DOCSLIB.ORG

II Mariachi Syllabus#26064A.Cwk

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
II Mariachi Syllabus#26064A.Cwk Syllabus, MARIACHI ENS 107/MUS University of Texas Mariachi Paredes de Tejastitlán Instructor: Zeke Castro Office: MBE #3.210 Office hrs: Mon. 3-5 PM or by appt. Office phone: 471-7764 E-mail: [email protected] Class meetings: Monday & Wednesday 6-8 PM, MRH 2.614 Undergraduate enrollment: ENS 107S, unique # 24100 Graduate enrollment: MUS 180K, unique # 21630 Course Description This ensemble provides an introduction to a variety of musical genres from Mexico with an emphasis on practical performance skills. It provides students an opportunity to learn —for those who have little knowledge of such music — as well as encourages the participation of more experienced performers. Although designed primarily for those with some formal musical education, the course can also accommodate percussionists and singers without any training. For those who are interested, there are history courses frequently offered on the music of Latin America. These history classes complement the applied focus of the ensemble by focusing more on the development of genres from a number of the countries. You are free to enroll or audit. Mid-semester Exam: Mid-semester Exam will consist of demonstration of competency of music determined by instructor. Sectionals: Wednesday: 7:30-8:00 PM Repertoire During the course of the semester we hope to perform the following music styles: Bolero Huapango Son Jalisciense Ranchera and Ranchera-Vals Polca Habanera Cumbia, Chachachá, Jarabe University of Texas Mariachi Paredes de Tejastitlán Syllabus, page 2 Tentative new repertoire for this semester: El Cascabel La ley del monte Niño Perdido Sin ti La malagueña El relámpago [Find a recording] Jalisco no te rajes Guadalajara La mariquita Mariachi Loco Required Purchases Ring binder music folder with plastic insert pages — please get one right away to keep your music organized, if you don’t already have one. Registering for the class It is required that students enroll in this ensemble formally rather than auditing it. In special cases the instructor may grant some students permission to audit, but this permission must be requested. Rehearsal CD The instructor will compile a rehearsal CD as soon as we determine which pieces we’d like to focus on. At the second class meeting, please plan to bring a blank music CD; I will provide you with a recorded CD of our music. Rehearsals Rehearsal time can be organized in various ways. Those interested in rehearsing vocals or practicing certain instruments could meet at the beginning or the end of the evening to do so with the instructor. Alternately, we could spend the entire time together. This depends upon student interest and the needs of the ensemble overall. The instructor may also be available for private work with students on different days if necessary. Grading As this is a one-unit performance class, grading will be determined primarily through attendance. Attendance policy: 3 absences will result in lowered grade Students will be expected to arrive promptly, and to let the instructor know ahead of time if they cannot make a rehearsal. They will also be expected to devote practice time to the music to be learned and to demonstrate competency with the assigned music as they perform throughout the term. University of Texas Mariachi Paredes de Tejastitlán Syllabus, page 3 University of Texas Mariachi Paredes de Tejastitlán Performance Dates for this Semester: Friday, September 09, 2011: Performance for the University of Texas Exes, 2011 Texas Exes Hispanic Alumni Fiesta Etter-Harbin Alumni Center - Connally Banquet Hall 2110 San Jacinto Blvd Austin, TX 78712 6:30 - 7:15 p.m. Invitation to stay for Dinner (number of students’ count for Dinner later) Two cars only for parking October 24 - 28, 2011: Three Performances (45 minutes each) for the Del Valle ISD, at three Middle School - Grade 7 Students, A Special Program for the Del Valle School District called The Performing Arts and Academic Collaborative (PAAC) Proposed performances: one day (?) two days (?), Morning or Afternoon performances (?) University of Texas Education and Curriculum Development Campus and Community Engagement Texas Performing Arts Monday, November 07, 2011: WORLD MUSIC WEEK AT THE BUTLER SCHOOL, November 6-10 Performance at 7:30 p.m. Recital Studio Friday, December 02, 2011: End of Semester Program, Performance at Jovita’s, South 1st 6:00 p.m. — 11:00 p.m. University