CHAPTER 17 Teaching World Music in the Music Theory Core JANE PIPER CLENDINNING Where, when, and how to incorporate both popular and non-Western/world/ traditional musics’ in the undergraduate music theory curriculum has been the subject of intense discussion in the last few years. There have been recent calls from outside music theory circles to completely revise the undergraduate music theory curriculum, foregrounding popular and world music (and by necessity minimizing consideration of European concert music repertoire that has been the mainstay of the curriculum as a part of the shift in focus). Within the music theory profession, research regarding popular music theory and analysis is becoming increasingly prominent, and world music analysis is beginning to gain a foothold as well—though this is an area where there is much work yet to be done. Thave thought about these issues regarding incorporation of world and popu- lar musics more perhaps than most music theorists, because I have been actively engaged in performing, listening, studying, reading, analyzing, and theorizing about world and traditional musics from around the globe for well more than a decade, including organized study in class and ensemble settings as well as travel to hear the musics in their cultural context, and have been studying popular music longer than that—despite having received no training in non-Western or popular musics at all during my undergraduate or graduate studies in programs (D The terms “world music.” “non-Western music," and “folk musie” each have distinct implications, and all are problematic, anwe will ee later in thie essay. For the purposes ofthis short esaay Iwill employ the term “world musics” as representing the hrotder category that encompasses music practices from around the world that are not consideced a part of European art or concert music, including traditional musics associated with worldwide locations and cultures. @) See College Music Society 2014. 267268 Jane Piper Clendinning focused solely on Western concert music. This expenditure of research and per- formance time has exposed me to a wide world of wonderful, fascinating musical practices that have opened my mind to thinking about all music theory and all musics in a new way—Western and non-Western, from solo performances to large ensembles, in concert, ritual, and informal performance settings—as I learn more about both world and popular musics. I would like to find ways for other music theory teachers and their (and my) students to have these sorts of “mind- expanding” musical experiences. That is the primary goal of this essay. Inclusion of world musics within the music theory undergraduate curricu- lum presents challenges, but there are excellent reasons to consider undertak- ing these challenges. We will consider those briefly in the first part of this essay. In the second portion I will introduce three pieces of Andean music that I have used with undergraduates, to illustrate both teaching methodologies and some of the insights and learning opportunities gained by including world musics in undergraduate theory classes. The essay will conclude with a look back at the terminology associated with these repertoires. BENEFITS AND CHALLENGES OF INCLUDING WORLD MUSICS IN THE MUSIC THEORY CORE CURRICULUM There are certainly practical reasons to ensure that our students have expo- sure to world and traditional musics in the music theory classroom. With the advent of modern means of communication, including web resources such as YouTube, musics from a variety of cultures can be enjoyed by listeners world- wide as a part of their everyday lives, It is a significant oversight for yndergrad- uate core courses that are intended to prepare students for a lifelong career in music to omit from consideration musics from cultures that are not their own, as the music industry is increasingly globalized, and elements of world and tra-~ ditional musics are woven into music we hear every day. The students we are teaching will be expected to know world music repertoires, as state standards require music educators to incorporate non-Western music in their classes, music therapists discover how useful collaborative music-making based on world music models can be in therapeutic settings, and composers, conductors, producers, arts administrators, and music business majors find themselves working with a wider variety of types of music and performances. Classical music performers are often called upon to perform works that engage musical ideas from non-Western contexts, and some professional chamber ensembles have focused on inclusion of world music examples. To meet these professional requirements, all students need to understand terminology and concepts asso- ciated with world music repertoires, alongside harmony, counterpoint, form, (@) The Kronos String Quartet has long been engaging world musics asa partoftheirinterest in exploring new sepertoires, but there are many other chamber groups now doing son part because it aparks audience interest intheireoncerts.