Fiesta Mexicana
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La Uirhinkua De Ahuiran. Simbología Y Sonoridad Ritual En Una Comunidad P’Urhépecha
El Colegio de Michoacán, A. C. Doctorado en Ciencias Humanas Especialidad en Estudio de las Tradiciones La uirhinkua de Ahuiran. Simbología y sonoridad ritual en una comunidad p’urhépecha Tesis que para obtener el grado de Doctor en Ciencias Humanas en el área de Estudio de las Tradiciones Que presenta: José Rafael Rodríguez López Director: Dr. Johannes H. C. Roskamp Lectores: Dr. Jorge Arturo Chamorro Escalante Dr. Alejandro Martínez de la Rosa Dr. Pedro Márquez Joaquín Zamora, Michoacán, abril de 2018 El Colegio de Michoacán A. C. Uirhinkua. Relación de Michoacán. Fragmento, f. 135v. Copyright © Patrimonio nacional. Alcalá, 2001. Facsímil. Foto: Rafael Rodríguez. La uirhinkua de Ahuiran. Simbología y sonoridad ritual en una comunidad p’urhépecha José Rafael Rodríguez López Abril 2018 2 índice Resumen / Abstract... 10. Agradecimientos... 13. Introducción... 15. I. Presentación del tema... 15. II. Panorama de los estudios sobre la música tradicional indígena y mestiza de Michoacán... 17. III. Estudios realizados sobre la música p’urhépecha que abordan a la uirhinkua y Ahuiran en su contexto sociocultural... 25. IV. La uirhinkua y el teponaztli en otras comunidades indígenas de Michoacán... 46. V. Planteamiento... 59. VI. Preguntas rectoras... 60. Vil. Objetivos... 61. VIII. Hipótesis... 62. IX. Marco teórico y conceptual... 62. IX. 1. Conceptos y definiciones utilizados... 62. IX. 2. Marco teórico... 88. X. Contenido capitular... 98. 3 Capítulo 1. Antecedentes históricos de la región y la comunidad de San Mateo Ahuiran... 103. 1.1. Antecedentes prehispánicos... 103. 1.1.1. Religión p’urhépecha... 103. 1.1.2. El agua y la lluvia en la religión p’urhépecha.. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Teacher Resource Guide Prepared by Melissa Bergstrom Edited by Kimberly D
Teacher Resource Guide Prepared by Melissa Bergstrom Edited by Kimberly D. Meisten, Amanda Timmer, Mary Ann Aufderheide, and G. Phillip Shoultz, III Designed by Katryn Conlin (dakotastreetdesign.com) Special Thanks to: VocalEssence ¡Cantaré! Cultural Advisory Committee— Roma Calatayud-Stocks (Chair) Elia Bruggeman Uri Camarena Martha Driessen Michelle Eng Alberto Fierro Ana Luisa Fajer Flores Magdalena Loza Flores José González Mara Garcia Kaplan Gustavo Lira Carlos Lopez Maru Alvarez MacWilliams José (Pepe) Martin Gloria Perez R. Craig Shulstad Sandra L. Vargas Jesús Villaseñor Nathan Wolf Christian Zepeda Nyssa Brown Rodrigo Cadet Unisys Judy Bornetun, Scott Vogel Katie Villaseñor Teacher Resource Guide Table of Contents Part 1: Overview of VocalEssence ¡Cantaré! Program ........................................................... 4 About VocalEssence ................................................................................................................... 4 Overview of VocalEssence ¡Cantaré! ..................................................................................... 7 Uses for this Resource Guide ................................................................................................... 8 VocalEssence Music Press ......................................................................................................... 9 Part 2: Getting to Know Mexico .................................................................................................10 Map of Mexico ..........................................................................................................................10 -
J. Arturo Chamorro Escalante MARIACHI ANTIGUO, JARABE Y SON 2/1/07, 12:17 PM SÍMBOLOS MARIACHI ANTIGUO, J
JORGE ARTURO CHA- MORRO ESCALANTE J. Arturo Chamorro Escalante es doctor en etnomu- ara comprender el mariachi en sus múltiples dimensiones, es preci- sicología por la Uni- MARIACHI ANTIGUO, P so mirar y reconocer sus facetas como práctica social, religiosa o versidad de Texas. Ac- simbólica; sus significados sociales; su vinculación con el mundo del es- JARABE Y SON tualmente es Profesor- El pueblo jalisciense danza al son de pectáculo y las tradiciones inventadas en el terreno del mal entendido SÍMBOLOS COMPARTIDOS Y TRADICIÓN MUSICAL Investigador del Centro Universitario de EN LAS IDENTIDADES JALISCIENSES cuerdas, vientos y tambores; pinta con Arte, Arquitectura y Diseño de la Univer- baile folclórico; su variada dotación de instrumentos que nos hacen en- esos colores que la luz del sol matiza se- sidad de Guadalajara, donde fundó y co- tender una fusión de conceptos