Social significance of the Bipolar Siku of Peru,

For example, the range of tubes often ranges 3 to fourteen; some pipes have beveled resonators, whilst others do not.

The siku looks to become associated generically with "the most characteristic types of Aymara music,"4 that are instrumental and stated being in accordance with a five-tone or pentatonic scale, even though it looks inside amount of semitone instruments discovered in indigenous groups throughout Peru that indigenous music is not solely pentatonic. Other panpipe varieties, associated with specific tribes, include the oribe (Witoto tribal group), urusa (Omagua group), jonkari (Ashaninka/Campa), and antaras (Quechua).

Both Aymara and Quechua musical elaborations are stated to become acculturated with dominant European musical forms, with Quechua forms the additional influential.5 Some ethnomusicologists have lamented the decline in the distinctive sort of Andean music, speculating how the marked social disadvantages from the indigenous groups have aggravated the problem: "Perhaps the frustration affecting the Aymara as a individuals debilitates their music."6 Chacon identifies the siku equally with Quechua and Aymara, both of that are situated inside Altiplano,7 and considers the siku and the musical forms associated with to become not only a dominant remnant of indigenous culture but also the agent of the expansion of Andean music.


In any case, Chacon uses the word hocketing to describe the whole of musical composition and performance style, and not simply the vocal aspect of melodic rendering. It is proper inasmuch as it appears uniquely suited to explaining the dyadic nature on the bipolar siku on 1 hand, and the integration of instrumental playing with dancing on the other. We now have noticed that it is suited as well to the employment of elaborating communitarian social and ritual norms. No less essential in regard towards sociology in the panpipe will be the characterization of male and female components from the dyad, for ones reason how the whole effect is to make the interpersonal and communal experience of communication modes a latent purpose of panpipe instrumentation and composition. This can be connected to sexual relationships between sexes, to social intercourse from the group as being a whole, and for the shared sacral experience from the community of the universe, on the association of agricultural ceremonies in the siku being relevant. As well, Chacon cites the dualistic globe view of Andean cultures, wherever contrasts among sun and moon, earth and sky, female and male, great and evil, and so on were typical metaphysical principles of which bipolar sikus were symbolic interpretations.21 It's possibly also significant to stress that bipolar sikus don't perform strictly as "duets." Chacon repeatedly refers to siku orchestras, comprising many dyads.22

tatonic scale, Chacon asserts that the Altiplano siku in use today can approximate and is tuned for the diatonic scale, that is typical of Western European music, but adds it reaches chromatic intervals in between diatonic tones. Further, he says, Andean diatonic modes are not necessarily derived from European diatonicism. Finally, he associates Andean music having a heptaphonic scale, inasmuch as the music that's generally played on sikus fails within heptaphonic tonal range.8

27Benjamin Epstein, "Natural Progression: Peruv

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