Music of Andean Altiplano

El Alma de la Raza Project
Music
of the
Andean
Altiplano
Goals 2000 - Partnerships for
Educating Colorado Students
In Partnership with the Denver Public Schools

and the Metropolitan State College of Denver
El Alma de la Raza Series
Music of the Andean Altiplano
by Deborah Hanley
Grades 4–8
Implementation Time
for Unit of Study: 3 weeks
Goals 2000 - Partnerships for

Educating Colorado Students
El Alma de la Raza Curriculum
and Teacher Training Project
Loyola A. Martinez, Project Director
Music of the Andean Altiplano
Unit Concepts
• Composing music, performing, and building siku pipes
• Investigating the music of Quechua and Aymara communities
• Learning about the professional lives of two Denver musicians who perform on these
instruments
Standards Addressed by This Unit

Music
Students sing or play on instruments a varied repertoire of music, alone or with others.
(MUS1)
Students will read and notate music. (MUS2)
Students will create music. (MUS3)
Students will listen to, analyze, evaluate, and describe music. (MUS4)
Students will relate music to various historical and cultural traditions. (MUS5)
Math
Students use a variety of tools and techniques to measure, apply the results in problem-
solving situations, and communicate the reasoning used in solving these problems. (M5)
Visual Arts
Students know and apply visual arts materials, tools, techniques, and processes. (A3)
Reading and Writing
Students read and understand a variety of materials. (RW1)
History
Students understand that societies are diverse and have changed over time. (H3)
Geography
Students know how to use and construct maps, globes, and other geographic tools to
locate and derive information about people, places, and environments. (G1)
Goals 2000 Partnership for Educating Colorado Students 1

Introduction
The music of the Andean highlands is distinctive and hauntingly beautiful. It has the longest
music tradition in Latin America, dating back to the Inca Empire. The breathy sound of sikus
(panpipes) playing syncopated, simply-harmonized melodies backed with pulsating drum
beats captures the attention of listeners. Despite the geographical isolation of the various high-
land peoples, the music retains similar styles and forms throughout the Andean mountains, in
Ecuador, South Colombia, Peru, Bolivia, Chile, and Argentina. Approximately 40% of the popu-
lation are the indigenous Indians, direct descendants of the Inca, who speak Spanish and their
native Quechua. The mestizos of mixed Spanish and Indian descent comprise another 40%, with
the remaining 20% of Spanish, Portuguese, and African heritage.
Music has been an integral part of everyday life for the altiplano (highland) people and remains
so today, as seen through the continued use of traditional music, instruments, dances, lan-
guages, and rituals. Due to the high esteem in which the musical traditions are held, the music
of the altiplano has been adopted for political protest in the Nueva Canción movement. Tradi-
tional songs are mixed with contemporary ones. The most familiar musical form is the huayño of
the Quechua and Aymara communities. These songs reflect beliefs and tell the stories of
people’s lives. Typical ensembles are made up of numerous sizes of sikus, kenas (vertical
notched-end flutes), other vertical flutes such as tarkas, side-blown flutes, bombos (two headed
drums), and the charango, a small ten-stringed guitar with a body made from the shell of an
armadillo. The harp has also played a major role in the musical culture of this region since it
was brought to South America by the Jesuits. This unit will focus on siku ensembles.
The role of music is highly regarded; many members of the community join in the music-
making by playing, dancing, and singing. Contrary to the emphasis on the individual in the
United States today, Aymara communities have developed a strong sense of cooperation. Both
economically and socially, the individual is expected to be a supportive member of the whole
rather than to stand out as an individual. This philosophy is significantly reflected in the music-
making. Siku pipes have two rows of tubes with alternating notes of the scale. This requires two
performers to play in a hocketing manner in order to complete the melody. This interlocking
effort of performance exemplifies the group dynamics of the community.
Implementation Guidelines
This unit is based on 40-minute music classes that meet daily for three weeks. It can be expanded
or shortened to fit the needs of various music schedules. Learning to play the siku pipes starts
during the second week, while students continue to study the culture and instruments of the
region. Each day, some amount of time needs to be set aside for playing the pipes to prepare
students for a performance at the end of the unit. Although these lessons are geared toward
general music classes, the unit also addresses standards in math, history, and geography. Students
must be able to work in cooperative groups and must have skills in shared decision making. The
teacher should assess students’ skill level regarding pipe construction. Can they measure the PVC
pipe or would it facilitate the project to have the pipe pre-measured and marked? Assess their
musical skills. Are they advanced enough to read the music independently, or will you want to
teach the music by rote? Decide which rhythm patterns could be introduced or reviewed that
would enable the students to read the music for this unit and would increase their music literacy
skills. All of the music can be taught by rote. Nonetheless, students with a basic ability to read
simple rhythms with quarter notes and eighth notes will be able to learn more songs. Provide

different levels of support in order that each student can participate, such as having students work
in groups and pairs to enhance student dialogue and peer tutoring.
Instructional Materials and Resources

Optional: National Geographic and other geographic magazines
Maps of South America
Cassettes and CDs of South American ensembles (see Bibliography)
Materials for constructing pipes
eight feet of 1⁄2-inch PVC pipe for each siku set (two rows of pipes)
sandpaper: coarse (100–200 grade) and fine (400–600 grade)
All Purpose Cement glue designated for PVC pipe
13 corks (1⁄2 inch) for each siku set (two rows of pipes)
(provide extra corks since some won’t fit or will have holes)
Optional: art materials such as watercolors and colored pencils
Equipment for constructing pipes
miter saw
safety glasses
file
rulers
Music for learning to play siku pipes (included in unit)
Optional: Elizabeth Villareal Brennan’s A Singing Wind: Five Melodies from Ecuador,
World Music Press, 1988, is an excellent advanced set of pieces.

Lesson Summary
Week One Constructing Siku Pipes
Lesson 1 Music of the Andes—Culture and Geography
Lesson 2 Construction of Siku Pipes—Measuring, Cutting, Sanding
Lessons 3–4 Construction of Siku Pipes—Sanding, Decorating, Gluing
Lesson 5 Construction of Siku Pipes—Tuning and First Scale
Week Two Playing Siku Pipes

Lesson 6 Learning to Play Siku Pipes—Scale, “Mary Had a Little Lamb,” “Melody for the
Siku”
Lesson 7 Learning to Play Siku Pipes—Reading Simplified Notation
Lesson 8 Poco a Poco—Creating a Musical Ensemble
Lesson 9 Quechua and Aymara Communities—Performance Through Historical and
Cultural Context
Lesson 10 Huayños—Performance Through Historical and Cultural Context
Week Three Composing and Performing with Siku Pipes

Lesson 11 Creating Music on Siku Pipes—Improvisation and Composition
Lesson 12 Instruments of the Andean Culture—Panpipe, Flute, String, and Drum families
Lesson 13 Ransoli and Camacho—The Professional Lives of Two Musicians

Lesson 1: Music of the Andes—Culture and Geography
What will students be learning?

