DOCSLIB.ORG

POLA-THESIS-2016.Pdf (1.583Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
POLA-THESIS-2016.Pdf (1.583Mb) Female sonorities: Theoretical inquiries on the feminine voice and the musical experience; a study of three women. by Marusia Pola Mayorga, M.M A Thesis In Musicology Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved Dr. Christopher J. Smith Chair of Committee Dr. Lauryn Salazar Dr. Peter Martens Mark Sheridan Dean of the Graduate School August, 2016 Copyright 2016, Marusia Pola Mayorga Texas Tech University, Marusia Pola Mayorga, August, 2016 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my beloved family and friends for their continuous support and love. My most sincere thanks also goes to my wonderful mentor and main advisor, Dr. Christopher Smith. His wonderful guidance helped me throughout the time of research and writing and I will always cherish his wisdoms and life lessons. Besides my advisor, I would like to thank the rest of my thesis committee: Dr. Salazar and Dr. Martens and their wonderful encouragement and insightful comments. I also want to thank to all Texas Tech School of Music faculty for their guidance and teaching. ii Texas Tech University, Marusia Pola Mayorga, August, 2016 TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................... ii ABSTRACT .......................................................................................................... iv I. INTRODUCTION: SEARCHING FOR THE FEMININE VOICE ............ 1 Review of Related Research ....................................................................... 2 Methodology and Materials ........................................................................ 5 II. GENDER PERFORMATIVITY IN RANCHERO MEXICAN MUSIC: CHAVELA VARGAS AND THE ‘ETERNAL FEMININE’ ........................ 10 Framing cultural models ........................................................................... 14 Music performativity and feminist agendas in Vargas’s reinterpretation of ranchero music. ......................................................................................... 16 III. MALDITO!!: MUSICAL LYRICISM AND THE FEMININE EMBODIMENT OF TRANSGRESSION IN A POST-PUNK RIOT GRRRL ............................................................................................................... 34 Setting Context: Rocking’ in Mexico ....................................................... 35 Jessy Bulbo: The last Mexican riot grrrl. .................................................. 37 Maldito!!: Transgressive poetics and musical narratives .......................... 42 Changemonium: The search for a Mexican futuristic sound .................... 48 IV. THE OTHER WOMEN: THE FEMININE VOICE OF LEIKA MOCHAN ............................................................................................................ 59 Kaleidojismos: Sound kaleidcospe and musical subjects. ........................ 64 Challenging archetypes: The two women inside Leika. ........................... 72 V. CONCLUSION AND FINAL THOUGHTS ................................................ 84 BIBLIOGRAPHY ............................................................................................... 91 iii Texas Tech University, Marusia Pola Mayorga, August, 2016 ABSTRACT Patriarchal ideologies and attitudes have obscured, concealed, and devalued women’s music over centuries. However important or vital their engagement, women’s role in music has been submitted to a historical process of invisibility. Either as composers, patrons and teachers, women role in Music history is still going through a historical revisionism that aims to proclaim their historical place within the musical history. Regarding the significant efforts, women creative role in music is still regarded as something different that deals with the problems of misrepresentation and notions of ‘otherness’. This problematic approach to women-in music raises many questions relevant to my own research and my own role within music. I seek an approach to the study of women in music as a history within which female education, gender power relations and domestication converge, raising issues of colonialism and gender empowering. By looking at female musical bodies as recipients of memory, capable of multiple incarnations, I design an analytical model of the nuances and cultural and creative implications surrounding women’s music work. I aim for a model of female musical identity proceeding from a non-prejudice theoretical frame that considers the multiple bodies implicated in the creative process of female performers and artists. By looking at the multiple strategies and socio- cultural frames used by selected female musicians I developed a scholarly perspective which can examine the creative process to reveal context, content and intention. iv Texas Tech University, Marusia Pola Mayorga, August, 2016 CHAPTER I INTRODUCTION: SEARCHING FOR THE FEMININE VOICE 1991’s Feminine Endings by Susan McClary was one of the first full-length titles in the musicological literature to directly address problematics regarding gender and sexuality.1 Twenty-four years later, McClary’s critical approach still resonates strongly in our field. However, twenty-four years later, her call for a unique scholarly approach capable of addressing the work of women within a post-colonial non- patriarchal discourse remains unanswered. Patriarchal ideologies and attitudes have obscured, concealed, and devalued women’s music over centuries. However important or vital their engagement, women’s role in music has been submitted to a historical process of invisibility. Whether as composers, patrons and teachers, women’s role in music history is still going through a historical revisionism that seeks to more accurately understand their historical place within music. Women’s creative role in music is still regarded as an area of difference, one that deals with problematics of misrepresentation and notions of ‘otherness’. Compilations like the New Historical Anthology of Music by Women issued by Indiana University Press in 2004 or courses on women in music are certainly legitimate efforts to address these issues. However, the fundamental problem of considering women’s musical work as something else outside the ‘canon’ and standard 1 Susan McClary, Feminine Endings: Music, Gender and Sexuality (Minneapolis: University of Minnesota Press, 1991). 