—_ Teaching World Music in the Music Theory Core 269 twentieth-century techniques, and other topics currently in the music theory undergraduate core. Study of world musics has an added benefit in that it enriches students’ understanding of other types of repertoire by highlighting the great diversity of musical practices and the importance of cultural context, including questions such as: Where is the music from? How is or was the music used? Who performs it, using what types of instruments? How is its musical style distinctive? All of these questions should be answered as well for common practice styles,‘ as most students in the undergraduate masic theory core courses will be equally unin- formed about eighteenth-century Vienna and modern-day Bali, and may be less familiar with lutes, harpsichords, and pipe organs than with sitars, steel pans, and mandolins. In addition, analytical skills attained through study of world musics are potentially useful broadly, for alk types of music. Even if music theory teachers agree that it is essential to integrate world (and popular) musics within the music theory undergraduate curriculum, there area variety of challenges associated with curricular changes necessary to incorpo- rate world and popular musics. A substantial challenge is where in the under- graduate music theory curriculum to include these musics. One option would be a stand-alone course on theory and analysis of world musics, similar to “world music cultures” survey courses that are typically included in the undergrad- uate core music history sequence. This could be a “tidy” solution, as it would not necessitate change in other parts of the curriculum. One problem with this approach is that most music majors already lack space for upper-division music theory electives in their curriculum, and it would be challenging to add such a course as a requirement for all students without eliminating another course in the standard music theory core. Music majors whose curricular requirements include upper-division music theory electives could choose a world music the- ory and analysis course, if such an option were available,’ and including this course, even if only as an elective, would provide a context for a faculty member to begin developing teaching materials. A more radical approach—and that advocated by the CMS Manifesto*. replace the entire current music undergraduate curriculum with a new curricu- lum foregrounding jazz, world, and popular musics. As you might surmise, this suggestion has not been well received in the music theory community, and has, faced strong resistance because it takes curricular decisions out of the hands of is to (@) Tamusing the term "common practice” asa shorthand way of referring to the body of Baroque, Classical, and Romantic tonal musics normally taught in tke undergraduate music theory core courses. The idea thatthere is fone true “common practice” is as much & myth asthe assumption that all popular or world music works the same ‘way-there arevast differences in practice and style between earlier music from the Baroque and late Romantic practices, among choral, keyboard, large instrumental ensemble, and chamber music, and in musics from Aitferent cities, countries, and cultural centers. This term is equally problematic to the terms “world musics,” “non-Western musics,” and “traditional musics,” as there is not truly a "common practice” at any point inthe time period to which the term is normally applied. 5) One-semester world music analysis coursesare currently listed inthe undergraduate course offerings within several major university musle programs, including the University of Michigan, the University of Colorado, Boulder, and the University of North Carolina, Chapel Hill. Likely there are others Iam not aware of yet. ©) College Musie Society 2014.210 Jane Piper Clendinning the faculty teaching the courses—where decisions should be made. Despite the CMS task force's claims to the contrary, this is a “zero-sum” game—the number of class hours allotted to music theory instruction in the undergraduate core are limited, and we cannot put something in without removing or minimizing top- ics that are already included. We can gaina little by efficiencies—using textbooks or lesson plans that use the time available as efficiently for student learning as possible by excellent organization of content and inclusion of all needed scores, recordings, worksheets, instructional videos, and other materials to maximize instructional time on task. These gains will not be enough, however, to add new content without removing topics that were previously