinary Approach, Los Angeles, University of Cl fornia Program in Ethnomusicology, 1990, Guzmin Bravo, Jost Antonio, Mexico, Home of the Fist Musical Istra~ ‘ment Workshops in Americ’, in Barly Mur, vl 6, 1978. Ikowite,Kasl Gustav, Maszal and Other Sound Intruments of tbe Seutb American indians Comparasive Enograpicl Study, East Ardsley, S.R Publishers, 1970. Kuss, Malena (ed), Mave Latin Ameria and te Caribbean: an Eneeipe~ di ory, Bustin, University of Texas Pres, 2004, Mncas Ineraouesre 1 Coerinat, Conseer Samuel, Testaments mus prartatane, México, Tosti ” Nacional de Antropologia ¢ Historia, 1968, Ciena de Arve Precolobino, xpi: l mise ere prea ‘bb, Saigo 1 Museo, 1982 pe from the Land he Jour, raeton Univenity Art Mseum acces 16 Jay 2008 1, Dae A.y Daniel Edvard Sheehy (cl), Te Garland Handel of Latin Amariton Matt 2a, Nar York Gatland, 2007 Richard Catal of te Peo Tres Cleon of Misa “struments, Washington, DC, Organination of American States, Ich, Frederick y Joseph Pek, "Ameriss ise School of Violin Mak ing’ en Journal of he Vik Sait of Amaia, vol. 14, ti, 5, 19%. Maria Teresa, La caja de organs on Nueva Espana durante ef barre, ‘México, Cesidim, 1991, ‘Fumayo Lidia y Sergio Tamayo (ede), EY arpa dela maderidad en Mesie ‘ut Bitoran, Mésco, Universidad Avtéooma Metopolitana-Azca- potzalc, 2000. |The Noss Grow Dietonary af Masi! Israments, Sealey Sai (e.)Londres, Macmillan Pres, 1984, era, Calo, Lor imramentos musicales aborgees yess dela Argentina ‘Buenos Aires, Centrin, 1934