View Music of Latin America. Syllabus

Total Page:16

File Type:pdf, Size:1020Kb

View Music of Latin America. Syllabus Syllabus MUS 334/MUS/380/AFR 374/LAS 326 Musics of Latin America Instructor: Robin Moore Instructor's office: MBE 3.210 Office Tel.—512 471-0373 Email: [email protected] Office hrs: Thurs 1-3pm or by appt. Class times: Tues-Thurs 11am-12:15pm Class location: MRH 2.634 Teaching assistant: Ana Hernandez [email protected] Lab location: MRH M3.114 (mezzanine level) Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (21105) Lab Thurs 5-6pm (21110) Lab Mon 6-7pm (21115) For African and African American Studies (AFR 374F): Lab Mon 5-6pm (29875) Lab Thurs 5-6pm (29880) Lab Mon 6-7pm (29885) For Latin American Studies (LAS 326): Lab Mon 5-6pm (40015) Lab Thurs 5-6pm (40020) Lab Mon 6-7pm (40025) Description This survey course considers Latin American music within a broad cultural and historical framework. Latin American musical practices are explored by illustrating the many ways that aesthetics and society are embodied in and negotiated through performance. Our discussions will be framed by a range of concepts pertinent in Latin American contexts such as diaspora, colonialism, mestizaje, hybridity, migration, and globalization. The course carries a Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present. Readings Music of Latin America syllabus, p. 2 One textbook has been ordered for the course, Musics of Latin America (W.W. Norton, 2012); it is available for purchase in the Coop East, across from the Law School. In addition, a few assigned readings have been assembled from others sources. These are available through the course Canvas site. Listening Students are asked to listen to musical examples each week and will be responsible for recognizing and identifying them on exams; approximately three songs per lecture will be assigned and should be reviewed before class. You will be asked to remember something about the histories, contexts, and meanings of the assigned music. Listening can be downloaded for free from the Canvas site for our class. Consider making notes that include the following information as you review to the assigned music: —The title of the piece and the composer, if known —The approximate time it was written, within a decade —The culture area/country with which it is associated —The lyrics of the piece, what they discuss —The instrumentation of the piece —The typical contexts in which it is performed —The formal musical characteristics that define it —Any broader issues discussed that relate to the piece Grading Policy Students are required to attend classes and labs, to keep up with the reading and listening and respond to readings on Canvas posts, to participate actively in discussion, to take exams on the assigned day, and to complete all assignments punctually. Grades for undergraduates will be determined on the basis of three in-class exams, other small assignments (a song analysis, a concert review, other minor assignments or quizzes in section), a final brief oral presentation, class participation, and attendance. Out of approximately 450 total points, the three exams will constitute 60% of the student’s overall grade, the minor assignments 15% (postings 10%, concert review 5%), the oral presentation 10%, attendance 10%, and class participation 5%. In-class exams for students will consist of three parts: (1) the identification of key terms, ideas, or people; (2) discussion of assigned listening examples; and (3) a short essay on a topic related to class discussion. Students will be provided with a review sheet prior to a given test that lists key terms they are to be responsible for and possible essay topics. The essay will be evaluated in terms of the following five categories: clear organization, clear grammar/syntax, reference to assigned musical examples in support of arguments, use of relevant musical terminology from readings or class discussion, and full response to all aspects of the question posed. Undergraduates may opt to write an 8-10 pp. paper instead of taking one of the midterm exams or the final. If they choose the paper option, they should refer to the writing guidelines below for graduate students. Those planning to write a paper should provide the instructor and TA with a proposed topic and bibliography no later than week 5, and an outline by week 7. Music of Latin America syllabus, p. 3 Concert Reviews As noted above, one written concert review is required of all students. The review should be 3 or 4 pages in length, typed and double-spaced. The overall goal of the assignment is that you experience music making live and develop an appropriate vocabulary with which to describe/discuss it. Please consult at least two written sources (at least one from the Fine Arts