included. One transitional option proposed in the manifesto is to have parallel streams—giving students the option of taking the “traditional” music theory core focused on the common practice repertoire, or a version of the core curriculum that is either inclusive of world and popular music or completely focused on those repertoires. This solution is problematic in that many colleges and universities could not afford to offer parallel curricula. Depending on their specific major within music, students might not have a choice of which curriculum to take. This could mean that some students miss out on study of common practice repertoire that they also will need (in graduate school if not elsewhere), while others would not be able to engage world musics because of their degree’s common practice focus. It would not meet the goal of providing all students with world music study. Though most music theory teachers have not taken this step yet, the most practical place for both popular music and world music analysis to find a foot- hold in the near future as a part of every undergraduate music major’s experi ence would be as a part of the current music theory core, alongside materials currently taught in these courses.’ Since all students pursuing a music major take the core basic music theory sequence, working within these courses would ensure that all music graduates have had exposure to theory and analysis of world music repertoire. Likely the inclusion of these repertoires will begin as an “add-on"—additional content that can be inserted at appropriate places in the current curriculum; over time the world music materials could be integrated more fully, as teachers become familiar with them, and as textbooks and other curricular materials are developed with this approach. As I see it, the most serious obstacle to be overcome in incorporating world music within the undergraduate music theory core using any of these course designs is the lack of high-quality, readily available teaching materials. Though popular music has been included in some widely available music theory text- books, world music has not! There are teaching materials available for survey (1) For approaches to including popular music in undergraduate theory courses, see the essay by Oshorn in this volume (p. 221). (8) There wae one textbook that provided. serious attempt to engage world musics as part of the undergraduate core: Cogan and Escot 1976, Though admired and praised for ite futuristic vision, this book was so far ahead of its time that itwas considered impractical, was not widely used, and was never released im asecond edition. Itis, ‘nowhardto hind, and is dated-ve know much more about both world and Western repertoires now than when it ‘was first published forty years.ago.Teaching World Music in the Music Theory Core 271 courses (such as “World Music Cultures” or “Music of the World”) for music majors and music general studies classes within the musicology component of the undergraduate curriculum, but music theory teachers need textbooks and teaching materials for world musics that are focused on the concerns of music theory instead of cultural theory (as the extant ethnomusicology textbooks are). Music terminology, pitch and rhythm, form and structure, instrumentation, texture, and timbre are all appropriate to engage with world music examples. While world music survey textbooks may include some information on these topics, they generally do not include the types of detailed, in-depth music anal- yses that are typical of music theory courses. Though recent graduates may have benefitted from a world music survey course in the musicology curriculum, most teachers of music theory have only been trained in theory and analysis of European concert music—the so-called common practice repertoire, plus some twentieth-century theory and analyti- cal techniques. They may not have any knowledge of world music repertoires or even know where and how to begin learning about them. For those reading this essay who are in graduate programs, I strongly encourage you to take advantage of any learning opportunities available within your graduate music curriculum or in your community, as it is likely you will be teaching world music during your career. Even for a teacher already well versed in one or more world musics, it would take an extraordinary amount of teacher preparation time to create ad hoc materials for courses on this topic, without reference to a well-prepared, researched, and classroom-tested music theory textbook or other teaching materials. You might well ask, with my interest in and knowledge of some types of world musics, why no world music repertoire has been included in The Musician's Guide to Theory and Analysis and other textbooks that I have coauthored for the undergraduate music theory core. I had serious concerns