1994-97 "Les instruments de musique des Aymaras" (auf Französisch).

En: Correo del Sur, Lausanne

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2008 "Noël à San Francisco de Querco : univers de dualités dans un rituel andin" (auf Französisch).

In: Bulletin 2007 der CH-EM & GVP/SMPS, Zürich.

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2010 "Musique péruvienne, migration et mondialisation : Métamorphoses urbaines dans la construction et les techniques d'interprétation de la harpe" (auf Französisch).

In: Bulletin 2009 der CH-EM & GVP/SMPS, Zürich.

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2010 "Diario de viaje: Buscando Identidades peruanas".
In Procesos del Folklore en los 2000, Revista del Centro Universitario de Folklore, Año 1, número 3, UNMSM, Lima. (auf Spanisch)

In this travel diary I describe concrete situations observed or experienced during my stay in Peru in the year 2010. They are related to the musical world of the Huayno con arpa and the modernization processes to which the village of San Francisco of Querco situated in the Andean department of Huancavelica is currently subjected to. I consider these situations to be a good starting point for identifying some cultural resources that are currently relevant for the Peruvian (in particular of Andean origin) to shape his own identity.

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2010 "Música andina y globalización: la orquesta típica del Centro del Perú en Europa" (auf Spanisch).
In Quaderni di THULE X - Rivista italiana di studi americanistici, Centro Studi Americanistici “Circolo Amerindiano”  Onlus, Perugia.

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2013 "El arpa en la cosmovisión andina".

In: Revista Argentina de Musicología 12-13 (2012), 125-150, Córdoba, Argentina.

This article starts with an idea that emerged during the 52nd International Congress of Americanists in Seville, 2006, where I participated as a speaker at the symposium Cosmologies and their representations in images, discourses, rituals and music in the Central Andes. Impressed by the lectures of Jürgen Golte and Rodolfo Sánchez Garrafa, I imagined that the applicability of the Andean cosmology could go beyond what usually supposed, and could be underlying the interpretation not only of pre-Columbian instruments such as the highland siku but also of European instruments brought to the Andean region by the conquerors as the single-strung harp. Here I show the possible application of Andean cosmological aspects in the organology, construction and performance technique of the Andean harp, supplementing with observations on the Andean pentatonic and European diatonicism as dialectical elements.

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2016 "El arpa en Huamanga: ¿tradición y estilo musical acordes a los retos del siglo XXI?" In: TRANS Revista Transcultural de Música/Transcultural Music Review 20

The validity and survival of traditional musical expressions rooted in a more or less distant past and its evolution over time is – after having been reintroduced into our discipline by adaption of historical (re-) studies – a key theme of ethnomusicology. How are the audience and the musicians going to manage the traditions they consume or practice? How does each individual place himself in the context of these – sometimes highly virulent – processes? Do the musicians have to defend the legacy of their ancestors tooth and nail, or should they rather initiate processes of adaptation and modernization of ancient styles? These questions stand at the origin of this article which tries to provide a current overview of the harp tradition in Huamanga, Ayacucho (Peru), and the challenges faced by the music of this city since two decades, after the dark years of political violence, which have left still open sentimental, spiritual and musical wounds.

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Geschichte der abendländischen Musik vom antiken Griechenland bis zum Barok (auf Französisch)   Geschichte der Formen und Stilen der abendländischen Musik (auf Französisch)

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Claude Ferrier