STANDARD(S)
Students know how to use and construct maps, globes, and other geographic tools to locate and
derive information about people, places, and environments. (G1)
BENCHMARK(S)
Students describe how distinguishing elements of music are used in examples from various
cultures.
Students describe the roles of musicians throughout history and in various cultures.
OBJECTIVE(S)
Students will use a map of South America to locate the countries and regions that include the
Andes.
Students will utilize resources, such as the Internet and National Geographic magazines, to locate
pictures and articles of the Andean region that illustrate the economic, political, and cultural
aspects of the population.
Students will listen to cassette tapes and CDs of the music of the Andean highland people.
SPECIFICS
The Quechua and Aymara communities in the Andean mountains have a strong musical heri-
tage dating back to the time of the Inca Empire. Their distinctive music can be heard throughout
Colombia, Ecuador, Bolivia, Peru, and Argentina. Traditionally, the music was more often linked
to pagan rituals which in time were also syncronized to rituals of the Catholic religion to favor
change.
What will be done to help students learn this?

INSTRUCTIONAL STRATEGIES
Small group research
Teacher-directed discussion
PRELIMINARY LESSON PREPARATION

Divide the class into three groups that can do research in the following areas: Internet sites,
geographic magazines and encyclopedias, and a listening center with cassettes and CDs of
South American ensembles.
ACTIVITIES
Using key search words (Inca, Huayños, Quechua, Aymara, Peru, Bolivia, Ecuador, Chile,
Argentina, siku pipes, charango, etc.), investigate pertinent sites on the Internet to explore the
culture of the Andean highland people. Locate articles and pictures in National Geographic
magazines and encyclopedias that depict the geography and culture of the Andean regions.
Listen to and describe distinctive qualities of musical selections. Share this research with class-
mates to develop a more complete understanding of the area.

Lesson 1 (cont.)
RESOURCES/MATERIALS
computer with Internet access
map of South America
National Geographic magazines (Feb. 1998, Jun. 1996, Mar. 1992, Jul. 1982, Mar. 1982, Dec. 1973)
cassettes or CDs of musical examples.
ASSESSMENT
Students should be able to locate the pertinent countries and follow the Andean mountain range
through South America. Students should be able to use musical terms (melody, harmony,
rhythm, dynamics, style, texture, form) to describe the music. Students should be able to com-
municate the role of music in the Aymara and Quechua communities.

Lesson 2: Construction of Siku Pipes—
Measuring, Cutting, Sanding

STANDARD(S)
Students use a variety of tools and techniques to measure, apply the results in problem-solving
situations, and communicate the reasoning used in solving these problems. (M5)
BENCHMARK(S)
Students select appropriate units, including metric and U.S. customary, and tools (for example,
rulers, protractors, compasses, thermometers) to measure to the degree of accuracy required to
solve a given problem.
OBJECTIVE(S)
Students will measure, saw, and sand specific lengths of PVC pipe.
SPECIFICS
Siku pipes were originally made out of bamboo or condor feathers. The best bamboo, found in
Bolivia, has a thinner wall, making it more difficult to work with. The string is coated with
beeswax prior to the complicated and decorative job of tying the pipes together.

Direct manipulation of tools

Review measuring an inch, half inch, and quarter inches with a ruler. Students should also
know the equivalents of fractions and decimals, i.e., .25 equals 1⁄4 inch. Students will also need to
know the difference between sandpaper grades and the purpose of each grade.
Review directions in Making Siku Pipes (at end of Lesson). With a limited budget, consider
having each student make one tube or one row, rather than both the arca and ira rows.
ACTIVITIES
Use a ruler and pencil to mark the correct lengths of PVC pipe. Under supervision of the
teacher, carefully cut each section. Use the file to remove rough edges. Using rough sandpaper,
sand each pipe clean and slightly round the edges of the tubes. Using a finer grade of sandpa-
per, sand the side of the pipes until smooth.
VOCABULARY
siku
arca
ira

Lesson 2 (cont.)
RESOURCES/MATERIALS
8 feet of 1⁄2-inch PVC water pipe for each siku set (2 rows of pipes—arca and ira)
coarse sandpaper (100–200 grade)
fine sandpaper (400–600 grade)
miter saw
file
safety glasses
rulers
ASSESSMENT
Students are able to use a ruler to mark correct lengths of pipe.

Making Siku Pipes
MATERIALS
eight feet of 1⁄2-inch PVC pipe for each siku set (two rows of pipes)
sandpaper: coarse (100–200 grade) and fine (400–600 grade)
All Purpose Cement glue designated for PVC pipe
13 corks (1⁄2 inch) for each siku set (two rows of pipes)
OPTIONAL
art materials such as watercolors, colored pencils
EQUIPMENT
miter saw safety glasses
file rulers
DIRECTIONS
Measure the lengths listed below and mark with pencil. (Lengths are approximately 3⁄4 of an
inch longer than needed for the pitch to allow for tuning.) Wearing safety glasses, cut each
length with the miter saw. (Fourth and fifth grade students should be able to use this saw to cut
pipes under direct supervision of the teacher.)
Sand each pipe with first the coarse sandpaper and then the finer grade. Use the file to quickly
remove rough edges at the openings. The pipes should be clean and smooth,m with the edges
slightly rounded.
Decorate each pipe if desired. Glue pipes together by laying glued sections flat on the table and
aligning tops with the ruler. Note: Glue is toxic and should be used outdoors!
Insert corks and tune to the pitches indicated below by adjusting the corks.
MEASUREMENTS
Ira Pipes Arca Pipes
(6 pipes, masculine) (7 pipes, feminine)
(circled numbers) (numbers without circles)
A = 4.25 inches B = 4 inches
F# = 5 inches G = 4.75 inches
D = 6.25 inches E = 5.5 inches
B = 7.5 inches C = 7 inches
G = 9 inches A = 8.25 inches
E = 10.75 inches F# = 9.5 inches
D = 12 inches
#
#
1 1 2 2 3 3 4 4 5 5 6 6 7

Lessons 3 and 4: Construction of Siku Pipes—
Sanding, Decorating, Gluing

STANDARD(S)
Students know and apply visual arts materials, tools, techniques, and processes. (A3)
BENCHMARK(S)
Students select and use materials, tools, techniques, and processes that enhance communication
of ideas through art.
OBJECTIVE(S)
Students will plan a design and use the appropriate art tools to realize the design.
Students will organize and glue each pipe into arca and ira sets.
SPECIFICS
Members of the Aymara community generally practice and perform in large groups. They strive
to develop a unified sound rather than to show off the talents of any one particular individual.
They do not criticize or correct other performers. This cooperative environment gives support to
all members—a concept that should be cultivated throughout this unit, whether the students are
performing, composing, researching, or holding discussions, and especially during decision-
making opportunities.