of Texas Mariachi Paredes de Tejastitlán Syllabus, page 4 References and Resources: Book Jauregui, J. (2007). El Mariachi. Mexico, D.F.: Santillana Ediciones Generales, S.A. de C.V. Book/Recording Set Harpole, Patricia W. Los Mariachis! An Introduction to Mexican Mariachi Music. Mark Fogelquist, Director El Mariachi Uclatlan. Danbury, CT: World Music Press (Judith Cook Tucker, Publisher, Box 2565, Danbury, CT 06813; 203-748-1131), 1991. Book Rafael, Hermes. Origen e Historia del Mariachi. Segunda Edicion: Editorial Katun, S.A. (Republica de Colombia 6) primer piso, Centro, Telephone: 529-38-68), 1983. Recordings El Mariachi. Mariachi Vargas de Tecalitlan. Polydor/Polygram MCRN 1082-839-332-1. Fiesta en Jalisco. Mariachi Vargas de Tecalitlan. RCA Victor CSM-1863. Ruben Fuentes: 50 Anos con su Musica y Arreglos para el Mejor Mariachi del Mundo, Mariachi Vargas de Tecalitan. Mercury CD 314 526 223-2. Sources of Books and Music Alla 102 W. San Francisco St., Suite 20 Santa Fe, New Mexico 87501 505-988-3416 La Casa Del Libro 2802 E. 22nd Street Tucson, Arizona 85713 520-881-2489 University of Texas Mariachi Paredes de Tejastitlán Syllabus, page 5 Musica Latina 4302 S. 6th Ave. Tucson, Arizona 85714 520-746-9194 Yolys Music Shop 3366 S. 6th Ave. Tucson, Arizona 85713 520-620-0830 Clinicians and Performers William Faulkner PO Box 6074 Carmel, CA 93921 408-625-2310 William J. Gradante 6416 Waverly Way Fort Worth, Texas 76116 817-737-7296 Arranger Juan de Dios Noperi 431 W. 26th Street Tucson, Arizona 85713 520-882-4538 Bibliography http://www.ums.org/assets/pdf/studyguide/mariachi-sg.pdf Mariachi Los Camperos de Nati Cano Puro Mariachi http://www.mariachi.org/ Mexican Mariachi Music and Instruments http://www.sbgmusic.com/html/teacher/reference/cultures/mariachi.html Introduction to Mariachi Music http://www.teachervision.fen.com/mexico/music/6757.html University of Texas Mariachi Paredes de Tejastitlán Syllabus, page 6 Mariachi History http://www.elmariachi.com/library/history.asp Mariachi Publishing Company http://www.mariachipublishing.com/ History of Mexico http://www.infoplease.com/ipa/A0107779.html The World Factbook -- Mexico www.cia.gov/cia/publications/factbook/geos/mx.html Discography Puro Mariachi (Indigo Records, 1961) North of the Border (RCA/Carino Records, 1965) El Super Mariachi, Los Camperos (Latin International, 1968) Valses de Amor (La Fonda Records, 1973) Canciones de Siempre (PolyGram Latino, 1993) Sounds of Mariachi (Delfin Records, 1996) Fiesta Navidad (Delfin Records, 1997) Viva el Mariachi (Smithsonian Folkways Recordings, 2003) ¡Llegaron Los Camperos! (Smithsonian Foldways Recordings, 2005).
Load more

Recommended publications
  • Los Vallenatos De La Cumbia Discografia
    Los Vallenatos De La Cumbia Discografia Los Vallenatos De La Cumbia Discografia 1 / 3 Descubre las últimas novedades de tus artistas favoritos en CDs y vinilos. Compra ya. Detalles del producto. ASIN : B00EZ6APC8. Opiniones de clientes .... los vallenatos de la cumbia discografia, los vallenatos de la cumbia discografia mega, descargar discografia de los vallenatos de la cumbia, descargar .... PDF | Este trabajo trata la manera en que se da la transnacionalización del vallenato y la cumbia entre Colombia y México, enfatizando cómo ... Escucha Sabor A Vallenato de Los Vallenatos De La Cumbia en Deezer. Fanny, Regalo El Corazon, Sal Y Agua.... No Pude Quitarte las Espinas / La Decision Vallenata - Video Oficial ... Andrés Landero y su Conjunto El Rey de la Cumbia ECO / Discos Fuentes 1978 | Global .... See more of Adictos a la Musica Colombiana y Vallenata on Facebook. Log In. Forgot account? or. Create New Account. Not Now. Related Pages. SonVallenato .... Descargar y Escuchar Música Mp3 Gratis, Album De Todos Los Géneros Musicales, Videos Oficiales y Noticias Sobre Sus Artistas Favoritos.. Encuentra Cd Los Conquistadores Vallenatos en Mercado Libre Venezuela. Descubre la mejor ... Discografia De Diomedes Diaz- 390 Canciones. Bs.3.700.000 ... Los Bonchones.al Son De Vallenato,cumbia Y El Porro Cd Qq2. Bs.3.715.024. los vallenatos de la cumbia discografia mega los vallenatos de la cumbia discografia mega, descargar discografia de los vallenatos de la cumbia, los vallenatos de la cumbia discografia, descargar discografia completa de los vallenatos de la cumbia, discografia de los vallenatos de la cumbia por mega, discografia vallenatos de la cumbia, vallenatos de la cumbia discografia Jump to Descargar La Tropa Vallenata MP3 Gratis - YUMP3 — Descargar La Tropa Vallenata Mp3.