Library or online academic databases in addition to class readings) in order to acquire background information on the styles of music heard at the concert; they should be formally cited in the review. You should also conduct a brief interview with one of the performers following the event and incorporate what you learn from them into your review. See the “Extra Credit Options” section below about concerts for a listing of possible events to attend. Other concerts may be appropriate but require approval in advance from either the Instructor or TA. Please hand in your review no later than Tuesday of Week 15 unless special arrangements are made with the instructor. Individual Presentations You will prepare a final 8-10 minute “Musical Mapping of Latin America” presentation to the class by researching a relevant topic of your own choosing. You may focus on a musical style or genre, on prominent artists, bands or groups, or on particular communities. Some portion of the presentation should discuss music per se: instruments, sounds, rhythms, etc., and the remainder may address topics such as historical background, contemporary social meanings, changes in style, dance, etc. The presentation should be accompanied by visual aids. These typically consist of images and notes on Powerpoint or Keynote. The Powerpoint files you prepare should be given to the TA at the class meeting prior to the presentation so that they can be uploaded to the class computer ahead of time. Your presentation should also include AV examples. They may consist of recorded music, youtube video, or other sources. Up to two minutes of your talk may be devoted to playing music. If you would like to play music or incorporate dance into your presentation, you may do that as well. Attendance Regular attendance is important because various activities that take place in class (the screening of video clips, musical demonstrations or performance opportunities, collective discussion, guest presentations, and so on) cannot be experienced through individual work at home. The same is true for attendance in discussion section. For that reason, attendance in both is mandatory. Attendance will be assigned approximately 45 points (10% of overall possible points), and after the first 3 unexcused absences by a given student each absence will result in 3 lost points. Class participation This grade will be based on meaningful participation in collective discussions. Meaningful participation is taken to be analytic engagement with the texts and course themes. Each student is expected to come to class prepared to participate actively in class discussions each week. Those students who take the initiative to engage critically with the readings and themes of the class and actively participate by sharing their thoughts on Music of Latin America syllabus, p. 4 a regular basis will graded highly. Those who participate infrequently in class discussions will be graded down. Missed Test Policy Students are required to keep track of scheduled test days on the syllabus and to take tests when they are scheduled. Students missing tests without a medical excuse will not be allowed to make them up, so please don’t forget to come. Laptops, Tablets, Phones While you may bring your electronic devices to class for the purposes of note-taking or web browsing related to class activities, please do not abuse the privilege by using your device to email, IM, text message, update your social media, or browse the web in ways not related to class activity. It distracts your classmates and detracts from their learning experience as well as yours. A student seen to be engaged in such activity will earn no attendance credit for that day. Assignments and Grading for Graduate Students in MUS 380 Graduate students enrolled in MUS 380 should expect to write a research paper on a topic of their choice that relates to the focus of the course, or to undertake other projects (extended transcription and analysis, private lessons on a new instrument or in a new lecture style, preparation of a lecture/demo on a particular style of Latin American music, etc.) as approved by the instructor. Individual written projects should be approximately 12-15 pp. in length, double-spaced. In addition, graduate students must complete two additional assignments: First, they are to transcribe and analyze at least one minute’s worth of music from one of the examples provided on their class listening tapes or related repertoire. The transcription may be incorporated into and/or support their final written project, or it may be separate. Second, they must learn to play and/or sing a representative piece or rhythm of Latin American traditional repertoire unfamiliar to them. This may be accomplished on their own or with the help of private instruction.