about world music that I know and love being used in a tokenistie way in a textbook ostensibly about something else (at worst, that could be considered “cultural appropriation”), and felt that world musics did not deserve to be shoehorned in where they did not fit the topics being engaged. Having considered this issue extensively over the last two years while revising textbooks for new editions and working on materials for teaching popular musics, I have actually changed my mind. We have to start somewhere, and even though our first attempts will not be per- fect, I feel that inclusion of world musics will encourage us to address all music ‘we teach in a detailed and specific way that treats different types of music sen- sitively and appropriately, considering the origin, context, and purpose of the music as a part of approaching it analytically. I also realized that many students coming into our classes have limited understanding of any repertoire, and that we must do better at contextualizing all repertoire engaged in the musictheory curriculum. The next question for those who are interested in exploring adding world music theory and analysis to their teaching toolkit is how to get started. Among272 Jane Piper Clendinning the useful resources for providing a foundational introduction are the afore- mentioned survey textbooks for ethnomusicology courses, which include cul- tural context and repertoire, and sometimes basic theoretical or analytical information. After teachers identify repertoire that is interesting to them, there are specialty monographs within ethnomusicology that address specific types of music, as well as journal articles, recording reviews, online resources, and other materials that are helpful in learning about musics of interest. Conferences, workshops, and journals are another possibility, including the Analytical Approaches to World Music biennial conference and its free online journal. Performing and studying the repertoire can bring depth and understanding not possible by listening alone, though recall that we all teach common practice rep- ertoire that we cannot personally play at a performance level—and being able to play a specific piece oneself is not a requirement for teaching about it. With many of us working on developing world music materials that are suitable for core music theory classes, the seemingly insurmountable task of bringing these repertoires into our individual classrooms is achievable, and within a reasonable time frame. What follows is a snapshot of one of the types of materials that I have been developing, to illustrate what can be done with only a few examples and how these materials can bring richness and nuance to topics such as mode and meter that we normally engage in basic core music theory classes. In my experience, the music from the Andes altiplano in South America featured below immediately captures the imagination and interest of undergraduates hearing it for the first time, and invites them to consider why it sounds the way it does, and what we can learn from listening, studying, and performing it. A BRIEF INTRODUCTION TO MUSIC OF THE ANDES ‘Two elementsthat immediately identify musicas “Andean” areits rhythmic char- acter and its instrumentation, which combine to make distinctive timbres and textures. Two dance styles—the cueca (also zamacueca, marinera) and the huayno (wayno)—are primary contributors of rhythmic patterns associated with Andean folklérico musics. The term folkldrico when applied to Andean musical practices refers both to traditional folk performances and to cosmopolitan music perfor- mance styles that reference indigenous and mestizo (mixed heritage) traditional or folk musics from the South American altiplano (high plateau), stretching from Peru through Bolivia and southward to Chile and Argentina. Traditional folk performances of dance pieces are accompanied by siku (panpipes), bombo (alarge wooden drum with rope-tightened hair-covered skin heads), and high- pitched vocals, but professional performers add a charango (a small-bodied fret- ted string instrument, originally made from an armadillo shell), quena (orkena, anend-blown flute), guitar, and other instruments (Ex. I7.1).Teaching World Musicin the Music Theory Core 273 Tip: Learning how each of these instruments sounds from watching performance videos will be helpful for identifying changes of timbre within the form. Example 17.1 Photo of my siku, charango, bombo, quena To introduce the instruments and the overall sound of the repertoire, let’s consider first a song based on the huayno—"Poco a Poco.” The huayno (also spelled wayno, and pronounced “wine-oh") is a dance in duple meter, and, when notated in 7 as is typical, has standard divisions of the quarter-note beat into , £4, or ST] thythms. Part of the characteristic “Andean” sound comes from