Brainstorming
Manipulation of art mediums

Experiment with different art media (markers, colored pencils, watercolors, etc.) to determine
which will adhere to the PVC pipe.
ACTIVITIES
Continue to sand the pipes until clean and smooth. Brainstorm designs for the pipes: solid
colors, stripes, colors of the flags of the countries being studied, etc. Plan a color scheme that
will enhance the pipes’ appearance. Use the art medium that will achieve your plan. Before
gluing pipes, recheck measurements of each pipe to be sure they are in the correct order and
row (arca or ira). The glue is toxic; use outdoors or in a highly ventilated room! Work on news-
paper or cardboard to contain glue spills. Start with the smallest pipe and glue to the next pipe
in the row. Lay the pipes flat on the table and align the top edge with a ruler. Allow the glue to
dry for several hours or overnight.
RESOURCES/MATERIALS
markers, watercolors, colored pencils
All Purpose Cement designated for gluing PVC pipe

Lessons 3 and 4 (cont.)
ASSESSMENT
Students are able to complete the sanding process and art designs. Students are able to re-
measure each pipe and assemble the pipes into ira and arca rows.

Lesson 5: Construction of Siku Pipes—
Tuning and First Scale

STANDARD(S)
Students will listen to, analyze, evaluate, and describe music. (MUS4)
BENCHMARK(S)
Students identify and examine criteria for evaluating music performances and compositions.
OBJECTIVE(S)
Students will cork the ends of each tube and attempt to tune the sets.
SPECIFICS
The tonal center for traditional siku melodies frequently alternates between e minor and G
major. The individual notes for these scales alternate between the arca and ira rows. The tuning
for the pentatonic scale as well as non-Western scales are also used.

Comparing and analyzing

Have separate melody bells available for pitch comparison. The piano, Orff instruments, and
pitch pipes can also be used. A cleaning rod for recorders is ideal for pushing out a cork that is
too far into a pipe.
ACTIVITIES
Put a cork in the bottom of each pipe. Make sure there are no air leaks around the cork. Begin
tuning each pipe by matching the pitch with another instrument (melody bells, pitch pipe,
piano). Move the cork further in or out of the tube until the two pitches match. Remember that
moving the cork into the pipe makes it shorter, resulting in a higher pitch; and that moving the
cork out of the pipe makes it longer, resulting in a lower pitch. After you have tuned your pipes,
find a partner and learn to play a scale by alternating notes. Start with the longest pipe.
VOCABULARY
pitch
scale
RESOURCES/MATERIALS
13 corks (1⁄2 inch) for each siku
ASSESSMENT
Students are able to analyze pitch differences to accurately tune pipes.

Lesson 6: Learning to Play Siku Pipes

STANDARD(S)
Students sing or play on instruments a varied repertoire of music, alone or with others. (MUS1)
Students understand that societies are diverse and have changed over time. (H3)
BENCHMARK(S)
Students sing or play an expanding repertoire of music representing musically and culturally
diverse literature.
Students understand the history of social organization in various societies.
OBJECTIVE(S)
Students will learn to play a scale and “Mary Had A Little Lamb” using the hocketing method
of playing siku pipes.
SPECIFICS
Because the notes of the scale alternate between rows, two people are necessary to play siku
pipes. This mandates a certain amount of dependence, cooperation, patience, and camaraderie
or esprit de corps between the two players. Notes to be played on the ira pipes (6 tubes) are the
circled numbers. Notes to be played on the arca pipes (7 tubes) are numbers without circles. The
goal is to sound as if the melody was played by one person. This style of playing emphasizes
the group dynamics of the Aymara musicians.

Explicit instruction
Cooperative learning

Have students discuss how cooperation is important in various tasks, what that cooperation
looks like, how it is cultivated, and what is necessary for each person to participate coopera-
tively. Discuss how the goal (in this case, a song) is more important than showcasing the skills
of the individual.
ACTIVITIES
Determine which pipes you are playing, which will then determine which notes you play. Ira
pipes have six tubes and play the circled numbers. Arca pipes have seven tubes and play the
uncircled numbers. When you are holding the siku, the largest pipe should be on your right and
the smallest pipe on your left. Start with the arcas playing their largest pipe and then the iras
playing their largest pipe. Alternating pipes, continue playing the rest of the scale. This style of
playing music is called hocketing. Work together to learn “Mary Had A Little Lamb” by experi-
menting. (Start with ira pipe number three.)

Lesson 6 (cont.)
VOCABULARY
hocket
RESOURCES/MATERIALS
ira and arca pipes
ASSESSMENT
Students are able to utilize the hocketing system of playing the siku to play melodies.

Lesson 7: Learning to Play Siku Pipes—
Reading Simplified Notation

STANDARD(S)
BENCHMARK(S)
Students identify and read rhythmic patterns using rhythmic patterns using whole, half, dotted
half, quarter, eighth, and sixteenth notes, as well as equivalent rests, in the context of a meter
signature.
OBJECTIVE(S)
Students will learn to play simple tunes using quarter, eighth, and sixteenth notes.
SPECIFICS
Dale Olsen and Thomas Turino are two researchers who have written extensively on traditional
music of Central and South America. Dale Olsen, in particular, has been involved with the
Music Educators National Conference (MENC) in the development of music curriculum and
lesson activities that include the music of these regions. The procedure of notating the siku
music for this unit was devised by Dale Olsen and is one of the more easily-read methods.

Decoding and performing musical notation

Before the students learn to play “Melody for the Siku,” have them clap the entire piece to
rehearse the rhythm. Next, have them clap only their part (the circled or uncircled numbers).
Finally, have them play the piece with the pipes.
ACTIVITIES
Begin your lesson by playing the scale on siku pipes while reading the musical notation. Learn
to play “Mary Had A Little Lamb” by reading the musical notation for siku music. Transfer this
experience and knowledge to learn the “Melody for the Siku.”
VOCABULARY
quarter note
eighth note
sixteenth note
meter
bar lines
repeat sign

Lesson 7 (cont.)
RESOURCES/MATERIALS
music for the initial scale, “Mary Had A Little Lamb,” and “Melody for the Siku”
ASSESSMENT
Students can accurately read the notation in order to clap the rhythm and play the sikus for two
simple melodies.

Beginning Music for Siku Pipes
A. Scale
1 1 2 2 3 3 4 4 5 5 6 6
7 6 6 5 5 4 4 3 3 2 2 1 1
B. Mary Had A Little Lamb
3 3 2 3 3 3 3 3 3 3 3 4 4
3 3 2 3 3 3 3 3 3 3 3 3 2
C. Melody for the Siku
2 2 2 3 3 3 3 3 3 3 2 1
3 3 3 3 2 2 1 2 2 1 1 1 1

Lesson 8: Poco a Poco

STANDARD(S)
BENCHMARK(S)
Students identify and read rhythmic patterns using whole, half, dotted half, quarter, eighth, and
sixteenth notes, as well as equivalent rests, in the context of a meter signature.
OBJECTIVE(S)
Students will learn to play simple tunes using quarter, eighth, and sixteenth notes.
SPECIFICS
“Poco a Poco” is a huayño believed to be from Peru. The rhythmic syncopation and form
(AABB) are typical of this style. Translation: “Little by little you’ve come to care for me. Little by
little you’ve come to love me. And, at the end, how much you’ve changed. Ay, (little Indian)
love of mine. Never say no, cholita. Never say no. Those are matters of love, little Indian. Ay,
matters of the heart. Song and rhythm to sing. Song and rhythm to dance.” (Translation by
Miguel Camacho)

