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The erke (alternatively erque, coroneta, or quepa) is a large labrosone (lip reed) instrument native to the Gran Chaco of Bolivia, northern Chile, and the Argentine Northwest. [1]
The erke is composed of two or more lengths of cane joined at the ends to form a single tube. The internal nodes of the canes are removed and the exterior is often wrapped with gut or wool. The end often has an amplifier made of cow horn or brass. The instrument is blown through at the other end, and may be three to seven metres in length.
Although in the latter half of the 20th century Andean folkloric musical groups have used the erke for secular music, among the indigenous and criollo peoples of the Andes the erke is used solely for ritual purposes.
Traditionally but not commonly, only adult men play the erke, and it is considered profane to play the erke outside of a ritual context. The erke is commonly played during winter, as it is believed that playing it in spring or summer can bring snow. [2]
Among the Mapuche people, there exists a similar instrument called the trutruca.
The didgeridoo ;, also spelt didjeridu, among other variants, is a wind instrument, played with vibrating lips to produce a continuous drone while using a special breathing technique called circular breathing. The didgeridoo was developed by Aboriginal peoples of northern Australia at least 1,000 years ago, and is now in use around the world, though still most strongly associated with Indigenous Australian music. In the Yolŋu languages of the indigenous people of northeast Arnhem Land the name for the instrument is the yiḏaki, or more recently by some, mandapul. In the Bininj Kunwok language of West Arnhem Land it is known as mako.
The culture of Japan has changed greatly over the millennia, from the country's prehistoric Jōmon period, to its contemporary modern culture, which absorbs influences from Asia and other regions of the world.
Music of Malaysia is the generic term for music that has been created in various genres in Malaysia. A great variety of genres in Malaysian music reflects the specific cultural groups within multiethnic Malaysian society: Malay, Indonesian, Arabic, Chinese, Indian, Dayak, Kadazan-Dusun, Bajau, Orang Asli, Melanau, Kristang and others.
Indonesia is a country with many different tribes and ethnic groups, and its music is also very diverse, coming in hundreds of different forms and styles. Every region has its own culture and art, and as a result traditional music from area to area also uniquely differs from one another. For example, each traditional type of music is often accompanied by its very own dance and theatre. Contemporary music scene have also been heavily shaped by various foreign influences, such as America, Britain, Japan, Korea, and India.
Indigenous music of North America, which includes American Indian music or Native American music, is the music that is used, created or performed by Indigenous peoples of North America, including Native Americans in the United States and Aboriginal peoples in Canada, Indigenous peoples of Mexico, and other North American countries—especially traditional tribal music, such as Pueblo music and Inuit music. In addition to the traditional music of the Native American groups, there now exist pan-Indianism and intertribal genres as well as distinct Native American subgenres of popular music including: rock, blues, hip hop, classical, film music, and reggae, as well as unique popular styles like chicken scratch and New Mexico music.
The highly diverse and distinctive music of Madagascar has been shaped by the musical traditions of Southeast Asia, Africa, Oceania, Arabia, Portugal, England, France and the United States over time as indigenous people, immigrants, and colonists have made the island their home. Traditional instruments reflect these widespread origins: the mandoliny and kabosy owe their existence to the introduction of the guitar by early Arab or European seafarers, the ubiquitous djembe originated in mainland Africa and the valiha—the bamboo tube zither considered the national instrument of Madagascar—directly evolved from an earlier form of zither carried with the first Austronesian settlers on their outrigger canoes.
Indigenous music of Australia comprises the music of the Aboriginal and Torres Strait Islander peoples of Australia, intersecting with their cultural and ceremonial observances, through the millennia of their individual and collective histories to the present day. The traditional forms include many aspects of performance and musical instrumentation that are unique to particular regions or Aboriginal Australian groups; and some elements of musical tradition are common or widespread through much of the Australian continent, and even beyond. The music of the Torres Strait Islanders is related to that of adjacent parts of New Guinea. Music is a vital part of Indigenous Australians' cultural maintenance.
A double reed is a type of reed used to produce sound in various wind instruments. In contrast with a single reed instrument, where the instrument is played by channeling air against one piece of cane which vibrates against the mouthpiece and creates a sound, a double reed features two pieces of cane vibrating against each other. This means, for instruments with the double reed fully exposed, that the air flow can be controlled by the embouchure from the top, bottom and sides of the reed. The term double reeds can also refer collectively to the class of instruments which use double reeds.
