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by Mildred Boyd
The
Mexican love of music and dance is a heritage from the distant past. Graves
from the pre-formative (1800-900 BC) have yielded primitive musical instruments
such as bone rasps and simple whistles. By Aztec times the orchestra had
expanded to include pipes, rattles, several types of drum, slit gongs,
bells, flutes, ocarinas and trumpets as well as the human voice. Materials
varied; gourds, wood, bones, terracotta, conch shells, metal, turtle carapaces
and deer antlers all played their part. There were no stringed instruments
before the Conquest and the marimba, now so closely identified with Latin
American music, was introduced much later by African slaves.
There was no form of musical notation,
so we have no clue to how such music sounded except that it was obviously
heavy on percussion and rhythm. The Spanish found Aztec ritual performances
"doleful and tuneless" which, since they were mostly aimed at
propitiating the numerous and merciless gods, seems quite fitting. Learning
and performing the "Songs for the Gods" was an important part
of the curriculum of students in the calmecac, or State schools.
But surely, then as now, the people
often raised their voices, played their instruments and danced to their
own music for the simple joy of it.
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Six men, arms linked and wearing tall, elaborate
head-dresses but, seemingly, little else, dance rings around their leader,
who sets the tempo by rhythmically shaking what are apparently pebble
filled and decorated dried gourds. These are identical with the maracas
one finds for sale in any street market today and their distinctive sound
is still an integral part of Latin American music. The figures stand roughly
five inches high and are mounted on a circular base of the same diameter.
This charming group is a funerary gift found in a shaft tomb in Colima
and dates from the Protoclassic period (AD 1-300).
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This fine example of the standing drum is slightly
more than three feet tall and is of Aztec origin, dating from AD 1520.
The hollow wooden cylinder would have been covered with a taut animal
skin drumhead, while the oddly shaped cut-outs in the base were designed
to increase resonance. The elaborately carved surface shows Eagle and
Jaguar knights above a parade of the Aztec monarchs these elite warriors
were dedicated to protect. It was found at Malinalco, where, legend says,
it was buried to prevent such a sacred object from falling into the hands
of the Spanish conquerers.
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This type of percussion instrument was usually held in the crook of the
arm and struck with the hand or a drumstick made of wood, bone or antler.
Almost anything with a large enough cavity, from
clay pots to animal skulls, would do. This example is particularly interesting
because, although it appears to be an ordinary turtle shell, it is actually
made of painted clay and wears the head of Huehueteotl, the old man god
who guarded hearth and home. It was found near the cathedral in Mexico
City, in what was once the site of the main temple complex of the Aztec
capitol, Tenochtitlan.
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Drums could be of many shapes and sizes as well
as materials. This unusual specimen is of beautifully grained and polished
wood, about two feet long by six inches wide and cleverly carved in the
shape of a reclining warrior with inlaid shell and obsidian eyes. It is
of Aztec origin, dating from no earlier than AD 1450, and is unusual in
that its tone could be altered by inserting tongues of wood at various
points in the two linear grooves running the length of the warrior’s
back. Perhaps the anticipation of a sound beating explains why the poor
fellow looks so apprehensive.
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At first glance, this well dressed musician might appear to be just another
drummer beating time on turtle shell drum. He is, however, actually rubbing
a stick across the natural roughness of the carapace to produce a distinctive
rasping sound which would be amplified by the hollow space between the
upper and lower shells. Hollow gourds or clay pots, properly grooved,
served the same purpose and were a definite improvement over the earlier
bone and stick rasps. The intricately crafted terracotta figure is slightly
under 18 inches tall and is of Zapotec origin, dating from AD 600-900.
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No one knows exactly when man discovered that conch shells made excellent
trumpets, but they were widely used as such on important occasions in
many primitive societies, including the pre-Columbians. This 15 inch example,
however, is not exactly what it seems. It is made of clay and, although
the sculptor, working from inside out, faithfully reproduced the intricately
convoluted interior and exterior form of a real shell, the sound it produces
is more a whistle than a deep, mellow blast. Its actual provenance is
unknown, but archaeologists assign it to the Mayan Classic period (AD
250-800).
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That this elegantly attired Mayan lord, with his winged head-dress, intricately
woven loincloth and massive jewelry, is a musician is proved by the gourd
rattles he holds in either hand. What is not so obvious is that he is also
a musical instrument, at least until one notices the four finger holes in
his back and the mouthpiece concealed in his topknot that make him an ocarina.
He stands a little over eight inches tall and still bears traces of the
original red and blue paint. He comes from Nebaj in Guatemala and dates
from the Mayan Late Classic period (AD 700-800).
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This gaily painted ceramic jug may well depict the very earliest example
of that musical phenomena known as the one man band. He certainly shows
instrumental versatility, if not virtuosity. In his right hand he holds
a set of pan pipes which he seems to be blowing lustily, his left hand flourishes
a horn, held up to the side of his head like an ear trumpet and a clay hand
drum is attached to the belt at his waist. The figure is 7-1/2 inches tall
and is attributed to the Nazca culture of southern Peru (AD 250-750).
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