Recommended publications
  • Videomemes Musicales, Punctum, Contrapunto Cognitivo Y Lecturas
    “The Who live in Sinaloa”: videomemes musicales, punctum, contrapunto cognitivo y lecturas oblicuas “The Who live in Sinaloa”: Musical video memes, punctum, cognitive counterpoint and oblique readings por Rubén López-Cano Escola Superior de Música de Catalunya, España [email protected] Los internet memes son unidades culturales de contenido digital multimedia que se propagan inten- samente por la red en un proceso en el que son intervenidos, remezclados, adaptados, apropiados y transformados por sus usuarios una y otra vez. Su dispersión sigue estructuras, reglas, narrativas y argumentos que se matizan, intensifican o cambian constantemente dando lugar a conversaciones digi- tales de diverso tipo. Después de una introducción general a la memética, en este trabajo se analizan a fondo algunos aspectos del meme Cover Heavy cumbia. En este, los prosumidores montan escenas de conciertos de bandas de rock duro como Metallica, Korn o Guns N’ Roses, sobre músicas de escenas locales latinoamericanas como cumbia, balada, cuarteto cordobés, narcocorridos o música de banda de México. El análisis a profundidad de sus estrategias de sincronización audiovisual de materiales tan heterogéneos nos permitirá conocer a fondo su funcionamiento interno, sus mecanismos lúdicos, sus ganchos de interacción cognitiva y las lecturas paradójicas, intermitentes, reflexivas o discursivas que propician. En el análisis se han empleado herramientas teóricas del análisis del audiovisual, conceptos de los estudios acerca del gesto musical y del análisis de discursos no verbales de naturaleza semiótica con acento en lo social y pragmático. Palabras clave: Internet meme, remix, remezcla digital, música plebeya, videomeme, memética, reciclaje digital musical. Internet memes are cultural units of digital multimedia content that are spread intensely through the network in a process in which they are intervened, remixed, adapted and transformed by their users over and over again.
    [Show full text]
  • Canción Mixteca 104
    DISTRIBUCIÓN GRATUITA Este programa es público, ajeno a cualquier partido político. Queda prohibido su uso para fines distintos a los establecidos en el programa. M42 Cantares int copia 3_CANTARES MEXICANOS 29/08/14 14:17 Página 1 M42 Cantares int copia 3_CANTARES MEXICANOS 29/08/14 14:17 Página 3 Índice Presentación 9 Aguascalientes 11 Aguascalientes 12 Pajarillo barranqueño 14 Pelea de gallos en San Marcos 15 Baja California 16 El cachanilla 17 Pescadores de Ensenada 18 El bajacaliforniano 20 Baja California Sur 21 Corrido del cabo Fierro 22 Puerto de ilusión 24 Costa azul 25 Campeche 26 Campeche 27 Currucú de palomas (Sueño tropical) 29 Presentimiento 30 Coahuila 31 Agustín Jaime 32 Rosita Alvírez 33 Corrido de Coahuila 34 M42 Cantares int copia 3_CANTARES MEXICANOS 29/08/14 14:17 Página 4 Colima 35 Camino real de Colima 36 Ay, Comala 37 El palmero 38 Chiapas 39 Soy buen tuxtleco 40 Tapachula 41 Comitán 42 Chihuahua 43 Corrido de Chihuahua 44 Paso del Norte 45 La tumba abandonada (La tumba de Villa) 46 Distrito Federal 48 Sábado Distrito Federal 49 Mi ciudad 51 Caminito de Contreras 52 Durango 53 Durango, Durango 54 De México hasta Durango 56 La celda 27 (El alacrán de Durango) 57 Guanajuato 58 Pénjamo 59 Tierra de mis amores 60 Camino de Guanajuato 61 M42 Cantares int copia 3_CANTARES MEXICANOS 29/08/14 14:17 Página 5 Guerrero 62 La sanmarqueña 63 Guerrero es una cajita 64 Por los caminos del sur 66 Hidalgo 67 El hidalguense 68 El gusto 69 Rogaciano el huapanguero 70 Jalisco 71 Guadalajara 72 ¡Ay, Jalisco, no te rajes! 73 Atotonilco
    [Show full text]
  • Donn Borcherdt Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt0t1nc989 No online items Finding Aid for the Donn Borcherdt Collection 1960-1964 Processed by . Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2007 The Regents of the University of California. All rights reserved. Finding Aid for the Donn 1966.01 1 Borcherdt Collection 1960-1964 Descriptive Summary Title: Donn Borcherdt Collection, Date (inclusive): 1960-1964 Collection number: 1966.01 Creator: Borcherdt, Donn Extent: 7 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: This collection consists of sound recordings and field notes. Language of Material: Collection materials in English, Spanish Access Archive materials may be accessed in the Archive. As many of our collections are stored off-site at SRLF, we recommend you contact the Archive in advance to check on the availability of the materials. Publication Rights Archive materials do not circulate and may not be duplicated or published without written permission from the copyright holders, collectors, and/or performers. For more information contact the Archive Librarians: [email protected]. Preferred Citation [Identification of item], Donn Borcherdt Collection, 1966.01, Ethnomusicology Archive, University of California, Los Angeles. Biography Donn Borcherdt was born in Montrose, California. Borcherdt was a composer and pianist. After he received his BA from UCLA in composition and conducting, he began his graduate studies in ethnomusicology in 1956, focusing first on Armenian folk music and, later, on the music of Mexico.