syncopated rhythms, often featuring a JJ J division of the quarter-note beat, with additional syncopation from sixteenth notes tied across the bar line. Listen to a performance of “Poco a Poco” (also known as “Canefon y Huayno") using the URLs at the end of this essay. As you listen, count or conduct along in two (it is clearly in duple metex), but consider to what extent it sounds like sim- ple duple (2) or compound duple (8). Tip: You can start exploration of these songs without showing notation. Within a class setting, I often ask students to sing along with me or with the recording to entrain with the music; alternatively, they may learn to play the melody on instru- ments (including our class set of siku). After performing the piece several times, students can create their own transcription. Teach them the 3-2-2-1 rhythm that uses tied, syncopated sizteenths,as they may not have encountered that before.2% Jane Piper Clendinning For many huaynos, along with the notated 2 there is a triplet feel of a § divi- sion. The three-part division of the beat may be represented in the melodic line (see Ex. 17.2 fora transcription), but commonly is performed in the bombo part, with a rim click on the downbeat and strokes on the head on the other notes, or appears in the charango and guitar strumming patterns. The presence of duple and triple beat subdivisions is so characteristic that it is mentioned in most ethnographic sources that engage Andean folk music, and it is referred to by musicians in this style as sesquialtera? Though music theorists may recognize this term as referring to the ratio of 2:3 creating the perfect fifth, sesquialtera is defined in this context as the presence of coexisting meters or dual meters (my term) or bi-metricality in which there is a 2 against 3 feel. Example 17.2: “Poco a Poco” c 6 ce « Zam c ® an The formal organization of the huayno is normally sectional, with repeated sections AABB or AABBCC; to Accompany dance, the entire form may be repeated, sometimes more than once. The melodies and harmony move between minor and the relative major, but typically sections end in minor. Taking a closer look at the harmonies and the melodic pitches of “Poco a Poco” reveals patterns indicative of both C major (C major and G major chords) and A minor (A minor and EZ). The progression at the beginning of the A section, for example, could be read in C major as alternating I and V, yet the section ends in A minor with VI. Sometimes the term “bimodal” is employed for this situation, but I prefer the term dual modality to represent the deeply integrated union of relative major and minor in this style, where the two modes are coexistent such that labeling the piece in one mode or the other is problematic. This harmonic and melodic feature may date © Turino 2008, 144. This book does engage repertoire analytically, and provides an excellent introduction to rmusle ofthis region.Teaching World Music in the Music Theory Core 225 back to the Spanish conquest (or possibly even before), when there was not the separation between modes using the same diatonic collection as there is now. Tip: Ask students to listen for major-sounding and minor-sounding locations in the song. You can make a connection from here to early music that flows between two or more modal finals. To consider these melodic, harmonic, rhythmic characteristics further, lis- ten to Inti-Illimani’s performance of the traditional sikuriada (panpipe mel- ody) “Carnavalito de la Quebrada de Humahuaca” (shown in Ex. 17.3) using the URLat the end of this essay. This particular piece is a carnavelito, a dance whose music is similar to a huayno, associated with religious festivities in the Andean Catholic calendar. This lively, celebratory piece is primarily focused on E minor (Em and B7 harmonies), but with some emphasis on C and G major harmonies as well. (Note: For Andean folk music, minor modality does not signify sad or mournful music; it is the tempo rather than the mode that signals its emotional content.”) Like “Poco a Poco,” it pairs ? and § meters, producing two clear beats in the measure common to all layers, but with different beat subdivisions. The introduction, played by bombo alone, begins with even eighth notes (in 4; Ex. 123a), while the siku and quena play a quarter-eighth rhythm (in §; Ex. 17.3b) against the bombo rhythmic pattern in the first section. Example 17.3: "Carnavalito dela Quebrada de Humahuaca," introduction and first and second sections (transcription of the bombo, quena, and siku parts as performed by Inti-Ilimani, Canto de Pueblos Andinos, vol. 2) @) Bombo @) eens ‘Sie Bombo A listener entraining with the bombo part hears the siku-quena melody as triplet-based, and one entraining with the siku and quena melody hears the bombo as performing duplets—both typical of Harald Krebs's (1999) G3/2 (two- against-three) metrical dissonance (as shown in Ex. 17.4)." Krebs's concept is (10) Turino 2008, 10, (Ul) Krebs 1999, after his Figure 2.3A (trom his p. 40) showing G3/2.2%6 Jane Piper Clendinning that one can only follow one layer as primary; the layer that is not entrained would be heard as creating metrical dissonance, at conflict with the primary metrical stream that the listener is following. While Justin London agrees with Krebs that one layer is heard as primary, he dismisses both the possibility of hearing polymeter and the concept of metrical dissonance." Forthis repertoire, Iargue to the contrary: as with the previous example, the experienced listener tends to hear the two streams as a part of a larger i and § dual-metrical musical space. The presence in the melody of both duple and triple beat subdivisions in the first (Ex. 17.3b, m. 2) and second (Ex. 17.3c, mm. 2-3) sections adds to the potential to hear the meters as “yes-and” rather than forcing a choice. The dis- tinctive zhythmic gesture shared by all parts at each phrase ending~a4h, 2, ¢) rhythm (sixteenths grouping 3-3-2; a so-called “diatonic rhythm”)—does not resolve the question; it is syncopated in either of the meters. Example 17-4 Metric dissonance (after Krebs) 2 1 2 2 eooce Tip: After you listen to the performance by Inti-[llimani on their recording Canto de Pueblos Andinos, vol. 2 (Ex. 123), compare other performances to see what choices are made in the non-melody instruments. No chord symbols are provided here; listen to the melody to determine where to use major-key chords (Cand G2) or minor key ones (Em and BD). Ethnomusicologist Thomas Tarino describes his experiences in learning to perform these metrical nuances as follows: As its most important defining trait, the wayno rhythm subtly moves between an eighth-and-two-sixteenth note rhythm and an cighth-note-triplet feel within simple duple meter; frequently, a three-beat measure will occur at cadences. For people who do not grow up with wayno music, this rhythm is difficult to master or even hear. I had been studying and playing charango with Julio [his teacher in Cusco] for some months and thought that I was playing the wayno correctly. One day we were playing with each other and he said, with real pleasure, “He [meaning me] has finally got it.” Got what? I thought. Itturned out that I had been playing the rhythm wrong for months without even knowing it but unconsciously, through imitation, finally internalized the correct rhythmic feel, again without knowing it. Such subtleties often make all the difference, marking musical insiders and outsiders.” (12) London 2004, 49-50 and 88 (13) Turino 2008, 65.Teaching World Musicin the Music Theory Core 277 When they are played stylistically these rhythms have a sense of being slightly “swung” to emphasize the suspension figures; the rhythmic (and melodic) details of this repertoire cannot be completely captured by notation. Turino's experience is by no means unique—I had some of the same issues in learning to play the pieces discussed in this essay, and experienced performers note this as a problem in helping those new to the repertoire play the music correctly. ‘The sesquialtera’s characteristic interplay of two against three may be repre- sented by divisions of the beat~as in the previous example, with interlocking {and {which is normal for huaynos, or divisions of the measure into two against three, which is typical of cueca. For an example of sesquialtero with the two against three spanning a mea- sure, instead of within each beat, consider excerpts from the cueca “Calambito ‘Temucano” as performed by Inti-IIlimani. The cueca is considered the national dance of Chile, while the marinera, a related dance form, holds similar stand- ing in Peru. The dance features a couple, both with handkerchiefs, and the man normally also has a straw hat (in the Peruvian marinera) or felt hat (Chilean cueca); in the Chilean version the man also traditionally wears boots with spurs. The pair dance out a (mutual) seduction, where the man seeks a conquest, but the woman is clearly leading him on. Cuecas are typically notated in either’ or8, with 2 more common, or sometimes both # and 8. Cueca and marinera have sec tional forms, often AABBCB, where the entire piece is repeated once (doubling the length of the dance), and may have a brief introduction. The music normally emphasizes the major mode. Tip: Watch performances of these dances—how do the dancers entrain to the rhythms? In the opening section (Ex. 17.5a) the quena melody clearly aligns with 2 except in measure 7. This rhythm is more typical of 8, but can be interpreted here and elsewhere it appears in the melody as a syncopation. Crisp clicks on the rim hoop of the bombo align in both meters. In the second section (Ex. 17.5b), however, after a measure establishing 