1 Texas Tech University, Marusia Pola Mayorga, August, 2016 curriculum still reveals elements of patriarchal ideologies.2 The study of women and music is still taught as a “special topic,” beyond, or separate from, the mainstream curriculum. This “othering” approach to women in music raises questions relevant to my own research and my own role within music. I seek an approach to the study of women in music as a history within which female education, gender power relations, and domestication converge, raising issues of colonialism and gender empowerment. I wish to build a discourse through which analysis of a female embodiment of the creative process can illuminate women’s musical history and artistic experiences. By looking at female musical bodies as recipients of memory, capable of multiple incarnations, I propose different theoretical models of the nuances and cultural and creative implications surrounding women’s music work. I seek a non-prejudiced theoretical frame that considers the multiple musical bodies implicated in the creative process of female performers and artists. In this document I provide a close reading of the work of three different Mexican artists and unfold some of the multiple musical strategies and socio-cultural frames used by them, in order to develop a scholarly perspective which can reveal context, content, and intention. Review of Related Research Feminist critical approaches greatly enlivened the discipline of musicology in the 1970s, when scholars produced seminal research critiques of women’s role in 2 James R Briscoe, ed. New Historical Anthology of Music by Women, (Bloomington: Indiana University Press, 2004). 2 Texas Tech University, Marusia Pola Mayorga, August, 2016 music history.3 Susan McClary and Marcia J. Citron are two who have guided musicological work in this direction.4 Works like Gender and the Musical Canon (1993) and Feminine Endings (1991) open the path to a more engaged research in which the history of women and the “feminine” in music is not forgotten.5 Both are influential works in music literature and their theoretical frames and multi-disciplinary approaches greatly impact my own work. The search for a true ‘feminine voice’, one that is able to explain and reflect, from a non-patriarchal basis, the music and artistic process of female musicians is one of the research premises fundamental to my own work. Queering the Pitch: The New Gay and Lesbian Musicology (1994), edited by Philip Brett, Elizabeth Wood and Gary C. Thomas, is another seminal piece of scholarly literature: the first collection of gay and lesbian critical theory in music and musicology.6 The work problematizes music analysis through a gendered approach which permits discussion of notions of sexuality and sexual identity. Under this schema, it is possible to identify musical agency and political intention by looking at how gender construction and identity is articulated through a musical discourse, another central topic of my research. Towards a Twenty-First-Century Feminist Politics of Music is a more recent work, published in 2010, that proposes a new way of
Load more

Recommended publications
  • Mexican Sentimiento and Gender Politics A
    UNIVERSITY OF CALIFORNIA Los Angeles Corporealities of Feeling: Mexican Sentimiento and Gender Politics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Lorena Alvarado 2012 © Copyright by Lorena Alvarado 2012 ABSTRACT OF THE DISSERTATION Corporealities of Feeling: Mexican Sentimiento and Gender Politics by Lorena Alvarado Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2011 Professor Alicia Arrizón, co-chair Professor Susan Leigh Foster, co-chair This dissertation examines the cultural and political significance of sentimiento, the emotionally charged delivery of song in ranchera genre musical performance. Briefly stated, sentimiento entails a singer’s fervent portrayal of emotions, including heartache, yearning, and hope, a skillfully achieved depiction that incites extraordinary communication between artist and audience. Adopting a feminist perspective, my work is attentive to the elements of nationalism, gender and sexuality connected to the performance of sentimiento, especially considering the genre’s historic association with patriotism and hypermasculinity. I trace the logic that associates representations of feeling with nation-based pathology and feminine emotional excess and deposits this stigmatized surplus of affect onto the singing body, particularly that of the mexicana female singing body. In this context, sentimiento is represented in film, promotional material, and other mediating devices as a bodily inscription of personal and gendered tragedy, ii as the manifestation of exotic suffering, or as an ancestral and racial condition of melancholy. I examine the work of three ranchera performers that corroborate these claims: Lucha Reyes (1906-1944), Chavela Vargas (1919) and Lila Downs (1964).