Decoding and performing musical notation

Explain syncopation and how it is achieved in this song. Students should learn to sing the song
first. Have the students practice clapping the beat and then clapping the off-beats. Teach the
rhythm patterns for the first measure of the A section and the first measure of the B section.
Have the students learn to clap it first, then clap their part, and finally play it with the pipes. For
performance, try various combinations such as playing the song through first, then singing it,
then playing it again.
ACTIVITIES
Practice the music from the previous lessons with the ira or arca pipes. Learn to sing Poco a Poco.
Practice clapping the rhythm while you sing. Next, begin learning short phrases of the song
with the pipes. Practice until the rhythms feel comfortable and easy to perform. Add more
phrases until you can play the entire song.
VOCABULARY
syncopation

Lesson 8 (cont.)
RESOURCES/MATERIALS
music for the initial scale, “Mary Had A Little Lamb,” “Melody for the Siku,” and “Poco a Poco”
ASSESSMENT
Students are able to sing the words of “Poco a Poco” and clap the rhythm, and are learning the
melody. They are able to define syncopation and demonstrate their knowledge by identifying
measures with syncopation and by clapping and counting the rhythm.

Poco a Poco
(Huayño)
C G C G
4 4 5 5 5 5 5 4 4 6 5 5 5 5 5 4 4 6
Po - co po - co po - co me has que-ri - do po - co a po - co me has a-
Am G C G Am
4 4 4 4 4 3 2 4 4 4 4 4 4 3 2 4 3
ma - do. Y al Fi - nal có-mo has cam-bia - do ¡Ay! cho - li - tay de mi a - mor.
C G Am
1 3 2 1 3 2 2 2 2 3 2 1 1 4 3 3 3 3
Nun - ca di - gas que no cho - li - tay nun - ca di - gas que no.
C G Am
1 3 2 1 3 2 2 2 2 3 2 1 1 4 3 3 3 3
Son co - sas del a - mor cho - li - tay co - sas del cor - a - zón, can - ción y
G Am C G Am
5 4 4 3 4 3 4 4 5 5 4 4 3 4 3
huayñ - o pa - ra can - tar, can - ción y huayñ - o pa - ra bai - lar.

Lesson 9: Aymara and Quechua Communities

STANDARD(S)
Students understand that societies are diverse and have changed over time (H3)
BENCHMARK(S)
OBJECTIVE(S)
Students will compare the roles of musicians as soloists and as interlocking performers of a
group.
Students will play melodies requiring two performers in the hocketing method.
SPECIFICS
The pervasive inclination in mainstream United States culture is to elevate the individual,
regardless of whether the subject is politics, education, sports, or the arts. Success is frequently
determined by individual accomplishments. In Aymara and Quechua communities this is not
the case. The collective success of the community outweighs individual interests. The attitude is
one of support and cooperation. Musicians of all levels of ability join together to make music,
primarily for spiritual purposes.

Discussion
Reading and performing musical notation

Discuss the roles of musicians in the U.S., how they are trained, where they perform, etc.
ACTIVITIES
Discuss the various musical performances that are available in your community or that you see
through the media. What are the roles of the musicians? What are your expectations at concerts?
Read the short paragraphs about the Aymara and Quechua communities. Discuss how players
must work together to complete the entire song. Compare this method of musical cooperation to
the beliefs of the Aymara community.
Continue to practice your siku music until you can play it smoothly without interruptions.
VOCABULARY
Aymara
Quechua

Lesson 9 (cont.)
RESOURCES/MATERIALS
information page about Aymara and Quechua communities
ASSESSMENT
Students are able to name musicians that are solo artists and musicians that work together in
ensembles. They should be able to list advantages and disadvantages of both styles.

Aymara Communities
Living in the higher elevations of the Bolivian Andes, the Aymara people seem to have an innate
desire for community solidarity and egalitarian relations. Their music-making reflects this
cooperative life style. Members of the community join music ensembles regardless of individual
ability. Maintaining amicable relations toward one another has a greater importance than regu-
lating the quality of musical performance. Everyone has equal access to performing; there is no
conductor and no soloists. Even practicing is not done alone. Traditionally, men play instru-
ments and women participate as singers and dancers.
Quechua Communities
The Quechua people live in the lower elevations of the Andean highlands. The Quechua language
was adopted by the Incas as their official language (ca. 1200–1533). Quechua dialects vary widely
in Bolivia and Peru. In Ecuador, the dialect is Quichua. Whereas vocal music is relatively unim-
portant in Aymara music, it has a central focus to Quechua musicians. Their singing has a high-
pitched nasal and throat sound. They play phukunas (siku pipes) during the dry seasons from
June to September and the side-blown and vertical flutes during the rainy season from November
through February. Music is a part of the daily lives of the Quechan communities, from making
music in the evenings after work to performing in festivals and religious occasions.

Lesson 10: Huayños

STANDARD(S)
BENCHMARK(S)
cultures.
OBJECTIVE(S)
Students will play a variety of instruments to form an ensemble similar to an Andean ensemble.
SPECIFICS
The most popular song form of Andean music is the huayño. The sad and rhythmic melodies
reflect the history of the highland people. With texts in both Spanish and Quechuan, the lyrics
can be humorous or political. Frequently the lyrics are about love, but the underlying message is
about the Indian experience—displacement, loneliness, oppression, and exploitation. Record-
ings of the most celebrated huayños singer of all time, El Jilguero de Huascarán, are still sold
today.
Music and dance are a part of special occasions, whether religious celebrations or festivals.
Dancing is done simultaneously with the music in a kashna (circle dance). The underlying beat
is a drum ostinato of an eighth note followed by two sixteenth notes. Short repeated phrases
make up the typical form of AABBCC. The melodies in these phrases have syncopated rhythms,
generally in duple meter.
Huayño ensembles consist of twelve to fifty musicians playing various siku pipes, vertical and
side-blown flutes, quenas, the bombo, the charango, guitars, and simple percussion instru-
ments. Although the huayño instrumentation and form are consistent throughout the regions,
each community develops its own musical identity and style.

Reading and performing musical notation

It is possible to create an ensemble using available instruments. Chord symbols for the charango
can be used by guitars or autoharps, tom-toms for the bombo rhythm of an eighth note followed
by two sixteenths (or simplified to a quarter note followed by two eighth notes), and recorders
for quenas on the melody. Teach small groups of students how to play these additional instru-
ments to add to the ensemble.

Lesson 10 (cont.)
ACTIVITIES
Decide which instrument you can play to help the class create a musical ensemble. Learn to play
the huayño song “Poco a Poco” in the tradition of the Andean highland communities.
VOCABULARY
ensemble
chord symbols
harmony
melody
rhythm ostinato
RESOURCES/MATERIALS
Siku pipes and available instruments to complete the ensemble (drum, guitar, autoharp,
recorder)
ASSESSMENT
Students are able to use musical terms to describe the elements of the huayño style, such as: the
form is AABB; the tonality switches between C major and a minor; the bombo utilizes the
typical huayño ostinato; hocketing is necessary to play the melody, etc.