    [Show full text]
  • Digital Archiving on Chilean Music and Musicians, Part 2 by Eileen Karmy
    H-LatAm Digital Archiving on Chilean Music and Musicians, Part 2 by Eileen Karmy Blog Post published by Gretchen Pierce on Sunday, April 26, 2020 We continue our digital mini-series with the second of two posts about online resources for Chilean music. If you missed the first one, click here. Eileen Karmy is a music scholar interested in music politics, labor history, and archival research. She completed her PhD in Music at the University of Glasgow in 2019 with a thesis on the development of musicians’ unions in Chile. She has researched on popular music in Chile, especially cumbia, tango, and Nueva Canción. She regularly disseminates her research through articles, blog posts, films, and digital repositories. She created the digital archive of musicians’ organizations in Valparaíso (memoriamusicalvalpo.cl) in 2015. She has published books and journal articles on Chilean New Song, tango orchestras, tropical music, musicians’ working conditions, and the social history of musicians’ organizations in Chile. These include the book ¡Hagan un trencito! Siguiendo los pasos de la memoria cumbianchera en Chile (1949-1989), co-authored with Ardito, Mardones, and Vargas (2016), and her article “Musical Mutualism in Valparaiso during the Rise of the Labor Movement (1893–1931),” Popular Music and Society, 40, no. 5, 2017. Digital Archiving on Chilean Music and Musicians, Part 2 In this post, I share a list of digital sources that hold relevant material and specific information about music and musicians in Chile that might be useful for scholars interested in researching Chilean music and culture in general. While I did not use these sites for my research on musicians’ unions I am familiar with them because they proved useful in my previous studies of Chilean popular music history.
    [Show full text]
  • Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
    SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward
    [Show full text]
  • Transnational Trajectories of Colombian Cumbia
    SPRING 2020 TRANSNATIONAL TRAJECTORIES OF COLOMBIAN CUMBIA Transnational Trajectories of Colombian Cumbia Dr. Lea Ramsdell* Abstract: During 19th and 20th century Latin America, mestizaje, or cultural mixing, prevailed as the source of national identity. Through language, dance, and music, indigenous populations and ethnic groups distinguished themselves from European colonizers. Columbian cumbia, a Latin American folk genre of music and dance, was one such form of cultural expression. Finding its roots in Afro-descendant communities in the 19th century, cumbia’s use of indigenous instruments and catchy rhythm set it apart from other genres. Each village added their own spin to the genre, leaving a wake of individualized ballads, untouched by the music industry. However, cumbia’s influence isn’t isolated to South America. It eventually sauntered into Mexico, crossed the Rio Grande, and soon became a staple in dance halls across the United States. Today, mobile cumbia DJ’s, known as sonideros, broadcast over the internet and radio. By playing cumbia from across the region and sending well-wishes into the microphone, sonideros act as bridges between immigrants and their native communities. Colombian cumbia thus connected and defined a diverse array of national identities as it traveled across the Western hemisphere. Keywords: Latin America, dance, folk, music, cultural exchange, Colombia What interests me as a Latin Americanist are the grassroots modes of expression in marginalized communities that have been simultaneously disdained and embraced by dominant sectors in their quest for a unique national identity. In Latin America, this tension has played out time and again throughout history, beginning with the newly independent republics in the 19th century that sought to carve a national identity for themselves that would set them apart – though not too far apart – from the European colonizers.
    [Show full text]
  • Pancho Villa and the Lord of the Skies: Narcocorridos in the Mexican Corrido Tradition
    PANCHO VILLA AND THE LORD OF THE SKIES: NARCOCORRIDOS IN THE MEXICAN CORRIDO TRADITION Sarah Goldsworthy Berry History499: Senior Thesis June 13, 2011 ©Sarah Berry, 2011 1 The corrido is a traditional narrative ballad of Mexico. Though it had roots in older, probably Spanish song-forms, the corrido did not come into its own until the late 19th century.1 The popularity of corridos was gradually eclipsed but surged again in the 1970‟s with the successful commercial release of Contrabando y Traición (Smuggling and Betrayal.) Salieron de San Isidro They left for San Isidro, coming Procedentes de Tijuana, from Tijuana, Traían las llantas del carro They had their car tires full of Repletas de yerba mala. "bad grass," (marijuana) Eran Emilio Varela They were Emilio Varela and Y Camelia La Tejana. Camelia the Texan -translation Elijah Wald The song was a huge hit for the band Los Tigres del Norte, and its popularity is widely credited for ushering in the new era of corridos. Termed narcocorridos, these ballads recount the treachery, excitement, and violence surrounding the drug trade. These songs are nearly as controversial as the drug trade itself. Widely perceived as glorifying and even contributing to drug-related violence, the narcocorrido is popular throughout Mexico and the United States, despite condemnation and efforts to ban them from radio airplay. However, the themes they contain are far from new. Tracing the corrido treatment of the themes of smuggling and banditry from the revolutionary era to today, we see that the narcocorrido is deeply rooted in Mexican culture, and like the traditional corrido is a narrative attempt to 1 The origins of the corrido, to what degree they are rooted in Spanish songs, and whether they are exclusively Mexican or in fact can be found in other Latin American countries has been a lively debate, and is far from a settled issue.