    [Show full text]
  • The Queer Time of Spanglish, Family, and Latinx Futurity in Santa A
    UNIVERSITY OF CALIFORNIA Santa Barbara Latinx Temporalities: The Queer Time of Spanglish, Family, and Latinx Futurity in Santa Ana, California, 2014-2017 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Chicana and Chicano Studies by Juan Sebastian Ferrada Committee in charge: Professor Dolores Inés Casillas, Chair Professor Ellie D. Hernández Professor Mary Bucholtz Professor Carlos U. Decena, Rutgers University March 2019 The dissertation of Juan Sebastian Ferrada is approved. _____________________________________________ Ellie D. Hernández _____________________________________________ Mary Bucholtz _____________________________________________ Carlos U. Decena _____________________________________________ Dolores Inés Casillas, Committee Chair December 2018 ii Latinx Temporalities: The Queer Time of Spanglish, Family, and Latinx Futurity in Santa Ana, California, 2014-2017 Copyright © 2018 by Juan Sebastian Ferrada iii DEDICATION Para mis abuelitas Veronica Ulloa, Camerina De la Torre, y para mi abuelito Jesús De la Torre, QEPD. iv ACKNOLWEDGEMENTS I am fortunate to have been trained and mentored by some of the boldest, most brilliant scholars and teachers who served as my committee. My committee chair and advisor—Inés Casillas, words are not enough to explain the gratitude I feel toward you. I hope to be such an integral part of my student’s intellectual (and personal) formation as you have been, and continue to be for me. Thank you for your patience with me running on queer—no, Latinx—time and for encouraging me to take this project as far as I could go. The rest of my committee members, Ellie Hernández, Mary Bucholtz, Carlos Decena—I learned so much from each of you and your work.
    [Show full text]
  • The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City Emily J. Williamson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2673 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 EMILY WILLIAMSON All Rights Reserved ii THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Philosophy. ________________ ___________________________________ Date Jonathan Shannon Chair of Examining Committee ________________ ___________________________________ Date Norman Carey Executive Officer Supervisory Committee: Peter Manuel Jane Sugarman Alyshia Gálvez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City by Emily J. Williamson Advisor: Peter Manuel This dissertation analyzes the ways son jarocho (the Mexican regional music, dance, and poetic tradition) and the fandango (the son jarocho communitarian musical celebration), have been used as community-building tools among Mexican and non-Mexican musicians in New York City.
    [Show full text]
  • El Circo De Salum Pág
    Ciudad de México, segunda quincena de julio de 2020 Número 195 $5 pesos LA SEED NO PAGA A PROFESORES INTERINOS PÁG. 5 EL CIRCO DE SALUM PÁG. 4 HAY MÁS MUJERES BISEXUALES QUE HOMBRES PÁG. 6 editorial umillante y sin pena ni gloria fue la visita que el presidente Diplomacia, Salud y extradiciones: los fracasos de AMLO Hde México, Andrés Manuel Ló- pez Obrador, realizó a su homólogo estadounidense, el supremacista Do- nald Trump, tanto que los principales medios de comunicación del vecino país del norte ni siquiera destacaron una pequeña nota del suceso en sus portadas impresas y en sus portales digitales. En contraste, los medios mexicanos pagados por el gobierno federal inten- taron hacer de este triste espectáculo el gran acontecimiento histórico de los últimos tiempos. En realidad, el viaje del mandatario tabasqueño a Washington no fue más Tomás Zerón, al igual que a que un acto electorero para intentar Emilio Lozoya, el gobierno de levantar ante la comunidad hispana la López Obrador le allanó su deteriorada imagen del presidente ra- cista Donald Trump, notoriamente re- fuga a Canadá. basado por su oponente, el demócrata Joe Biden, quien ya se perfila como el la Agencia de Investigación Criminal próximo sucesor del desequilibrado de la Procuraduría General de la Re- magnate republicano. El presidente cuatrotero Andrés Manuel López Obrador se convirtió pública en el sexenio de Enrique Peña Este error diplomático cometido por en vil instrumento electorero del mandatario racista estadouniden- Nieto, Tomás Zerón, implicado en el el presidente López Obrador al visi- genocidio de los 43 estudiantes de tar al mandatario republicano Donald se, Donald Trump.
