The Musical Folklore Of Boyacá

The musical folklore of Boyacá

OBJECTIVES
1. To present musical folklore of Boyacá.
2. Encourage the general public, its cultural dominance, not losing their custom.

Description
The musical folklore of the Altiplano boyacense is essentially mestizo, with a predominance of Spanish on the indigenous survival. Most of their dances, songs and rhythms have Hispanic origins, withadaptations of music and creations chibcha native Colombia. The most representative musical airs Boyacá are:
The Whirlwind.
The Guabina.
The Bambuco.
The Hall.
THE WHIRLWIND air folk music is more representative of Boyacá; the tune ofpromeseros in Boyacá pilgrimages in wedding dances in the festivities and otherfestive moments of peoples Boyacá.

Perspective:
For the realization ofthe next project we will rely on different videos, pictures and music and images to illustrate general boyancense musical folklore.

a. Dances, songs and rhythms and Spanish Chibcha. 
   
Music folklore presents survival Boyacá of Spanish music and chibcha, whose constituent elements, mainly Spanish, have been transmitted by tradition from generation to generation. 
By studying the music of the ChibchaIndians of the Altiplano Boyaca, we find it magical and religious significance. The music is played or sung chibcha, magical effects for certain, she joined the Indians in the sun, moon and other divinities also printed warrior hopes of victory and consolation of death. 
The songs, Chibcha according to Spanish chroniclers, were sad and dreary: It expresses Juan de Castellanos: 
"The singing issomething cold 
and the same sort all the dances; 
go with the beat more highly regulated, 
disagrees not only eat 
in all travel and wiggles. "(6) 
The songs had a special interest in the preparations for war in those ceremonies that were essential for the will of the gods. Tunja Indians lasted a moon or a month singing the sun, with explanations of the causes of war and prayers forvictory. After the war, the Chibcha were singing and dancing rituals. The pace was used to in the collective work, with beat and rhythm, the Chibcha plowing the ground for planting, stirred and moved the boulders and ravines that were able to move long distances, despite its weight. 
The dances and songs were indispensable in all social and religious festivals: the sacrifices of the moxa in the sun, theharvest festivals and public rejoicing. In the holidays of several Chiefs and people, used to bring their own biases dances with different styles and lots of feather, flutes and drums fotutos. In Chibcha processions in times of sowing and harvesting, represented in their figures dancing bears, lions, tigers and various animals. Chibcha dances also served to celebrate the completion of construction ofthe enclosures of the chiefs, or when they reached the end of a driveway. 
The Chibcha manufactured and used several musical instruments among the wind instruments, we highlight the flutes, conch shell trumpets of various sizes and ocarina.Among the highlight autófonos maracas, rattles and shells used in religious ceremonies, also met the drums, drums and boxes. Some trumpets were coated with goldand used to summon the tribe for major events and to encourage the warriors. Chibcha Ocarinas have represented with significant zoomorphic symbols, one of which has the shape of a bird with open wings and a human face on the head to blow a small hole. (7) 
One of the most influential contributions to the musical folklore boyacense certainly is SPANISH who entered into the highlands in thesixteenth, seventeenth and eighteenth centuries. The Spanish in the process of colonial expansion and cultural diffusion, submitted their songs, dances and musical instruments, which met in its overseas colonies. In the gatherings and celebrations of the colonial aristocracy, in the evenings of conquering armies, at parties of popular entertainment in the estates and in nascent colonial cities, met...