    [Show full text]
  • La Música Norteña Mexicana
    LA MÚSICA NORTEÑA MEXICANA Luis Omar Montoya Arias Gabriel Medrano de Luna 2016 La música norteña mexicana Primera edición, 2016 D.R. Del texto Luis Omar Montoya Arias, Gabriel Medrano de Luna D.R. De la presente edición: UNIVERSIDAD DE GUANAJUATO Campus Guanajuato División de Ciencias Sociales y Humanidades Departamento de Educación Lascuráin de Retana núm 5, zona centro, C.P. 36000, Guanajuato, Gto., México. Este libro es el resultado de la estancia posdoctoral que el Dr. Luis Omar Montoya Arias realiza en la Maestría en Artes de la División de Arquitectura, Arte y Diseño, Campus Guanajuato, de la Universidad de Guanajuato; recibe el apoyo de una beca otorgada por el Consejo Nacional de Ciencia y Tecnología (Conacyt). Cuenta con la tutoría académica del Dr. Gabriel Medrano de Luna, profesor-investigador de la División de Ciencias Sociales y Humanidades de la Universidad de Guanajuato, miembro del CAP de la Maestría en Artes y especialista en cultura oral y patrimonio intangible. Diseño de portada: Martha Graciela Piña Pedraza Ilustración de portada: Felipe de Jesús Bonilla Montiel Cuidado de la edición: Flor E. Aguilera Navarrete ISBN: 978-607-441-414-1 Advertencia: ninguna parte del contenido de este ejemplar puede reproducirse, almacenarse o transmitirse de ninguna forma, ni por ningún medio, sea éste electrónico, fotoquímico, mecánico, óptico, de grabación o de fotocopia, ya sea para uso personal o de lucro, sin la previa autorización por escrito de los editores. Impreso y hecho en México • Printed and made in Mexico CONTENIDO INTRODUCCIÓN 11 CAPÍTULO I La coyuntura de 1990 13 CAPÍTULO II El diseño gráfico en la música norteña mexicana 39 CAPÍTULO III El acordeón y sus agentes sociales en México 51 CAPÍTULO IV Las músicas mexicanas durante la dictadura de Augusto Pinochet Ugarte 83 Capítulo V Hablando de música norteña mexicana 101 Capítulo VI Redowa no redova 125 CAPÍTULO VII México-Chile.