    [Show full text]
  • Los Dilemas De La Salvaguardia a Diez Años De La Convención Para La Salvaguardia Del Patrimonio Cultural Inmaterial
    TERCERA ÉPOCA ABRIL-JUNIO DE 2014 2 campo de diario Los dilemas de la salvaguardia A diez años de la Convención para la Salvaguardia del Patrimonio Cultural Inmaterial 2 COORDINACIÓN NACIONAL DE ANTROPOLOGÍA / INSTITUTO NACIONAL DE ANTROPOLOGÍA E HISTORIA Consejo Nacional para la Cultura y las Artes Diario de Campo Rafael Tovar y de Teresa Tercera época, año 1, núm. 2, abril-junio de 2014 PRESIDENTE DIRECTOR Instituto Nacional de Antropología e Historia Diego Prieto Hernández María Teresa Franco DIRECTORA GENERAL CONSEJO EDITORIAL Saúl Morales Lara César Moheno José Antonio Pompa y Padilla SECRETARIO TÉCNICO Alfonso Barquín Cendejas Cuauhtémoc Velasco Ávila José Francisco Lujano Torres Citlali Quecha Reyna SECRETARIO ADMINISTRATIVO Marco Antonio Rodríguez Espinosa Diego Prieto Hernández COORDINACIÓN ACADÉMICA COORDINADOR NACIONAL DE ANTROPOLOGÍA Alfonso Barquín Cendejas Leticia Perlasca Núñez EDITOR COORDINADORA NACIONAL DE DIFUSIÓN José Luis Martínez Maldonado Benigno Casas ASISTENTES DE EDICIÓN SUBDIRECTOR DE PUBLICACIONES PERIÓDICAS, CND Óscar de Pablo Hammeken Sergio Ramírez Caloca AGRADECIMIENTOS A Ixel Hernández León, Jorge Zubillaga y Humberto González DISEÑO Y CUIDADO EDITORIAL por facilitarnos el material fotográfico que integra la sección En Raccorta imágenes de este número. CORRECCIÓN IMAGEN DE PORTADA Héctor Siever y Arcelia Rayón Jorge Zubillaga, de Enfoquelab COMUNICACIÓN VISUAL VIÑETAS Paola Ascencio Zepeda Sonia Lombardo de Ruiz (investigación), Animales prehispánicos, México, Archivo General de la Nación (Información gráfica), 1979. APOYO SECRETARIAL Alejandra Turcio Chávez Elizabeth Aguilar Segura ENVÍO A ZONA METROPOLITANA Y ESTADOS Marco A. Campos, Fidencio Castro, Juan Cabrera, Concepción Corona, Omar González, Graciela Moncada y Gilberto Pérez, personal de la Coordinación Nacional de Antropología Diario de Campo, tercera época, año 1, núm.
    [Show full text]
  • Musica Nortena
    Introduction uring the summer of 1996, Roberto M., a Tejano (Texas-Mexican) friend who was an arts presenter in San Antonio, asked me to take Dhim to a dance featuring norteña (northern Mexican) music. Having grown up in the city, he told me about the many tardeadas (afternoon dances, usually held on Sundays), weddings, and community festivals, where he often danced to local Texas-Mexican conjunto groups. But he had never been to a norteña dance and had paid relatively little attention to the music. Tejano conjunto and norteña groups feature the same instrumentation: a three-row button accordion; a bajo sexto, which has twelve strings with six double courses; an electric bass; and drums. Despite the similarity in instruments, the communities who listen to these genres in South Texas are very distinct. Roberto, a fourth-generation Texas-Mexican who had worked for over twelve years promoting “Mexican American” culture and arts in the city, told me he felt somewhat guilty that he knew very little about the Mexican immigrant population, which seemed more connected with its Mexican roots than he was and spoke better Spanish than he did. “What do I really know about Mexico?” I remember him saying to me as we drove to the outskirts of the city. “My family, my heritage is from there, but I’m a Texan.” I took Roberto to Mi Ranchito (My Little Ranch), a run-down club with a small dance fl oor on the outskirts of the city. It was across from a fl ea market that I frequented because it had more Mexican goods than most.
