In this first approximation, I discuss the current state of music archaeological knowledge about bamboo-made flutes on the pre-Hispanic Altiplano around Lake Titicaca, triangulating the very scarce archaeological evidence with ethnohistorical and botanical literature and my fieldwork among contemporary highland flute makers from Walata Grande (Omasuyos province, La Paz department). Departing from ethnographic experiences with these specialised flute makers, I delve deeper into the archaeology of musical bamboos on the pre-Hispanic Altiplano around Lake Titicaca. When have bamboos been more widely used in highland flute making on the pre-Hispanic Altiplano? Which musical transformations were generated? Which types of bamboos have been used in pre-Hispanic times? And where and how were these sourced? Moving the attention from finished flutes to bamboos allows me to articulate a “fresh perspective” (McClure, 1966) on the music archaeology of the Andean Altiplano, particularly of the pre-Hispanic Andean cultures of Tiwanaku (AD 100–1000) and ancient Aymaras (CE 1000–1470). Among other arguments, I suggest that the emergence of the now widespread “participatory tradition” (Turino, 2008) of Aymara Andean wind music had a decisive material factor: the expansion of musical bamboo use in highland flute making following the Middle Horizon (AD 600–1000) period.

在第一次近似中，我讨论了关于的的喀喀湖周围的前西班牙裔高原上竹制长笛的音乐考古学知识现状，将非常稀缺的考古证据与民族历史和植物学文献以及我对瓦拉塔当代高地长笛制造商的田野调查进行了三角关系格兰德（奥马苏约斯省，拉巴斯省）。从与这些专业长笛制造商的民族志经验出发，我深入研究了的的喀喀湖周围前西班牙裔高原上的音乐竹考古学。竹子什么时候更广泛地用于制作西班牙前高原高原的高地长笛？产生了哪些音乐变化？在前西班牙时代使用了哪些类型的竹子？这些是在哪里以及如何获得的？将注意力从完成的长笛转移到竹子上，让我能够对安第斯高原的音乐考古学，尤其是提瓦纳库（公元 100-1000 年）和古代艾马拉斯的前西班牙裔安第斯文化，表达出“全新的视角”（McClure，1966） （CE 1000-1470）。在其他论点中，我认为艾马拉安第斯管乐现在普遍存在的“参与性传统”（Turino，2008）的出现具有决定性的物质因素：在中地平线（公元 600 年）之后，音乐竹子在高地长笛制作中的使用扩大–1000) 期间。