Lesson 11: Creating Music on Siku Pipes

STANDARD(S)
Students will create music. (MUS3)
BENCHMARK(S)
Students create short compositions.
OBJECTIVE(S)
Students will work with a partner to improvise an eight-measure phrase on the siku pipes.
SPECIFICS
In Aymara and Quechua communities, songs are often composed by large groups of players.
This process can be rather loud and cacophonous but results in music that defines the identity
of each group. In Moving Away From the Silence, Thomas Turino writes of the trial and error
process of group composition where ten or more tarka players engage in a kind of continuous
musical brainstorming session until a final piece emerges.

Improvisation and composition
Cooperative learning
ACTIVITIES
Work with partners to improvise a simple eight-measure phrase that you can perform for the
class. Write down your melody if you need to, in order to remember it. It is important to listen
carefully to be a productive partner, just as people work together to build successful projects,
businesses, and communities. Combine your phrase with melodies composed by classmates to
create a song that has the form AABBCC typical of huayños.
VOCABULARY
improvisation
composition
RESOURCES/MATERIALS
siku pipes
ASSESSMENT
Students are able to improvise short phrases, come to a consensus on a final composition, and
perform it for the class.

Lesson 12: Instruments of the Andean Culture

STANDARD(S)
Students read and understand a variety of materials. (RW1)
BENCHMARK(S)
cultures.
OBJECTIVE(S)
Students will read about the different instruments used to perform huayños and search the
Internet and literature for pictures of Andean instrument ensembles.
Students will support their research with musical examples of the instrument family.
Students will teach peers about their instrument family.
SPECIFICS
Instrumentation for altiplano ensembles generally consists of a variety of sikus and other trans-
verse and duct flutes, the charango and other guitars, and the bombo, with additional shakers
and rattles. These ensembles consist of twelve to fifty players.

Jigsaw learning

Divide the students into four groups that can research the four instrument families. Use the
included information on panpipes, flutes, strings, and drums. After they have completed their
research, redivide the class into four new groups in which there are student representatives for
each instrument family, to allow for peer teaching.
ACTIVITIES
Read about the instrument family assigned to your group. Use the library, geographic maga-
zines, and the Internet to find additional information. Finding pictures of musicians playing the
instruments and using actual musical examples will enhance your presentation. Rehearse how
you will present your information to the other students so that each person in your group feels
confident as a teacher. Be sure to listen carefully to the other students when they are describing
their instrument family.

Lesson 12 (cont.)
VOCABULARY
Panpipes Flutes Strings Drums
antara mosheño charango bombo
zampoñas (Spanish) quena (also kena) cuatro wankara
siku (Aymaran) pinkillo (also pinkullo) tiple juancara
phukuna (Quechan) tarka khonkhota redoba
rondador ocarina harp caja (or tinya)
RESOURCES/MATERIALS
study sheets of Andean instruments (provided in unit)
geographic magazines
CDs and cassettes of Andean ensembles
access to the Internet
ASSESSMENT
Students can name all four families and give examples of instruments for each.

Panpipes
antara
zampoñas (Spanish)
siku (Aymaran)
phukuna (Quechan)
rondador
There are many sizes of pipes with various tunings and names in Spanish, Aymaran, and
Quechuan. They traditionally have two rows of pipes, and more recently, a third row has been
added. Because the scale is divided between the rows of pipes, they are played by two or more
musicians in a hocketing manner. The tuning fluctuates between G major and e minor. There are
also chromatic and pentatonic rows. Bolivian bamboo is considered to be the best quality for
making pipes. Harvesting the bamboo is done according to Indian traditions related to seasons
and phases of the lunar cycle. The manner of playing the pipes varies according to the location
of the performance. Indoor playing has a quieter sound while performance outside has a louder,
percussive sound resulting in overtones.
Music with panpipes is heard at festivals, special occasions, and religious celebrations. But it is
also a major part of daily life as seen in the following stories (as told by Miguel Camacho) of
two different pipes. In Colombian countrysides the antara pipes were played by capadores
(capar: to geld, castrate) to announce their arrival in the villages. The job of the capadores was to
geld particular farm animals. Their pipe melodies served to alert the villagers of their presence
and enable them to round up the necessary livestock. In the cities the job of the capadores was
slightly different. Their antara music summoned those interested in getting their knives, scis-
sors, and machetes sharpened. The rondador (rondar: to go around, patrol) was played by the
watchman as he wondered around the village lighting the street lamps. The sound of his pipes
assured the villagers that he was guarding the neighborhood and also warned any thieves that
he was coming. Early in the morning his pipes could again be heard as he made the rounds
extinguishing the street lamps.

Flutes
mosheño
quena (also kena)
pinkillo (also pinkullo)
tarka
ocarina
The mosheño pictured in this unit is about four feet long and is one of the shortest in this family
(tropas) of transverse flutes, which can be as long as three yards! The mosheño has a rich mel-
low sound, but when played outdoors in street parades, it is overblown to reach the higher
more penetrating octaves. In Quechua communities vertical flutes (quenas, pinkillos, tarkas) are
played during the rainy season from November through February. The quena, made of reed,
wood, clay, or bone, has a notched end requiring a cross-blowing technique to produce the
sound. The fingering is usually done with two fingers and thumb of the left hand on top with
four fingers of the right hand on the bottom. The pinkillo and the tarka, which is square, are
duct flutes having a sound similar to the recorder. The tarka has a sound which imitates ducks
and is also called Anatas or Anátidos. Ocarinas can vary in size and are usually made from clay.

Strings
charango
cuatro
tiple
khonkhota
violin
harp
The charango is a popular guitar with five sets of doubled strings. It is similar in size to a uku-
lele and has a body made of an armadillo shell or wood. The charango player holds the instru-
ment very high on the chest and plays the typical rhythm pattern of an eighth note followed by
two sixteenths with a down, down, up strum. There are many other variations of the guitar. The
Venezuelan cuatro has four strings and is smaller than the guitar. The tiple from Colombia,
another small guitar, has four courses of three strings each tuned to the highest four strings of a
guitar, D-G-B-E. In Bolivia, the khonkhota has a thick body with the first, third and fifth strings
doubled, and the second and fourth strings single. It is traditionally played in the rainy season
(November through March).
The harp and violin were unknown in South America until the conquistadors arrived. The
Andean harp is diatonic, with a boat-shaped sound box. In Venezuela it is used as a solo instru-
ment with another player acting as the golpeador. This golpeador beats out a rhythmic ostinato
on the sound board of the harp as the harpist plays. Important traditions have developed
around the harp. During a burial and wake, playing can last throughout the day and night,
changing styles for each part of the ritual.