sonoros al servicio del arreglo musical; gún su curso por el cielo; crea conoce- ordina la Maestría en Ciencias Musica- su modernización en sonido e imagen; sus profundas raíces en la vida doras y anecdóticas expresiones en su les en el área de etnomusicología y el social y religiosa campesina de donde surgen las categorías regionales de lenguaje; cocina deliciosos platillos sur- cuerpo académico de arte, comunica- sus géneros como el jarabe, el son serrano, el son abajeño, el son alteño, gidos de su entorno ecológico, cree y re- ción y cultura. Es miembro del Semina- el son de tarima, las canciones y alabanzas a las vírgenes regionales; la crea leyendas inauditas que son parte de rio de Cultura Mexicana Capítulo Gua- transnacionalización del ensamble y su proceso de evolución, que se nuestra historia; juega y se divierte de dalajara, del Seminario Permanente de mil e inimaginables maneras; elabora mueve entre identidad, símbolo y negocio. -
Escritos De Un Náufrago.Indd
Esta obra se encuentra disponible en Acceso Abierto para copiarse, distribuirse y transmitirse con propósitos no comerciales. Todas las formas de reproducción, adaptación y/o traducción por medios mecánicos o electrónicos deberán indicar como fuente de origen a la obra y su(s) autor(es). Se debe obtener autorización de la Universidad Veracruzana para cualquier uso comercial. La persona o institución que distorsione, mutile o modifique el contenido de la obra será responsable por las acciones legales que genere e indemnizará a la Universidad Veracruzana por cualquier obligación que surja conforme a la legislación aplicable. ESCRITOS DE UN NÁUFRAGO HABITUAL ENSAYO eescritosscritos ddee unun náufrago.inddnáufrago.indd 3 330/07/20100/07/2010 12:24:0612:24:06 p.m.p.m. UNIVERSIDAD VERACRUZANA Raúl Arias Lovillo Rector Porfirio Carrillo Castilla Secretario Académico Víctor Aguilar Pizarro Secretario de Administración y Finanzas Agustín del Moral Tejeda Director General Editorial eescritosscritos ddee unun náufrago.inddnáufrago.indd 4 330/07/20100/07/2010 12:24:0612:24:06 p.m.p.m. Randall Ch. Kohl S. Escritos de un náufrago habitual ENSAYOS SOBRE EL SON JAROCHO Y OTROS TEMAS ETNOMUSICOLÓGICOS ENSAYO eescritosscritos ddee unun náufrago.inddnáufrago.indd 5 330/07/20100/07/2010 12:24:0612:24:06 p.m.p.m. Diseño de portada: Lucía Gómez Benet Diseño de interiores: Juan Pascoe Clasificación LC: ML210.7.V47 K63 2010 Clasif. Dewey: 780.97262 Autor: Kohl, Randall. Título: Escritos de un náufrago habitual : ensayos sobre el son jarocho y otros temas etnomusicológicos / Randall Ch. Kohl S. Edición: 1a. ed. Pie de imprenta: Xalapa, Veracruz : Universidad Veracruzana, 2010. -
Struck Idiophone
Struck idiophone Struck idiophones is one of the categories of idiophones (that is, any musical instrument that creates sound primarily by the instrument as a whole vibrating—without the use of strings or membranes) that are found in the Hornbostel-Sachs system of musical instrument classification. Struck idiophones are categorised as 11 in the Hornbostel-Sachs system. There are two main categories of struck idiophones, directly (111) and indirectly (112) struck. Contents Directly struck (111) Concussion idiophones or clappers (111.1) Percussion idiophones (111.2) Indirectly struck (112) Shaken idiophones or rattles (112.1) Scraped idiophones (112.2) References Directly struck (111) Directly stuck idiophones produce sound resulting from a direct action of the performer as opposed to the indirectly struck idiophones. The player strikes the instrument with a direct action, either by hand or by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc. It is definitive that the player can apply clearly defined individual strokes and that the instrument itself is equipped for this kind of percussion. There are two main categories of directly struck idiophones, concussion idiophones (111.1) and percussion idiophones (111.2). Concussion idiophones or clappers (111.1) Two or more complementary sonorous parts are struck against each other. 111.11 Concussion sticks or stick clappers (nearly equal thickness and width). ◾ Clapsticks ◾ Claves 111.12 Concussion plaques or plaque clappers (flat). ◾ Clapper ◾ Guban ◾ Paiban ◾ Pak 1 6 ◾ Slapstick 111.13 Concussion troughs or trough clappers (shallow). ◾ Devil chase 111.14 Concussion vessels or vessel clappers (deep). ◾ Spoons 111.141 Castanets - Natural and hollowed-out vessel clappers. -
Latin American Art and Music: a Handbook for Teaching. INSTITUTION Texas Univ., Austin
