Discuss ceremonial panpipe music from the Bolivian altiplano with ...

[asan beg]

Discuss ceremonial panpipe music from the Bolivian altiplano with reference to the Bolivian Kantu Kutirimunapaq. Include scale type, melodic texture, use of hocketing and formal repetition in your answer.
 
  What will be an ideal response?

Question 2

Compare and contrast the Quichua and African-Ecuadorian sanjun examples.
 
  What will be an ideal response?

[JaynaD87]

Answer to Question 1

 Melodies are based on five-note (pentatonic) scales with the same melody played simultaneously at different pitch levels giving a distinctive, rich quality to the music.
 Individual pitches are distributed to different panpipe players so that one performer (or group) is resting while another is playing the next part of the melody, a procedure known as hocketing.
 The k'antu Kutirimunapaq is in three sections with each section repeated in addition to the entire cycle being repeated two times. The sectional repetition extends the piece to accommodate the continuous dancing that goes along with the music.

Answer to Question 2

 Similarities: same basic sanjun genre, double-couplet verse structure, comparable tempo, and short-long-short rhythmic marker.
 Differences:
 While similar rhythmic patterns are used in individual phrases of the African-Ecuadorian sanjun, the phrases lack the exact isorhythmic phrase structure of Quichua sanjunes.
 The African-Ecuadorian sanjun has syncopation (misplaced accents); the Quichua sanjuan does not.
 There is different instrumentation in the sanjun examplesfor example, harp, golpe (time beater) and singer in one of the Quichua sanjuanes versus singers, lead (requinto) guitar, and guiro (scraper) in the African-Ecuadorian sanjun.

[asan beg]

Both answers were spot on, thank you once again

[JaynaD87]

Great! Please up vote