Drums
bombo
wankara
juancara
redoba
caja (or tinya)
The bombo is a double-headed drum carved from a tree with a head of lamb, cow, or goat skin.
Occasionally alpaca, or more rarely, llama skin is used. Llama use is limited due to its sacred
implications. The musician generally plays the bombo with one hand and the quena or pipes
with the other. The rhythmic pattern is frequently the eighth and two sixteenths ostinato. The
wankara, another double headed drum, is found in Bolivia and Peru. In Indian communities the
juancara is a huge drum whose sound signifies a heartbeat. The redoba uses a fish bone placed
against the head of the drum to achieve a sound similar to a snare drum. In Bolivia, Peru, and
Argentina, particular songs sung only by women are accompanied by cajas, which are round,
flat drums.
The bombo legüero was used in Argentina to contact another community to pass on informa-
tion. The legua (league) has different measurements for the ocean and for land. In this case one
legua is how far away the bombo can be heard, or the distance its sound travels. The legua,
suggests Miguel Camacho, would probably be a shorter distance today due to the noise pollu-
tion of cars, radios, etc.!

Lesson 13: Ransoli and Camacho

STANDARDS
Students will relate music to various historical and cultural traditions. (Music 5)
BENCHMARKS
OBJECTIVES
Students will read and discuss the biography of Ransoli and Camacho.
Students will use the Internet, geographic magazines, and cassette liner notes to expand their
knowledge of performing groups using siku pipes.
SPECIFICS
Use the biography of Ransoli and Camacho included in this unit.

Shared readings (whole class)
Discussion
ACTIVITIES
Read the life stories of Ransoli and Camacho. Discuss what is necessary for Ransoli and
Camacho as well as other groups to make a living as performers. Include in your discussion the
skills that are necessary, marketing their group, the people and occasions that need their music,
and hours that they rehearse and perform. Summarize the discussion by creating a concept map
of the lives of performing musicians.
RESOURCES/MATERIALS
biographies of Ransoli and Camacho
ASSESSMENT (INFORMAL)
Students are able to formulate a concept map depicting the lives of performing musicians.

Ransoli and Camacho
They entered our summer college seminar laden with boxes and instruments. Ransoli and
Camacho had come to show us how to tie the pipes into rows for our sikus. We spent the after-
noon with string, beeswax, and bamboo, listening to the beautiful music of Camacho’s antaras
and Ransoli’s guitar. Two days later we heard them playing for the dinner crowd at the Bistro in
Evergreen, Colorado. The setting was perfect for their repertoire of haunting huayño melodies,
lively Aymara songs, and their own original compositions.
Born in Colombia, Miguel Camacho was in Mexico in 1982 at a peña (pub or club) when he met
Rogelio Ransoli. These peñas were places where one could hear and play music of the Andean
highlands. During the 1950s and 1960s the traditional music of the Quechua-speaking people
became the protest music (Nueva Canción) for oppressed people, and an expression of unity
against Western cultural invasion. In the 1970s the political climate of unrest and the military
upheavals forced many indigenous people to flee their South American countries. Mexico
became a welcome home for these refugees, allowing them the freedom to express their ideas,
history, and traditions. It was through this musical arena that Camacho and Ransoli met and
became friends in 1982. For the next several years they played in a group, which later became a
trio, and finally a duet. With the support of a patron, they moved to Colorado and began per-
forming in the Denver metropolitan area and the surrounding mountain towns.
Ransoli comes from a musical family. Both parents were musicians, his mother winning many
awards for her considerable talent as a choir conductor; his father, a concert pianist. Ransoli
began playing the piano as a young child and later received formal training at the University of
Mexico. This background enabled him to quickly master the variety of instruments he now
plays. Self-taught on the guitar, he easily strums through the chord sequences while playing the
larger, three-row, siku. Camacho was trained on the transverse flute and now plays the sikus,
antaras, quenas, pinkillo, ocarina, and mosheño for the duo. He also maintains the underlying
pulse of the bombo and adds the special effects of the wind chimes, rain stick, and the vainas (or
tabachines, giant seed pod rattles).
Ransoli and Camacho make nearly all of their instruments. Because the dry climate of Colorado
affects the limited life span of these delicate instruments, Camacho has traveled back to South
America to get the necessary bamboo that is not available in the United States and Mexico. They
also have friends in South America who send them the special bamboo and other instruments
they need.
In addition to building their instruments, both men are accomplished composers. Ransoli’s
compositions are influenced by the music he loves, from South American to classical to jazz,
rock, and flamenco. On the Umbral cassette, his own rhythmic composition Arqueopterix was
done entirely on the Korg M1 synthesizer. The extremely lyrical melodies of their shared com-
positions are a trademark of their recordings. Each of their three cassettes showcases the sensi-
tivity and depth of expression of their performance. Currently, a CD is in progress.
Ransoli and Camacho have been bringing their music to the students of the greater metropoli-
tan Denver area. In their school program they are able to teach the history and background of
the music and instruments, switching easily between Spanish and English. The recent Aztec
exhibit at the Museum of Natural History provided them with a unique opportunity to play
instruments that were 500 years old. They were asked to work with these instruments for an
educational video that was being produced. They were required to determine the sound that
was appropriate for each instrument and fingerings for scales that often do not fall within

Ransoli and Camacho (cont.)
common practice. They simply had to forget any traditional ideas of western tonality. Finally,
they had to come up with pieces for the instruments and decide whether the music should
stand alone or have a percussion accompaniment.
These two young men are able to support themselves through building their own instruments,
composing their own music, researching and performing traditional music of South and Mezo-
America, and performing at schools, private parties, cultural programs, weddings, concerts, and
festivals—a feat many musicians are unable to achieve. But even more, Rogelio Ransoli and
Miguel Camacho are carrying on a centuries-old musical tradition, keeping alive music that is
filled with beauty and pain, joy and laughter, and the emotion and soul of the altiplano people.

Unit Assessment
How will students demonstrate proficiency?

PERFORMANCE TASK
The main goal of this unit is to provide hands on experiences with the music of South America.
Through constructing the siku pipes and learning how to play them, students are directly
involved in learning. In addition, music-making is a thinking-in-action activity: student skills
and knowledge are demonstrated through performance. The natural conclusion of this unit is to
provide a venue for formal presentation of the material. Performance also serves to strengthen
students’ musical skills and stage presence.
Students will develop a short performance for parents and peers that will demonstrate their
accumulated knowledge and skills. The performance will include any of the following:
• slides of the Andean mountains, historic locations, people, and instruments
• demonstration of siku performance
scale showing hocketing method of performance
“Melody for the Siku”
“Poco a Poco”
student huayño compositions
• brief student lectures on instruments used in Quechua and Aymara ensembles
Students should rehearse their presentation so that it is professional and appropriately reflects
the culture of the Quechua and Aymara communities.
SCORING RUBRIC
4. Displays strong performance
Creativity was demonstrated in artwork and huayño compositions. All projects were
completed. Student exhibited strong ability to read simplified notation system in order
to independently learn and practice siku songs and assist peers in group performance.
Student skillfully played the correct pitches and rhythms on sikus.
3. Demonstrates appropriate development
All projects were completed. Student was able to assimilate material and perform the
basic exercises and huayños.
2. Demonstrates effort
Most projects were completed. Student was able to perform some of the material but
achieved only rudimentary skill level.
1. Needs practice and support
Projects were not completed for presentation in final performance. Siku playing skills
were not yet sufficient for performance.