    [Show full text]
  • CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio Musical Urbano? Su Permanencia En Tijuana Y Sus Transformaciones Durante La Guerra Contra Las Drogas: 2006-2016
    CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio musical urbano? Su permanencia en Tijuana y sus transformaciones durante la guerra contra las drogas: 2006-2016. Tesis presentada por Pedro Gilberto Pacheco López. Para obtener el grado de MAESTRO EN ESTUDIOS CULTURALES Tijuana, B. C., México 2016 CONSTANCIA DE APROBACIÓN Director de Tesis: Dr. Miguel Olmos Aguilera. Aprobada por el Jurado Examinador: 1. 2. 3. Obviamente a Gilberto y a Roselia: Mi agradecimiento eterno y mayor cariño. A Tania: Porque tú sacrificio lo llevo en mi corazón. Agradecimientos: Al apoyo económico recibido por CONACYT y a El Colef por la preparación recibida. A Adán y Janet por su amistad y por al apoyo desde el inicio y hasta este último momento que cortaron la luz de mi casa. Los vamos a extrañar. A los músicos que me regalaron su tiempo, que me abrieron sus hogares, y confiaron sus recuerdos: Fernando, Rosy, Ángel, Ramón, Beto, Gerardo, Alejandro, Jorge, Alejandro, Taco y Eduardo. Eta tesis no existiría sin ustedes, los recordaré con gran afecto. Resumen. La presente tesis de investigación se inserta dentro de los debates contemporáneos sobre cultura urbana en la frontera norte de México y se resume en tres grandes premisas: la primera es que el corrido y el metal forman parte de dos estructuras musicales de larga duración y cambio lento cuya permanencia es una forma de patrimonio cultural. Para desarrollar esta premisa se elabora una reconstrucción historiográfica desde la irrupción de los géneros musicales en el siglo XIX, pasando a la apropiación por compositores tijuanenses a mediados del siglo XX, hasta llegar al testimonio de primera mano de los músicos contemporáneos.
    [Show full text]
  • Mediación Musical: Aproximación Etnográfica Al Narcocorrido
    Tesis doctoral Mediación musical: Aproximación etnográfica al narcocorrido César Jesús Burgos Dávila Director Dr. Joel Feliu i Samuel-Lajeunesse Doctorat en Psicologia Social Departament de Psicologia Social Facultat de Psicologia Universitat Autònoma de Barcelona Bellaterra, 2012. La tesis doctoral titulada: “Mediación musical: Aproximación etnográfica al narcocorrido” está licenciada por César Jesús Burgos Dávila. Usted tiene el derecho de copiar, modificar y distribuir esta obra siempre y cuando no haga un uso comercial de la misma, indique la autoría y la distribuya bajo las mismas condiciones. Esta obra esta bajo una licencia Attribution- NonCommercial-ShareAlike 3.0 Unported de Creative Commons. Para ver una copia de esta licencia, envie una carta a Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. o visite http://creativecommons.org/licenses/by-nc-sa/3.0 Para citar este trabajo: Burgos, C. (2012). Mediación musical: Aproximación etnográfica al narcocorrido (Tesis Doctoral). Universitat Autònoma de Barcelona, Barcelona. Agradecimientos Al Consejo Nacional de Ciencia y Tecnología (CONACyT) y a la Universidad Autónoma de Sinaloa a través del Programa de Formación de Doctores Jóvenes para el Desarrollo estratégico Institucional, por la ayuda económica recibida para la realización de mis estudios. Al Departament de Psicologia Social de la Universitat Autònoma de Barcelona. A la planta docente, por ser parte fundamental de mi formación. En especial al Dr. Joel Feliu, por aceptar la dirección de la tesis sobre un tema totalmente desconocido para ambos, por su confianza y apoyo durante mis estudios. También agradezco a los evaluadores de las distintas fases del proyecto de investigación, Dra. Maite Martínez, Dra.