DOCUMENT RESUME ED 342 705 SO 021 911 AUTHOR Horton, Judith Page, Ed. TITLE Latin American Art and Music: A Handbook for Teaching. INSTITUTION Texas Univ., Austin. Inst. of Latin American Studies. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. REPORT NO ISBN-0-86728-012-3 PUB DATE 89 NOTE 194p.; From the Latin American Culture Studies Project. AVAILABLE FROM Institute of Latin American Studies, The University of Texas at Austin, Sid W. Richardson Hall 1.310, Austin, TX 78712 ($9.95). PUB TYPE Guides - Non-Classroom Use (055) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Area Studies; *Art Education; Elementary Secondary Education; Foreign Countries; *Foreign Culture; Global Approach; Multicultural Education; *Music Education; Units of Study; Visual Arts IDENTIFIERS *Latin America ABSTRACT This collection of essays, curriculum units, and study guides on Latin American art and musical traditions is designed to help interested teachers take a comprehensive approach to teaching these subjects. The introduction features the essay, "Media Resources Available on Latin American Culture: A Survey of Art, Architecture, and Music Articles Appearing in Americas" (K. Murray). Section 1, The Visua] Arts of Latin America, has the following articles: "The Latin American Box: Environmental Aesthetics in the Classroom" (R. Robkin); "Mascaras y Danzas de Mexico y Guatemala" (J. Winzinger); "The Five Creations and Four Destructions of the Aztec World" (C. Simmons; R. Gaytan); "Art Forms of Quetzalcoatl: A Teaching Guide for Spanish, History, and Art Classes" (A. P. Crick); "The Art and Architecture of Mesoamerica: An Overview" (J. Quirarte); "Interpreting the Aztec Calendar" (L. -
Sones De Mexico Ensembles Fiesta Mexicana
SONES DE MÉXICO ENSEMBLE’S FIESTA MEXICANA Applause Series Curriculum Guide May 1-2, 2017 Dear Teachers, GUIDE CONTENTS Thank you for joining us for this About Des Moines special Applause Series Performing Arts presentation of Sones de México Page 3 Ensemble’s cultural concert, Fiesta Mexicana. Sones de México Going to the Theater and Ensemble has been sharing the Theater Etiquette sounds of son— Mexico’s lively Page 4 music and dance tradition— with audiences around the United States Civic Center Field Trip since its founding in 1994, and we Information for Teachers are delighted to welcome them back Page 5 to Des Moines to share their Fiesta Mexicana program for young Vocabulary audiences. Fiesta Mexicana Page 6 promises to take you and your Sones de México Ensemble’s students on a tour of Mexico’s Lorena Iñiguez About the Performance history and culture through song, Pages 7-9 story, and dance. About the Artists, We hope that this study guide helps you connect the performance Sones de México Ensemble to your classroom curriculum in ways that you find valuable. In Page 10 the following pages, you will find contextual information about the performance and related subjects, as well as a wide variety of About the Instruments discussion questions and activities. As such, we hope that you Page 11 are able to “pick and choose” material and ideas from the study guide to meet your class’s unique needs. About Mexico Page 12 See you at the theater, Pre-Show Exploration Des Moines Performing Arts Education Team Pages 13-15 Post-Show Discussion and Assessment Pages 16-17 Support for Des Moines Performing Arts education programs and the Applause Series is provided by: Resources and Sources American Enterprise Group, Arts Midwest, Bradford and Sally Austin, Page 18 Bravo Greater Des Moines, The Coons Foundation, EMC Insurance Companies, EquiTrust Life Insurance Company, Hy-Vee, Inc., Iowa Department of Cultural Affairs, John Deere, Richard and Deborah McConnell, Nationwide, Polk County, Prairie Meadows, Principal Financial Group, U.S. -
50 Encounters of Indigenous Dance and Music
50 Encounters of indigenous dance and music 50 Encounters of Indigenous Dance and Music Heritage collection of the Indigenous Peoples of México NATIONAL COMMISSION FOR THE DEVELOPMENT OF THE INDIGENOUS PEOPLES OF MÉXICO DIRECTORY Xavier Antonio Abreu Sierra Director General de la CDI Ludka de Gortari Krauss Encargada de la Unidad de Planeación 4 María Margarita Sosa Suárez Directora de Acervos Content Summary 7 Nominator 8 5 Identity and description of the documentary heritage 9 Legal information 33 Assessment against the selection criteria 35 Contextual information 56 Consultation with stakeholders 61 Assessment of risk 69 Preservation and Access Management Plan 75 Annexes annex 1 / Alphabetical catalogue of dances annex 2 / Alphabetical catalogue of music annex 3 / Musical selection for indigenous Summary The collection 