Musiques d'Amérique tropicale : Discographie analytique et critique des amérindiens des basses terres

Abstract

Musics from Tropical America. This discography is an inventory of published recordings concerning Amerindians from Lowland Tropical America : it contains 43 publications of more than 60 ethnical populations of many linguistic groups. The distribution of such recordings is unequal as well from a geographical scheme as relatively to the demographic or cultural importance of the groups. Anyway the whole gives a clear idea of the main characteristics of these musics : — the wind instruments and the rattles are the privileged ones ; — the masculine songs are predominant (solos or choirs) ; — nearly all choirs are executed in unison ; — importance of the heterophony : superpositions of intentionally different musics; — impossibility to obtain a scale system common to all of these groups ; — importance of the repetition ; — practically total cutting-off the no-Amerindian musics.

La Musica de los Guahibos. Sikuani-Cuiba

“…The appearance of more and more excellent recordings of South American music (see Beaudet 1982) may facilitate the start of some very interesting comparative studies across frontiers that could lead to fascinating analyses and the formulation of new questions about South American Indian music. In terms of format and presentation, La Musica de los Guahibos is more useful to the specialist because of the information it provides about the tradition, and more provocative because of the theoretical positions of the author.…”

Sopros da Amazônia: sobre as músicas das sociedades tupi-guarani

“…Para informações sobre vídeos não apenas sobre os wayãpi e outras sociedades tupi-guarani, verGallois e Carelli (1995). Para discos, verBeaudet (1982; eRicardo (1995:30, nota 1).6 Este conceito se aproxima do de gênero musical. Para uma aplicação do modelo bakhtiniano de gênero de fala -conjunto de enunciados que têm certa estabilidade em termos de temáticas, de estilos e de estruturas composicionais(Bakhtin 1986) -ao estudo das músicas indígenas (no caso, tukano), verPiedade (1997).7 Em um clarinete idioglotal, a palheta é parte constituinte do bocal, sendo que no heteroglotal, ela é fixada sobre o orifício do bocal, cobrindo-o(Izikowitz 1935:255).8 Para ensaios sobre essa literatura, verHenley (1996); Menezes Bastos (s/d); e Viveiros de Castro(1996).9 Em kamayurá (apùap), também uma língua tupi-guarani, pù significa apenas "sopro aerofônico".…”

Polay, Uwa : danser chez les Wayãpi et les Kalina. Notes pour une ethnographie des danses amérindiennes des Basses Terres d'Amérique du Sud

“…En effet, les mêmes personnes peuvent, dans les mêmes villages, danser sur des musiques amérindiennes ou sur des musiques non-amérindiennes, mais il est rare que ce soit en même temps, et il n'y a pas de mélange musical ou chorégraphique l6. Il s'agit donc d'une distinction très forte, au demeurant largement répandue en Amazonie (Beaudet 1982). 11 serait trop long de l'analyser ici, mais comprendre cette question de l'étanchéité ou du mélange chorégraphique comme un choix de civilisation semble une manière positive d'aborder les transformations en oeuvre dans ces villages.…”