    [Show full text]
  • Texas Bandmasters Association 2014 Convention/Clinic
    Selecting Mariachi Literature that is Fun for Both Your Group AND Your Audience CLINICIAN: Rolando Molina DEMONSTRATION GROUP: H. M. King High School Mariachi Del Rey Texas Bandmasters Association 2014 Convention/Clinic 2014 Patron Sponsor JULY 27-30, 2014 HENRY B. GONZALEZ CONVENTION CENTER SAN ANTONIO, TEXAS Selecting Mariachi Literature that is Fun for Both Your Group AND Your Audience Presented at TBA 2014, San Antonio, Texas (Featuring: H. M. King High School, Mariachi Del Rey), Rolando Molina, director Good afternoon, my name is Rolando Molina and I am the Band director and Mariachi director at H.M. King H.S. This is my 45th TBA . I would like to thank TBA and Mr. Mike Brashear for inviting us to come to do this workshop for you today. I am not a Mariachi expert yet, but I have learned quite a bit about teaching Mariachi during the last 15 years and I would like to share some of my experience with you. I have compiled a list of selections that we play or have played throughout our school year. I also included on the list who arranged these selections. My major source for Mariachi arrangements is Mr. David Silva from San Antonio. He has a library of over 300 arrangements. I also use John Vela’s arrangements. His company is Mariachi Unlimited. I also use his nephew, Jaime Vela, as a resource. Jaime is the band director Beeville, Texas and is one of my former students. I also have a good friend that is a very good Mariachi arranger. His name is Jorge Vargas.
    [Show full text]
  • Deal Wedding Playlist - 1/13/2018
    Deal Wedding Playlist - 1/13/2018 Dinner Love, Need and Want You - Patti Labelle Sweet Love - Anita Baker Sabor A Mi - Pedro Lopez Y Su Trio Casablanca The Girl - City and Colour Thinking Out Loud - Ed Sheeran I'll Always Love You - Taylor Dayne Rayando El Sol - Mana Piel Canela - Eydie Gome y Los Panchos Dreaming Of You (Clean) - Selena Halo - Beyonce Always Be My Baby - Mariah Carey Grand Entrances The Next Episode (Instrumental) - Dr. Dre All of the Lights - Kanye Dinner (cont'd) El Reloj - Luis Miguel Fijate Bien - Juanes You're the One (Clean) - SWV So Into You (Clean) - Tamia ft Fabolous Young Blood - The Naked and Famous There Is A Light That Never Goes Out (Intro Clean) - The Smiths Dark Days (Clean) - Local Natives Out Of My League (Clean) - Fitz and The Tantrums I Can Love You (Clean) - Mary J Blige ft Lil' Kim Corazon Espinado - Santana ft Maná I'm Real (Remix) (Intro Clean) - Jennifer Lopez ft Ja Rule I Need A Girl (Clean) - P. Diddy ft Usher & Loon No One (Clean) - Alicia Keys La Chula - Maná What About Us (Intro Clean) - Total ft Timbaland & Missy Elliott Wonderful (Intro Clean) - Ja Rule ft R. Kelly & Ashanti Step In The Name Of Love (Extended) - R. Kelly First Dance / Father/Daughter Deal - First Dance - DJ Jeckyll I'll Be There - The Jackson 5 Dollar Dance I Want It That Way - Backstreet Boys Contigo Aprendi - Pedro Lopez Y Su Trio Casablanca La Gota Fria - Carlos Vives Baby Got Back (Intro Clean) - Sir Mix-A-Lot La Guayaba - Latin Brothers Oye Como Va (Clean) - Santana Dancing La Bomba (Extended) - Azul Azul Gasolina - Daddy Yankee Oye Mi Canto (DJ Randy Remix Explicit) - N.O.R.E., Nina Sky, Big Mato, Daddy Yankee and Gem Star Disco Inferno (Intro Explicit) - 50 Cent Ven Bailalo (Intro Clean) - Angel & Khriz Hypnotize (Intro Explicit) - Notorious B.I.G Return of the Mack (Wicked Mix) (Clean) - Mark Morrison Gin & Juice (Intro Explicit) - Snoop Dogg Only You (Remix) (Intro Clean) - 112 ft Notorious B.I.G.