Vocabulary
antara a single row of panpipe
arca the “feminine,” seven-pipe row of the siku
Aymara the indigenous people and the dialect spoken in the higher altitudes of
the Andean mountains
bar lines lines separating notes of music into metric groups
bombo a double-headed drum carved from a tree trunk with lamb, cow, or
goat skin for heads
caja (or tinya) a round, flat drum
charango a small guitar with five courses of doubled strings and a distinguishing
body made from an armadillo shell/wood
chord symbols letters placed above the measure indicating the harmonic chords to be
played by the guitar or keyboard
composition the process of creating a musical piece
cuatro a small four-stringed guitar from Venezuela
eighth note a note that equals one half of a beat; there are two eighths in
the space of one quarter note
ensemble a group of musicians performing together
harmony the chord structure of a musical composition
harp a chordophone with strings perpendicular to the soundboard. It is
nearly always plucked
hocket a manner of playing with rapid alternation of two voices with single or
short groups of notes, also called sicureada
improvisation the art of performing music spontaneously without notation or
memorization
ira the “masculine,” six-pipe row of the siku
juancara an extremely large drum used by the indigenous Indian communities
of South America to simulate the heartbeat
khonkhota an eight-stringed, thick-bodied guitar of Bolivia
melody the tune of a song, made up of a sequence of notes
meter the pattern of strong and weak beats within the measure of music
mosheño a family of transverse flutes made of two connecting tubes of bamboo
ocarina a flutelike instrument in the shape of an egg, bird, or sweet potato with
a mouth hole and several finger holes
peña a club

Vocabulary (cont.)
phukuna (Quechuan) the Quechuan name for panpipes
pinkillo (also pinkullo) small vertical duct flutes with a breathy recorderlike sound
pitch the location of the musical sound on the scale
Quechua the indigenous people and the dialect spoken in the lower altitudes of
the Andean mountains
quena (also kena) a vertical notched-end flute with six or seven holes
quarter note a note that is played for one beat
redoba a snare drum type instrument
repeat sign play or sing the enclosed passage again
rhythm ostinato a short phrase that is repeated persistently
rondador a type of panpipe with long and shorter pairs of pipes that must be
played simultaneously
scale a series of notes from low to high that make up the harmonic structure
of the music
siku (Aymaran) the Aymaran name for panpipes
sixteenth note a note that equals one-fourth of a beat; there are four sixteenths in
the space of one quarter note.
syncopation changing the natural accent to the off beat of the measure
tarka a square, vertical flute
tiple a small Colombian guitar with four courses of three strings each
tropas families of instruments
vainas large, flat, oblong seed pods that are used as rattles
wankara a double-headed drum found in Bolivia and Peru
zampoñas (Spanish) the Spanish name for panpipes

Photographs
antara
diatonic scale
siku
zanka

tabla-siku
rondador
pentatonic

siku
chromatic
antara
pentatonic

quena or kena
pinkillo or pinkullo

mosheño
ocarina
clay flute

vainas
tabachines
bombo legüero

Camacho and Ransoli
Camacho is playing the antara and bombo. Ransoli is playing the guitar and siku.
Camacho and Ransoli

Camacho is playing the mosheño.

Rogelio Ransoli
Miguel Camacho
All of the photographs were taken by Deborah Hanley at El Noa Noa Restaurant in Denver, CO.
The instruments all belong to Ransoli and Camacho

Bibliography
Books
Anderson, William M., ed., Teaching Music with a Multicultural Approach. Reston, VA: MENC,
1991.
This MENC publication includes the following informative articles: “Cultural Diversity,
Performance Cohesiveness, and Andean Panpipe (Raft-Pipe) Music” by Dale Olsen,
“Overview of Hispanic-American Music: Mexican Mestizo Music and Afro-Cuban
Music” by Daniel Sheehy, “Hispanic-American Music in the Classroom” by Linda
O’Brien-Rothe, “Lesson Plans for Hispanic-American Music” by Dale Olsen, and “Se-
lected Resources for the Study of Hispanic-American Music,” which contains a discogra-
phy and filmography.
Broughton, Simon et al., “Andean Music” in World Music—The Rough Guide. London: Rough
Guides Ltd., 1995: 584–591.
These articles explore the transition of Andean music due to the migration of the musi-
cians out of the highlands and into the larger cities. Articles include “Panpipes and their
Windy Brethren,” “Ayllu Sulca and Peruvian Harp Music,” “Panpipes and Ponchos in
Europe,” and a discography organized into field recordings, concert bands, huayños,
mestizo, and chicha.
Brennan, Elizabeth Villareal, A Singing Wind: Five Melodies from Ecuador. World Music Press,
1988.
Text and annotation in English and Spanish, traditional arrangements for voices, record-
ers, guitar, percussion, dance, drama, and optional Orff instruments.
Olsen, Dale A., “Music of Latin America: Mexico, Ecuador, Brazil.” In Sounds of the World. Study
guide in collaboration with Daniel E. Sheehy and Charles A. Perrone. Reston, VA: Music Educa-
tors National Conference, 1987.
Study guide and three cassettes of Mexican, Ecuadoran, and Brazilian music with sug-
gestions on how to use in the classroom.
Olsen, Dale A., “Symbol and Function in South American Indian Music,” Chapter 19; and “Folk
Music of South America—A Musical Mosaic,” Chapter 20, in Musics of Many Cultures, edited by
Elizabeth May. Berkeley: University of California Press, 1980: 363–385; 386–425.
Schechter, John M., The Indispensable Harp, Historical Development, Modern Roles, Configurations,
and Performance Practices in Ecuador and Latin America. Kent, Ohio: Kent State University Press,
1992.
Schechter, John M., “Latin America/Ecuador,” Chapter 9 in Worlds of Music, An Introduction to
the Music of the World’s Peoples, second edition. Edited by Jeff Todd Titon. New York: Schirmer
Books, 1992: 376–428.
Seitz, Barbara, “Quichua Songs to Sadden the Heart: Music in a Communication Event.” Latin
American Music Review 2:2 (Fall/Winter 1981):223–251.
Turino, Thomas. “The Charango and the Sirena: Music, Magic, and the Power of Love.” Latin
American Music Review 4:1 (Spring/Summer 1983): 81–119.