Suona, also called dida, laba or haidi, is a traditional double-reeded Chinese musical instrument. The Suona's basic design originated in ancient Iran, then called "Sorna". It appeared in China around the 3rd century and it's also popular in parts of northern and southern China, including Shandong, Henan, Hebei, Shanxi, Shaanxi, Gansu, Northeast China, Guangdong, Fujian, and other regions. It has a distinctively loud and high-pitched sound, and was used frequently in Chinese traditional music ensembles, particularly in those that perform outdoors. It was an important instrument in the folk music of northern China, particularly in provinces of Shandong and Henan, where it has long been used for festival and military purposes. It is still being used, in combination with sheng mouth organs, gongs, drums, and sometimes other instruments in weddings and funeral processions. Such wind and percussion ensembles are called chuida or guchui. Stephen Jones has written extensively on its use in ritual music of Shanxi. It was also common in the ritual music of Southeast China. In Chinese culture it was an essential element of ritual music that accompanied Daoist performances of both auspicious and inauspicious rites, i.e., those for both the living and the dead. One of the most famous pieces that uses suona as the leading instrument is called "Bai Niao Chao Feng", or "Hundred Birds Worship the Phoenix". The movie Song of the Phoenix casts the rise and fall of the popularity of suona in modern Chinese musical history.Suona music is filled with tradition and innovation, and is a timeless expression of Chinese folk culture, enriching the daily lives of folk workers. Suona art was approved by the State Council to be included in the first batch of national intangible cultural heritage list on May 20, 2006.
Punta is an Afro-indigenous dance and cultural music of the Belizean & Honduran Garifuna people originating prior to their exile to Honduras from the Caribbean island of Saint Vincent And The Grenadines. Which is also known as Yurumei. It has African and Arawak elements which are also the characteristics of the Garifuna language. Punta is the best-known traditional dance belonging to the Honduran community. It is also known as banguity or bunda.
Music of Northeast China is tied closely to the region's history. Musical traditions of the Bang Zi Theatre and folk instruments such as the Dizi, Xiao, and Baijiao Gu originate in the region. Folk songs from the northeast are noted for their contributions to nationalistic music. The popular communist-era song “The East is Red” is based upon a traditional Northern Shaanxi melody. The popularity of Western musical traditions in the Harbin province is internationally recognized, with the northern city being named a ‘music city’ in 2010 by the United Nations. Contemporary folk, as well as modern pop music, continue to contribute to the diverse musical traditions of the region. Prominent performers from the Northeast include the mid-20th-century film composer Lei Zhenbang and pop stars Xiao Ke and Na Ying.
Prehistoric music is a term in the history of music for all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. Prehistoric music is followed by ancient music in different parts of the world, but still exists in isolated areas. However, it is more common to refer to the "prehistoric" music which still survives as folk, indigenous or traditional music. Prehistoric music is studied alongside other periods within music archaeology.
The various nations of the region include the Arabic-speaking countries of the Middle East, the Iranian traditions of Persia, the Jewish music of Israel and the diaspora, Armenian music. Azeri Music, the varied traditions of Cypriot music, the Turkish music of Turkey, traditional Assyrian music, Coptic ritual music in Egypt as well as other genres of Egyptian music in general. It is widely regarded that some Middle-Eastern musical styles have influenced Central Asia, as well as the Balkans and Spain.
The guan is a Chinese double reed wind instrument. The northern Chinese version is called guanzi or bili and the Cantonese version is called houguan. It is classified as a bamboo instrument in the Ba Yin system. Unlike other instruments in the double-reed family of woodwinds which mostly have conical bores, such as the Chinese suona or the Western oboe, the guan has a cylindrical bore, giving its distinctive mellow, yet piercing buzz-like timbre.
A pinkillu, pinkuyllu or pinqullu is a flute found throughout the Andes, used primarily in Argentina northwest, Bolivia, Chile, Ecuador and Peru. It is usually played with one hand, leaving the other one free to accompany oneself on a drum like the tinya. It is used in a variety of public festivals and other kinds of communal ceremonies.
The music of the ancient Mayan courts is described throughout native and Spanish 16th-century texts and is depicted in the art of the Classic Period. The Maya played instruments such as trumpets, flutes, whistles, and drums, and used music to accompany funerals, celebrations, and other rituals. Although no written music has survived, archaeologists have excavated musical instruments and painted and carved depictions of the ancient Maya that show how music was a complex element of societal and religious structure. Most of the music itself disappeared after the dissolution of the Maya courts following the Spanish Conquest. Some Mayan music has prevailed, however, and has been fused with Spanish influences.
Australian Aboriginal culture includes a number of practices and ceremonies centered on a belief in the Dreamtime and other mythology. Reverence and respect for the land and oral traditions are emphasised. The words "law" and "lore", the latter relating to the customs and stories passed down through the generations, are commonly used interchangeably. Learned from childhood, lore dictates the rules on how to interact with the land, kinship and community.
The gourd mouth organ is a free reed mouth organ played across East and Southeast Asia. It consists of a gourd wind chest with several bamboo or bronze pipes inserted on top of it, the numbers of pipes differing from region to region.
The erkencho is a folk clarinet of the northern region of the Gran Chaco of South America, particularly northwestern Argentina. It consists of a tube 10–13 inches (25–33 cm) long, with a single reed and a cow or goat horn attached at the end, as a hornpipe. Some writers consider the erkencho to be a smaller variant of the erke, with the name erkencho being a diminutive thereof.
A kuisi is a Native Colombian fipple flute made from a hollowed cactus stem, with a beeswax and charcoal powder mixture for the head, with a thin quill made from the feather of a large bird for the mouthpiece. Seagull, turkey and eagle feathers are among the feathers commonly used.