    [Show full text]
  • Repertorio Grupo Musical Kabbalah MUSICA PARA LA RECEPCION, COMIDA O CENA MUSICA PARA LA RECEPCION, COMIDA O CENA MUSICA TROPICA
    Repertorio Grupo Musical Kabbalah Grupo Musical Kabbala cuenta con un amplio repertorio musical versátil, nacional e internacional, que pone a su disposición, donde encontrará todos los géneros adecuados para cualquier tipo de celebración, siempre interpretados con el rigor que da la academia y la espontaneidad que nos han brindado los años de experiencia. MUSICA PARA LA RECEPCION, COMIDA O CENA MUSICA PARA LA RECEPCION, COMIDA O CENA • A mi manera. • Una mañana. • Moonflower - Santana • Bésame mucho. • Autumn leaves. • Chica de Ipanema. • The way you look tonight - Frank Sinatra. • Fantasy - Earth, Wind & Fire. • I Have Nothing – Whitney Houston. • September - Earth, Wind & Fire • Bruno Mars - Uptown Funk ft • Close to you -The Carpenters. • Unforgettable – Nat King Cole • Corazón Espinado - Maná y Carlos Santana • Me Enamora – Juanes. • Así es la vida – Reyli. • La Chica de Humo – Emmanuel. • Día de Suerte – Alejandra Guzmán. • Equivocada – Thalía. • Que será de ti – Thalía. • Creo en ti – Reik. • Popurrí Jun Gabriel – Pandora. • Vehicle – Chicago. • Feel so good – chuk man Jhony • And I love her • Murmullo Inoportuno • Titanium – Tulisa • Musica Ligera versión Bossanova • Luz de día – Enanitos Verdes • El rey Azul – Emanuel • Colgado en tus manos MUSICA TROPICAL MUSICA CUMBIA Y SALSA • Que nadie sepa mi sufrir - Sonora Dinamita • Que bello - Sonora Dinamita. • La vida es un Carnaval - Celia Cruz. • Los Luchadores - Conjunto África. • Tiene espinas el Rosal – Cañaveral. • No te voy a perdonar – Cañaveral. • Como la flor – Selena. • La Carcacha – Selena. • Baila esta cumbia – Selena. • Vivir Mi Vida - Marc Anthony • Mil Horas – Sonora Dinamita. • ¡Oye! – Sonora Dinamita. • 17 años – Ángeles Azules. • Mis sentimientos – Ángeles Azules. • Todo me gusta de ti - Aarón y su grupo ilusión.
    [Show full text]
  • The Cross-Border Cult of Jesús Malverde (19Th-21St Centuries)
    FRONTERA NORTE VOL. 31, ART. 7, 2019 http://dx.doi.org/10.33679/rfn.v1i1.2029 Blessed are you Among Bandits: The Cross-Border Cult of Jesús Malverde (19th-21st centuries) Bendito tú eres entre todos los bandidos: el culto transfronterizo a Jesús Malverde (siglos XIX-XXI) Carolina da Cunha Rocha1 ABSTRACT The purpose of this article is to analyze the religious aspect of the drug trafficking culture, in particular, the devotion to the popular saint Jesus Malverde in Mexico between the 19th and 21st centuries. The guiding hypothesis is that the worship of this saint has been resignified since the 1970s as a response to a stronger repressive apparatus against drugs due to the increase in drug use in the United States. The Malverdian cult was adopted by the drug trafficking culture in the most ostensive way, and it has crossed geographic and cultural borders. Keywords: 1. Jesús Malverde, 2. drug trafficking, 3. religiosity, 4. northern Mexico, 5. United States. RESUMEN El objeto de este artículo es analizar el aspecto de la religiosidad dentro de la cultura del narcotráfico, en especial, la devoción al santo popular Jesús Malverde en México, entre los siglos XIX y XXI. La hipótesis sostenida por este trabajo es que, a partir de la década de 1970, con el incremento del aparato represivo al combate a las drogas y el aumento del consumo por parte de Estados Unidos, la devoción al santo pasó por una resignificación. El culto a Malverde fue tanto adoptado por la cultura del narcotráfico del modo más ostensivo, como cruzó fronteras geográficas y culturales.