    [Show full text]
  • Unapologetic Queer Sexualities in Mexican and Latinx Melodrama
    UNIVERSITY OF CALIFORNIA RIVERSIDE Sácala (del closet): Unapologetic Queer Sexualities in Mexican and Latinx Melodrama A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Oscar Rivera September 2020 Dissertation Committee: Dr. Freya Schiwy, Co-Chairperson Dr. Ivan E. Aguirre Darancou, Co-Chairperson Dr. Alessandro Fornazzari Dr. Richard T. Rodriguez Copyright by Oscar Rivera 2020 The Dissertation of Oscar Rivera is approved: Co-Chairperson Co-Chairperson University of California, Riverside Acknowledgements First and for most, I thank the inmenso apoyo granted by Dr. Freya Schiwy who allowed and stimulated my pursuit of jotería when I, naively, was afraid/embarrassed to engage with explicit sexuality in an academic setting. Her continuous supportive embrace, availability, constant chats that extended beyond office hours and gracious patience has made my career at the University of California, Riverside an unforgettable and marvelous experience. I will forever be indebted to her por cambiar mi mundo by teaching myself (and cohort) to question everything we took for granted. I would like to thank my other professors who have profoundly shaped my knowledge and allowed my queer readings and essays in their classes even when that was not part of their syllabus, for it permitted a remarkable growth opportunity on my part: Dr. Marta Hernández- Salván for her always-challenging classes; Dr. Alessandro Fornazzari for his reassurance and recommendation of Pedro Lemebel (the inspiration of my dissertation); I am also eternally grateful for Dr. Iván E. Aguirre Darancou for his patience in reading several versions of my chapters and the excellent reading recommendations; Dr.
    [Show full text]
  • Paez Cendrero Manuel TFM.Pdf
    Trabajo de fin de máster en Investigación Antropológica y sus Aplicaciones. Manuel Páez Cendrero. Dirigido por Julián López García. Septiembre 2020. Departamento de Antropología Social y Cultural. Facultad de Filosofía. UNED 1 ÍNDICE Tema de estudio……………………………………………………………………………………………………..…..p. 3 Elección del tema…………………………………………………………………………………………………..…….p. 5 Agradecimientos……………………………………………………………………………………………………..…..p. 7 1. Metodología……………………………………………………………………………………………………..……..p. 8 2. Marco Teórico………………………………………………………………………………………………………....p. 12 3. Figura del Sonidero………………………………………………………………………………………………..…p. 17 3.1. Etnohistoria Sonideros……………………………………………………………………………...p. 21 3.2. Música Tropical en México……………………………………………………………………..…p. 27 3.3. Cumbia sonidera, cumbia de clase…………………………………………………………....p. 30 3.4. Tipos, Apropiaciones y Usos………………………………………………………………….…..p. 32 3.5. Viajes de ida y vuelta…………………………………………………………………………….…..p. 36 3.6. Sonideros en Chicago…………………………………………………………………………….…..p. 40 4. Relaciones sociales en el territorio sonidero………………………………………………………….….p. 46 4.1. Tepito, barrio sonidero………………………………………………………………………….…..p. 46 4.2. El baile en Tepito…………………………………………………………………………………….….p. 50 4.3. Un baile sonidero…………………………………………………………………………………….…p. 52 4.4. Metonimia, el territorio creado……………………………………………………………….…p. 54 4.5. Usos y posibilidades……………………………………………………………………………………p. 58 4.6. Baile, Lirica, imaginarios……………………………………………………………………………..p. 61 4.7. Usos transnacionales del territorio sonidero………………………………………………p. 64 5.
    [Show full text]
  • Uncorrected Proof
    18 Almodóvar ’ s Global Musical Marketplace Kathleen M. Vernon On December 11, 2007 Pedro Almodóvar convened a news conference at the Reina Sofía Museum in Madrid to celebrate the release of the double CD B.S.O. Almodóvar (Banda Sonora Original, original film score) during which he also announced the beginning of shooting for his seventeenth feature film, Los abrazos rotos / Broken Embraces (2009). Lest his audience fail to have noted the consistent imbrication of music and cinema, song and story in his body of work, the director called attention to this linkage in his words of introduction: “Las canciones en mis películas son parte esencial del guión . [T]ienen una función drámatica y narrativa, son tan descriptivas como los colores, la luz, los decorados, o los diálogos” (The songs in my films are an essential part of the script. They have a dramatic and narrative function; they are as descriptive as the use of color, lighting, scenery or dialogue) (Almodóvar 2007 ). Rather than attempting to illustrate the accuracy of these comments, the goal of this chapter is to explore the global contours of the texts and contexts of the larger Almodovarian creative universe, focusing less on the films themselves than on what we might call the Almodóvar discography. Thus the Almodóvar I propose to study is not the film director contemporary of a Lars von Trier, Quentin Tarantino or Gus Van Sant but instead the musician-producer- transcultural impresario whose fellow practitioners are Ry Cooder, Paul Simon and David Byrne or even Almodóvar ’ s own collaborator, Caetano Veloso. This model of the cultural entrepreneur also recalls the longstanding comparisons between Almodóvar and Andy Warhol, who in his multiple roles of “painter and sculptor, rock promoter, film producer, advertiser, starmaker and stargazer” is described by Juan A.