3, the accompaniment in the bombo is clearly in § (7 J), In the fourth strain (Ex. 17.50), the § feel is further empha- sized by a countermelody in dotted quarters. The coda (Ex. 17.54) reaffirms i with a scraper (quijada or gitiro) stroke on beat | and tambourine on beat 3 and bombo strokes “& 2”. Tip: Listen to the changes of instrumentation, timbre, and texture as defining sections; the first and third sections are based on the same melody, as are the second and fourth, but with layers added. Though Inti-Illimani performed the piece this way, you can compare other performances for different arrangements of this song.278 Jane Piper Clendinning Example 17.5: “Calambito Temucano” (transcribed from the performance by Inti-Itimani, in Inti- Tlimani 2: La Nueva Cancién Chilena) @) eens Scraper TambourineTeaching World Music in the Music Theory Core 279 If listening solely in § or in 3, one can entrain with portions of the melody or accompaniment parts while other parts present metrical dissonances, which may be interpreted as cross-rhythms, syncopation, or hemiola. This incon gruence of the entrained meter and some of the rhythmic phenomena are what give the music a “foreign” or “non-Western” or “folkloric” sound to listeners primarily trained in Western metrical practices. However, when accustomed to performing and listening to cuecas with this type of dual metricality, there is not a feeling of “dissonance”: there is a sensation that § and { coexist throughout the piece, with the rhythmic energy flowing fluidly between them. Additional evidence of this reinterpretation is provided by video of cueca dance perfor- mances showing that experienced dancers may engage both metrical streams orshift between them. This experience brings into question the way that simple and compound meters are normally taught—where a piece must be in one or the other. Looking back at the sesquialtera created in “Carnavalito de la Quebrada de Humahuaca” and the composite rhythm created at the beat division level by Krebs's G3/2, the composite division of each beat is a repeated 2-11 2—a pat- tern familiar to anyone who has studied any of avariety of world musics. For one example, 3/2 is the most common pattern played by the gourd shakers (ensaasi) of Ugandan Baganda and Busoga traditional musics in East Africa, and also one of the common patterns played with maracas in music from farther north in South America (Colombia, Venezuela) and in sevéral Caribbean musical tradi- tions (Cuba, Jamaica, Puerto Rico). Based on London's treatment of composite rhythms, he likely would reduce this pattern to 2-2-2, or to 4. Interestingly, this is what has happened with cueca and marinera music prepared for teaching in schools and for the national dance competitions, where the “irregularity” of the $ has been suppressed in newly composed dance musics written for these pur- poses, leaving only aclear $ framework to make the dances easier to teach. Tip: There are many videos of marinera and cueca dance competitions online. Sesquialtera is characteristic of not only huaynos and cuecas (marineras), but a wide variety of music from South and Central America, including yaravis (slow, lyrical, sad love songs from the Andean region), musica criolla, and even mari- achi music from Mexico. To give a sense of how pervasively huaynos and cuecas have integrated into contemporary culture, listen to popular music-style per- formances of each of the three pieces: King Africa's “E] Humahuaquefo” (witha rap-like middle section), and “Poco a Poco” by Chaucha Kings and Los Bunkers’ “Calambito Temucano,” both including electric guitars. Tip: Listen for the integration of different styles: what is “traditional” and what is associated with “popular music"?280 CONCLUDING THOUGHTS Jane Piper Clendinning The histories of these dances and their related musics are complicated—they are thought to have roots in both traditional music and dance of Quechua- and Aymara-speaking indigenous peoples of the Andes altiplano, and in both “imported” and local Spanish dance styles. In the last fifty years they have come to represent first protest, then national identity, in part through highly polished performances by Los Kjarkas, Inti-Illimani, Los Jairas, and Los Incas (AKA Urubamba, who recorded with Paul Simon on “El Condor Pasa”), and other internationally prominent artists from the Andean region. Inthe. Andean region as elsewhere around the world, the rise of folkloric performance has sustained, preserved, and repopularized various traditional musics, while also leading to their transformation, as melodies and accompaniment styles that were “folk” are presented in carefully prepared performances and in record- ings. The cueca and marinera dances, along with their music, appear everywhere from street festivals and community events to elementary school classes to