    [Show full text]
  • Tesis Presentada Por
    LAS PERRADAS DE NOGALES: UNA APROXIMACIÓN SOCIOCULTURAL A LA MÚSICA DE BANDA SINALOENSE EN LOS RITUALES FESTIVOS DE LA FRONTERA SONORA-ARIZONA Tesis presentada por Igael González Sánchez para obtener el grado de MAESTRO EN ESTUDIOS SOCIOCULTURALES Tijuana, B. C., México 2010 A mi morena y a mis hijos; Por compartir conmigo la fiesta de la vida In Memoriam: Don Carlos González Aguilar (1922-2008) Alberto Romero Morackis (1959-2008) Agradecimientos : La elaboración de este documento y la culminación de mis estudios de maestría no hubieran sido posibles sin el invaluable apoyo de CONACyT, de El Colef y de la U.A.B.C. Así como el invaluable conocimiento transmitido por parte de la planta docente de El Colef. Agradezco profundamente a mi familia: a mi morena y a mis hijos, por su paciencia y apoyo en todo momento, por compartir conmigo su sonrisa y la experiencia de vivir Tijuana y El Colef. Ustedes han sido mi fuente de inspiración, mi motivación y mi razón de superarme cada día. Gracias morena por enseñarme a vivir cada día como si fuera el último. Carlos y Verónica, mi padre y mi madre, gracias por todo. En El Colef Agradezco a Dr. Luis Escala Rabadán en la coordinación de la MESC, e Irene Becerra, siempre al pendiente de cualquier detalle; al personal de la Biblioteca por todo el apoyo recibido; A Nora Bringas, Djamel Toudert y Laura Velasco, por echarme la mano cuando mi salud lo requirió; a Márgara de León y el equipo de servicios escolares; A René Zenteno por su apoyo para la realización de trabajo de campo y motivación constante; a todos aquellos que en la convivencia cotidiana me motivaron, me alegraron el día, me ayudaron a cargar a un chamaco o una mochila, me dieron un aventón desde la caseta, me prestaron un dinero o compartieron conmigo los sagrados alimentos.
    [Show full text]
  • The KARAOKE Channel Song List
    11/17/2016 The KARAOKE Channel Song list Print this List ... The KARAOKE Channel Song list Show: All Genres, All Languages, All Eras Sort By: Alphabet Song Title In The Style Of Genre Year Language Dur. 1, 2, 3, 4 Plain White T's Pop 2008 English 3:14 R&B/Hip- 1, 2 Step (Duet) Ciara feat. Missy Elliott 2004 English 3:23 Hop #1 Crush Garbage Rock 1997 English 4:46 R&B/Hip- #1 (Radio Version) Nelly 2001 English 4:09 Hop 10 Days Late Third Eye Blind Rock 2000 English 3:07 100% Chance Of Rain Gary Morris Country 1986 English 4:00 R&B/Hip- 100% Pure Love Crystal Waters 1994 English 3:09 Hop 100 Years Five for Fighting Pop 2004 English 3:58 11 Cassadee Pope Country 2013 English 3:48 1-2-3 Gloria Estefan Pop 1988 English 4:20 1500 Miles Éric Lapointe Rock 2008 French 3:20 16th Avenue Lacy J. Dalton Country 1982 English 3:16 17 Cross Canadian Ragweed Country 2002 English 5:16 18 And Life Skid Row Rock 1989 English 3:47 18 Yellow Roses Bobby Darin Pop 1963 English 2:13 19 Somethin' Mark Wills Country 2003 English 3:14 1969 Keith Stegall Country 1996 English 3:22 1982 Randy Travis Country 1986 English 2:56 1985 Bowling for Soup Rock 2004 English 3:15 1999 The Wilkinsons Country 2000 English 3:25 2 Hearts Kylie Minogue Pop 2007 English 2:51 R&B/Hip- 21 Questions 50 Cent feat. Nate Dogg 2003 English 3:54 Hop 22 Taylor Swift Pop 2013 English 3:47 23 décembre Beau Dommage Holiday 1974 French 2:14 Mike WiLL Made-It feat.
    [Show full text]