50 Encounters of Indigenous Dance and Music, produced between 1977 and 1982, is a valuable archive comprising 7 the cultural expressions of 45 indigenous groups of Mexico ranging from the Baja California Peninsula to the Yucatan Peninsula. The collection involves sound recordings and photographic and audio-visual records. Its value is twofold given the material’s historical and archival character. On the one hand, it sheds light on the principles of a new indigenous policy focused on the participation of indigenous peoples; on the other, it is a testimony of the ethnic and cultural diversity of the country, constitutionally recognized in 1992 in the 2nd article of the Mexican Constitution, which states that “the Mexican Nation possesses a multicultural character founded on its indigenous peoples.” The collection, which comprises records of 117 dances and more than 1,200 musical expressions performed by close to 14,297 indigenous artists is an important testimony of melodies, instruments and choreographies, some of which are becoming extinct. -
The Marimba in Mexico and Guatemala
The Marimba in Mexico and Guatemala Its Musical Development with Special Emphasis on the Four Mallets Technique and the Improvisation Dissertation Universität für Musik und Darstellende Kunst Graz Institute für Ethnomusikologie José Israel Moreno Vázquez Datum der Abgabe: July 2016 1 2 Abstract The marimba takes part of a great diversity of the Latin-American music, in Guatemala and the southeast of Mexico it is a symbol of identity of the popular culture. Throughout its de- velopment many marimba players, compositors, and marimba constructors have been distin- guished, offering us an extended repertoire of diverse musical styles that through the years has endured by the oral transmission and the sustained teaching in the familiar tradition. The authors that have written about the marimba in this countries, in the majority, they have ad- dressed aspects of the origin of the instrument, and its history mainly focused on the morpho- logical transformations. Very few have documented the musical development of the marimba with its contributions and influences. In this work it will be presented for the first time the matter of technical development of the performance on the marimba with four mallets, and the improvisation improvement, one of the most important elements for the comprehension of the development and evolution of the marimba. The musical development of the marimba is studied more in detail considering its historical processes to get to understand the reasons of the high technical and musical level of the marimba groups, its musicians, and how the im- provisation reaches the importance that has gotten in the present. Through an analysis of the historical process and the recording of the XX century new elements are offered to compre- hend the contributions of the marimba from a musical perspective along with the historical and social context where they were developed. -
A-Z Musical Instruments
Bullroarer Dumbelek (Turkish drum) A-Z Musical Instruments Lasso d’amore Dun dun (West African large talking drum) Whip/ slapstick Fangxiang (Chinese metallophone) Brass: Siren Finger Cymbals Gambang (Indonesian xylophone) Alto horn Gandingan (Philippine set of 4 hanging gongs) Baritone horn Keyboards: Gandingan a kayo (Philippine xylophone) Basse a Pistons (French Euphonium) Gan gan (West African small talking drum) Basse Cor Accordion Ganza (Brazilian rattle) Bazooka Bandoneón (Argentinian concertina) Gender (Indonesian brass xylophone) Bombardino (Spanish Euphonium) Calliope (steam organ) Ghatam (Indian drum) Cimbasso Carillon (Dutch harmonising bells) Glass marimba conch Celesta (idiophone) Glockenspiel Cornet/ Cornett/ Cornetto/ Zink Clavichord Gong Doulophone/ cuprophone Glasschord (crystallophone) Guiro (South & Central American notched English Horn/ Cor Anglais (French tenor Oboe) Harpsichord gourd that is scraped) Euphonium MIDI keyboard Handbells Flageolets Organ - electric, pipe Hang (steel hand drum) Flugelhorn Piano- baby grand, electric, grand, janko, toy, Hosho (Zimbabwean rattle) French Horn upright, Ipu (Hawaiian rattle) Hélicon Viola organista Janggu (Korean drum) Horagai (Japanese conch) Jew’s harp (plucked idiophone) Horn Kagul (Philippine slit drum) Hunting Horn Percussion: Kettle drum/ Timpani Jug Khol (South Indian drum) Keyed Bugle Agung/ agong (Philippine gong) Kulintang/ kolintang (Philippine gong group) Keyed Trumpet Agung a Tamlang) (Philippine slit drum) Kulintang a kayo (Philippine xylophone) Mellophone Ahoko