    [Show full text]
  • Obituary: David Mcallester Attracting Attention As the First Female World Dance Alliance-Americas
    SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006 Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge.
    [Show full text]
  • 1 Regional Mexican Music the University of Texas at El Paso CHIC
    1 Regional Mexican Music The University of Texas at El Paso CHIC 4350/MUSL 3329 Fall, 2020 ONLINE (synchronous), Monday and Wednesdays 12:00-1:20 pm (MT) Instructor: Juan David Rubio Restrepo ​ Office hours: Tuesdays 11:00-1:00 pm (MT), via Zoom ​ Course description This course offers a wide variety of music practices and expressive cultures emanating/taking place in Mexico and the U.S.-Mexico borderland. Designed to engage students in the Chicano Studies Program, the Department of Music, and across the Humanities and Social Sciences, this course is decidedly interdisciplinary. We will critically engage with issues of race, ethnicity, gender, sexuality, media, and trans/nationalism by focusing on specific music practices and artists. We will cross the border often and cover musics that go from the “folkloric” to the “popular,” the nationalistic and the “regional,” and the local to the transnational. Student participation is expected. We will make an emphasis on developing critical reading and writing skills via weekly readings and semi-weekly writing assignments. The structure for the final assignment may be modeled after the student’s interests and it could take the form of a piece of scholarly writing or a podcast project. Course Objectives At the end of this course, students will: o Have a holistic view of the wide range of musics emanating/taking place in Mexico and the U.S.-Mexico region o Develop basic listening skills in regards to these musics o Understand the sociopolitical dynamics that shape these music practices o Critically approach the role music practices play in processes of subjectivation, interpolation, and resistance o Think critically and inter-disciplinarily through expressive cultures o Be able to articulate these ideas in writing and other audio/visual media Course materials No text book is required for this course.
    [Show full text]
  • The Latin American Queer Aesthetics of El Bolereo
    Canadian Journal of Latin American and Caribbean Studies ISSN: 0826-3663 (Print) 2333-1461 (Online) Journal homepage: https://www.tandfonline.com/loi/rclc20 The Latin American Queer Aesthetics of El Bolereo Roberto Strongman To cite this article: Roberto Strongman (2007) The Latin American Queer Aesthetics of El Bolereo, Canadian Journal of Latin American and Caribbean Studies, 32:64, 39-78, DOI: 10.1080/08263663.2007.10816927 To link to this article: https://doi.org/10.1080/08263663.2007.10816927 Published online: 07 May 2014. Submit your article to this journal Article views: 44 View related articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rclc20 THE LATIN AMERICAN QUEER AESTHETICS OF EL BOLEREO ROBERTOSTRONGMAN University of Califomia, Santa Barbara Abstract. This article assembles a queer interpretive apparatus facilitating our examination of the non-heteronormative poli tics of various la te 20th-century cultural products indebted to the Hispanie Caribbean musical genre of the Bolero. It pro vides a cri ti cal analysis of the history of the Bolero in order to argue that this musical genre is supported by an underlying queer aesthetic that exposes gendered and sexual identities as constructed. The essay proposes that naming this rhetorical tool Bolereo highlights its presence in musical, literary, and filmic discourses that may not otherwise be perceived as resisting compul­ sory heteropatriarchy. The essay foments the view that Bolereo functions as a systemic anti-hegemonic aesthetic movement through a hermeneutic analysis of songs performed by Eydie Gormé, Tofia La Negra, and Chavela Vargas; novels by José Donoso and Manuel Puig; and mo vies by Pedro Almodovar and Arturo Ripstein.
    [Show full text]