highly regulated national competitions. As these musics have been embraced as a source of national pride, their characteristic sounds have been passed on to new generations. The history of this repertoire reveals how problematic commonly employed terminology dividing the musical world into binary oppositions such as ‘Western and non-Western can be. Are these pieces “Western music,” because they have strong connections to Spanish social dances? Are they “non-Western music” because they were perpetuated by local Spanish-heritage and mestizo (mixed-heritage) residents of South America, and have indigenous elements i and employ local instrument types and performance techniques? Some of these | examples were performed and popularized by South American performers in exile in Europe, and purely by chance I have heard these specific pieces per- formed by street or subway musicians in Washington, DC, New York City, Tokyo, and London, among other locations, which speaks to the international appeal of the repertoire. Does that make them “world music”? In that they have been performed by the groups listed above for large audiences in concert settings, docs that make them “concert music”? Folkldrico styles have remained very pop- ular, particularly in Bolivia, and these musics are often heard throughout the altiplano at community celebrations, such as religious feast days and weddings. Because they are intended for enjoyment in social settings, and are used for dancing, does that make them “popular music"? Our categories, and, in partic- ular, the binary oppositions we contrive, collapse in the presence of this (and many other) world repertoires. Ifabrief visit to only a few songs from one part of the world can open minds to new, rich, and intriguing thoughts—as I hope this excursion to the Andes has—imagine how our music theory core classes might be transformed when music from the rest of the world is considered with theTeaching World Musicin the Music Theory Core 281 same level of analytical detail as the European concert repertoire that has been their mainstay for many years. BIBLIOGRAPHY Cogan, Robert, and Pozzi Escot. 1976, Sonic Design: The Nature of Sound and Music. Prentice-Hall. College Music Society. 2014. “Transforming Music Study from Its Foundations: A Man- ifesto for Progressive Change in the Undergraduate Preparation of Music Majors.” Report of the Task Force on the Undergraduate Music Major, College Music Society, November 2014. A copyedited version dated January 2016 is available for viewing or download on the College Music Society website: http://symposium.music.org/index _php?option=com_k2&view=itemB&id=I1118:transforming-music-study-from- its-foundations-a-manifesto-for-progressive-change-in-the-undergraduate~ preparation-of-music-majors<emid=126. Krebs, Harald, 1999. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press. London, Justin. 2004. Hearing in Time: Psychological Aspects of Musical Meter. New York: Oxford University Press. Turino, Thomas. 2003. Music in the Andes: Experiencing Music, Expressing Culture. New York: Oxford University Press. YOUTUBE EXAMPLES CITED “Poco a Poco” [Canefon y Huayno] Performed by Grupo Tarancon: https://youtube.com/watch?v-YHQKQoyXIe4 Other Performances https://wvwwyoutube.com/watch?v-QIpr6p4pF3Y https://www.youtube.com/watch?v-msAYLxLBq00 ttps://wwwyoutube.com/watch?v-6FInt6ORAY https://wwwyoutube.com/watch?v=82A7FK2k3-¢ “Carnavalito de la Quebrada de Humahuaca” Performed by Inti-lIllimani, from the album Cantos de Pueblos Andinos 2 hitp://wwwyoutube.com/watch?v-OkWxVonTsy¥ Other Performances ittps:/Awwwyoutube.com/watch?v-utF_288RWK4 hitps://wwwyoutube.com/watch?v=dq-apjb_Tu8 https://wwwyoutube.com/watch?v-kSbb0gnIS00 “E] Humahuaquefio (carnavalito),” performed by King Africa: https://www.youtube.com/watch?v-K1S3MysAOBs282 Jane Piper Clendinning “Calambito Temucano” Performed by Inti-Ilimani, from their album Inti-Ilimani 2: La Nueva Cancion Chilena: http://wwwyoutube.com/watch? -KBuzmvh9Ud4&feature-related Video of a live performance by Inti-Illimani: https://www:youtube.com/ watch?v-QhwCR9ATDFM Other Performances bttps://wwwyoutube.com/watch?v-SKt-47bXynM https://wwwyoutube.com/watch? v-ErOTUTWLIy0 ttps://wwwyoutube.com/watch?v-YintRCbekSe TWO BONUS PIECES USEFUL FOR TEACHING “Mama Criso” Live performance by Los Jairas (the song was composed by Fadgar “Yayo” Joffré, and dedicated to his mother; often thought of as a “folk song"): https://www-youtube. ‘com/watch?v-i9KWISArIG8 Other Performances https://wwwyoutube.com/wateh?v-UVINVip-vIM wrwwyoutube.com/watch?v-Il7mSKVvgFEI https://wwwyoutube.com /watch?v=mas}ipgalqo hitps://wwwyoutube.com/watch?v-WWtv8NKvXb4 a Performed by Inti-Illimani, from their album Cantos de Pueblos Andina: https://www. youtube.com/watch?v-T2UInSgsmvk Other Performance ttps://wwwyoutube.com/watch?v-it4QYNORQhU