Bibliography (cont.)
Turino, Thomas, Moving Away from Silence: Music of the Peruvian Altiplano and the Experience of
Urban Migration. Chicago: University of Chicago Press, 1993.
Turino actively participates in field work and offers the reader a firsthand experience of
social and musical interaction. Turino talks about the communal composition that occurs
with a group of performers.
Turino, Thomas, “Music in Latin America,” Chapter 9 in Excursions in World Musics, by Bruno
Nettl et al. New York: Prentice Hall, Inc., 1992: 232–259.
This chapter recounts the lives and culture of the Quechua and Aymara people. The
discography is worth investigating.
Discography
Arkantiq, Umbral, and Laberintos. Ransoli-Camacho. P.O. Box 480523, Denver, CO 80248.
These three tapes have traditional and contemporary panpipe music, including titles
such as Condorcanqui, Cometa de Luz, Patajallphapi, Machu Picchu.
Cajamarca and the Colca Valley, Music of Peru 3. Smithsonian Folkways 40468.
Series compiled and edited by Raul R. Romero. These pieces were recorded in two
distinct regions of the Peruvian Andes demonstrating the impressive diversity and
beauty of local and regional Andean musical styles including festival dances, agricul-
tural ceremonies, marriage songs, and Carnival celebrations. Recording was done in the
1980s.
Lambayeque, Music of Peru 4. Smithsonian Folkways 40469.
Series compiled and edited by Raul R. Romero. These pieces were recorded in 1990 and
1991 in the three cultural regions of Northern Peru. They feature music of festival
dances, songs accompanied by a variety of instruments, and Christmas carols sung by
children. Titles include Chimo, Triste con Fuga de Huayño, Marinera con Fuga de Huayño, Los
Reyes Magos.
Videocassettes
Heritage of the Andes, Bolivian International Video Productions, P.O. Box 11285, Salt Lake City,
Utah 84147.
Authentic music of the Andes by the Aymaras Group and other Bolivian Musicians.
JVC Video Anthology of World Music and Dance: the Americas. Cambridge, MA: Rounder Records,
1990.
Contains folk dance music of Eskimos, Indians of North America, Mexico, Cuba, Bolivia,
and Argentina.
JVC/Smithsonian Folkways Video Anthology of Music and Dance of the Americas. Montpelier, VT:
Multicultural Media, 1995.
Six videocassettes with guides of folk music and dancing.

Bibliography (cont.)
Musical Instruments and Supplies

Music in Motion—A Music Education and Gift Catalog for All Ages. P.O. Box 833814,
Richardson, TX 75083-3814; (800) 445-0649; Fax (972) 231-0482.
This is a terrific catalog for all kinds of music education supplies. For this unit, there are
the following items: ocarina, tarkas, bamboo flutes, South American pan flutes (curved
zampona, 12-hole pan flute, 7-hole pan flute), Calchakis: Pan Flutes of the Andes CD, Fun
with the Pan Flute instruction book, Peruvian rattles (seed pod rattle, goat hooves rattle),
and rainsticks.
Quichua Mashis. P.O. Box 77474, Seattle, WA 98177; (206) 440-1316; http://www.incasite.com.
This group has a website describing the music, instruments, art, and culture of the
Andes Mountains. Besides CDs and cassette tapes, they sell Andean hats, vests, and
ponchos. They also have authentic, traditional instruments for sale: antaras, chacchas
(goat hoof rattles), and bombos.
Music Educators National Conference (MENC) Resources

MENC Publications Sales, 1806 Robert Fulton Drive, Reston, VA 20191-4348; (800) 828-0229.
Prices are discounted for members.
Bringing Multicultural Music to Children. Videocassette, 1992.
This video shows creative ways of teaching young children about music in other cul-
tures including Africa, China, Jamaica, Native Americans, African-Americans, and the
Maori of New Zealand. #3075.
Making Connections: Multicultural Music and the National Standards, 1997.
This book and CD assist in the development of a culturally diverse music program while
incorporating the National Standards—21 lessons utilizing music of African-Americans,
Balinese, Mexican-Americans, and Native Americans. #3020.
Multicultural Perspectives in Music Education (1996, 2nd edition).
This text, along with the two-CD music sampler, can be used to teach world music
traditions for intermediate elementary through high school classes. A solid general
music resource created by William Anderson and Patricia Shehan Campbell. #3027.
Multicultural Songs, Games, and Dances, 1995.
This publication by the Organization of American Kodaly Educators (OAKE) contains 24
songs, games, and dances from 13 nations. #1702.
Music of Latin America: Mexico, Ecuador, Brazil, 1987.
This is a teacher’s guide by Dale Olsen, Charles Perrone, and Daniel Sheehy. #3032.
Teaching Music with a Multicultural Approach, 1991.
Includes music examples, lesson plans, and resource lists of the African-American,
Asian-American, Hispanic-American, and Native American musical cultures. #1048.
Teaching the Music of Hispanic Americans. Videocassette, 1991.
In this video, Dale Olsen, Daniel Sheehy, and music educator Linda O’Brien-Rothe
discuss and demonstrate Andean panpipe and Mexican mariachi ensembles. #3071.

About the Author
Deborah Hanley has taught general music, K–8, in the Denver Public Schools since 1977. She
received her B. Mus. Ed. and M. Mus. Ed. from the University of Colorado in Boulder and is
currently working on her Ph.D. in music education.
Mrs. Hanley coauthored the Instructional Music Kit published by Denver Public Schools (DPS),
which includes over 100 original songs, activities, and plays for kindergarten and first grade. In
1983 and 1984 she was the director of the DPS All City Elementary Choir. She has served on the
board for the Colorado Music Educators for many years. Her choir from McGlone School was
selected to perform at the 1985 CMEA Clinic/Conference. She has been a sight-reading clinician
for Flesher-Hinton Music Company in 1982, 1984, 1988, 1992, and 1995. Mrs. Hanley directed
the Longmont First United Methodist Church Chancel Choir for eleven years.
In addition to her musical activities, Debbie is also a commercial pilot, an authorized flight
instructor, and owns a 1956 Cessna 182 aircraft.

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What are the main musical concepts discussed in the document?

What are the main musical concepts discussed in the document?

What standards are addressed by the music unit described?

What standards are addressed by the music unit described?

El Alma de la Raza Project

In Partnership with the Denver Public Schools

Goals 2000 - Partnerships for

Standards Addressed by This Unit

Goals 2000 Partnership for Educating Colorado Students 1

Goals 2000 Partnership for Educating Colorado Students 2

Instructional Materials and Resources

Goals 2000 Partnership for Educating Colorado Students 3

Week Two Playing Siku Pipes

Week Three Composing and Performing with Siku Pipes

Goals 2000 Partnership for Educating Colorado Students 4

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 5

Goals 2000 Partnership for Educating Colorado Students 6

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 7

Goals 2000 Partnership for Educating Colorado Students 8

Goals 2000 Partnership for Educating Colorado Students 9

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 10

Goals 2000 Partnership for Educating Colorado Students 11

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 12

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 13

Goals 2000 Partnership for Educating Colorado Students 14

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 15

Goals 2000 Partnership for Educating Colorado Students 16

B. Mary Had A Little Lamb

C. Melody for the Siku

Goals 2000 Partnership for Educating Colorado Students 17

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 18

Goals 2000 Partnership for Educating Colorado Students 19

Goals 2000 Partnership for Educating Colorado Students 20

What will students be learning?

What will be done to help students learn this?

PRELIMINARY LESSON PREPARATION

Goals 2000 Partnership for Educating Colorado Students 21

Goals 2000 Partnership for Educating Colorado Students 22