Music of the ecuadorian highland

Music of the Ecuadorian Highland

Integrants: Deborah Oleas and Lorena Iglesias

2° Bach “D”

Music of the Ecuadorian Highland
In Ecuador converge various manifestations of thoughtand conception of life and in the field of musical culture is no exception. This shows that adjustments of this nature do not prevail over time and not if they are the way to be a way to spread our musicalculture. Therefore, we believe it is necessary to take into considerations of some musical forms specific to our region.
ALBAZO:
This rate data from the colonial era and is a native dance. Its thememanifested on the sadness, loneliness. At other times his poems are addressed to the woman you love, disdain or, on life in the field. Example:
“Si Tú me Olvidas”

CAPIZHCA:
As we mentioned a fewlines ago, many would relate or assimilate the rhythm of Albazo. North of our country, this rhythm is written with thefollowing figuration.Likewise, in math Capizhca, addresses issues related to social, ecological, economic. Researchers have suggested that Capizhca is the only Ecuadorian rhythms.

TONADA:
Indian influences. It is a pace that has no similar in any other Latin American country. Some thinkit is a development that mixed the pace of Dancing and Albazo. Other researchers argue that this is an Ecuadorian version of the cueca, Chile's traditional rhythm, so similar in its structure,but unlike the tune is written in a minor key and slower moving.
The topics covered in this type of composition are matters of everyday life, life in the countryside the woman he loved.

YARAVÍ:
Is a musicalform that comes from the Inca culture. It has a slow, melancholy air, in its themes addresses the sadness, disappointment. Its name comes from the terms arahuí, yarahuí, aravec, according toresearchers, originally it was played with pingullo and panpipes. The yaraví there is nothing great or beautiful, by contrast, is as natural and simple as a sigh, and lacking musical rules, it...