The manuscripts of Murúa’s history and genealogy of the Incas contain a
tremendous amount of information about the lives and deeds of the Incas; the
institutions and practices of Inca governance; religious beliefs, practices, and
rituals and ceremonies both of the Incas and of people in the countryside; and
a host of other matters. Scholars argue that the Galvin manuscript in
particular draws heavily from Andean oral traditions that must have been
collected by Murúa from informants, one of whom may have been Guaman
Poma de Ayala.Further Reading
Ballesteros Gaibrois, Manuel. “Dos cronistas paralelos: Huaman Poma y Murúa (Confrontación de las
series reales gráficas).” Anales de literatura hispanoamericana (Madrid) 9, no. 10: 15–66, 1981.
Cummins, Thomas B. F., and Barbara Anderson, eds. The Getty Murúa: Essays on the Making of
Martín de Murúa’s “Historia General del Piru,” J. Paul Getty Museum Ms. Ludwig XIII, 16. Los
Angeles: Getty Publications, 2008.
http://d2aohiyo3d3idm.cloudfront.net/publications/virtuallibrary/0892368945.pdf.
Mendizábal Losack, Emilio. “Las dos versiones de Murúa.” Revista del Museo Nacional (Lima) 32:
153–85, 1963.
Ossio, Juan M. “Murúa, Martín de (?—ca. 1620).” In Guide to Documentary Sources for Andean
Studies, 1530–1900, edited by Joanne Pillsbury, vol. 3, 436–41. Norman: University of Oklahoma
Press, 2008.
“Scientific Investigation of Martín de Murúa’s Illustrated Manuscripts.” The Getty.
http://www.getty.edu/conservation/our_projects/science/coll_res/murua_manuscripts.pdf.
■GARY URTONMUSIC
The Quechua word taqui encompassed song, dance, drinking feasts, and
celebrations that included song and/or dance. Inca music and dance were part of
larger ritual complexes and celebrations that included rites, sacrifices, special
dress, offerings, and consumption and exchange of ceremonial chicha (maize
beer) and coca leaves, the mildly narcotic stimulant. This is still the case with
the music of many indigenous Andean communities today.