    [Show full text]
  • Perspectives on New Wave Cumbia | Norient.Com 7 Oct 2021 06:12:57
    Perspectives on New Wave Cumbia | norient.com 7 Oct 2021 06:12:57 Perspectives on New Wave Cumbia by Moses Iten Since the beginning of the 21st century «new wave cumbia» has been growing as an independent club culture simultaneously in several parts of the world. Innovative producers have reinvented the dance music-style cumbia and thus produced countless new subgenres. The common ground: they mix traditional Latin American cumbia-rhythms with rough electronic sounds. An insider perspective on a rapid evolution. From the Norient book Out of the Absurdity of Life (see and order here). https://norient.com/stories/new-wave-cumbia Page 1 of 15 Perspectives on New Wave Cumbia | norient.com 7 Oct 2021 06:12:58 Dreams are made of being at the right place at the right time and in early June 2007 I happened to arrive in Tijuana, Mexico. Tijuana had been proclaimed a new cultural Mecca by the US magazine Newsweek, largely due to the output of a group of artists called Nortec Collective and inadvertently spawned a new scene – a movement – called nor-tec (Mexican norteno folk music and techno). In 2001, the release of the compilation album Nortec Collective: The Tijuana Sessions Vol.1 (Palm Pictures) catapulted Tijuana from its reputation of being a sleazy, drug-crime infested Mexico/US border town to the frontline of hipness. Instantly it was hailed as a laboratory for artists exploring the clash of worlds: haves and have-nots, consumption and its leftovers, South meeting North, developed vs. underdeveloped nations, technology vs. folklore. After having hosted some of the first parties in Australia featuring members of the Nortec Collective back in 2005 and 2006, the connection was made.
    [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]
  • EDWIN RICARDO PITRE VÁSQUEZ Veredas Sonoras Da Cúmbia
    EDWIN RICARDO PITRE VÁSQUEZ Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma Tese apresentada à Escola de Comunicações e Artes da Universidade de São Paulo. Linha de pesquisa: História, Estilo e Recepção. Área de Concentração: Musicologia como exigência parcial para obtenção do título de Doutor, sob a orientação do Prof. Dr. Eduardo Seincman. SÃO PAULO 2008 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE PESQUISA, DESDE QUE CITADA A FONTE. PITRE VÁSQUEZ, Edwin Ricardo Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma São Paulo, 2008, 151 folhas. Tese – Universidade de São Paulo – Programa de Pós-Graduação da Escola de Comunicações e Artes. Linha de pesquisa: História, Estilo e Recepção. Área de Concentração: Musicologia. Orientador: Prof. Dr. Eduardo Seincman 1. Música-Panamá 2. Etnomusicologia 3. Música Popular-Cúmbia 4. Música Popular décadas de 1980 – 1990 Panamá 5. Música-Instrumento Musical de Teclado-Acordeão. II EDWIN RICARDO PITRE-VÁSQUEZ Banca Examinadora Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma Esta tese foi julgada adequada para a obtenção do titulo de Doutor e aprovada pela Banca Examinadora da Escola de Comunicações e Artes, Campus capital, São Paulo - SP. Membros: ___________________________________ ___________________________________ ___________________________________ ___________________________________
    [Show full text]
  • Print/Download This Article (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 1 Fall 2013 Don’t Shoot the Piano Player: The State of Vallenato in New York City1 Jorge Arévalo Mateus, Hunter College, CUNY & the Center for Traditional Music and Dance Vallenato is Colombia’s lively, accordion-driven popular dance music with roots in the country’s costeño (Atlantic coastal) rural communities. Traditional vallenato ensembles consisted of the diatonic button acordeón (accordion), guacharaca (stick scraper), and caja (small, single headed drum), while more commercial, urban vallenato tropical groups have added electric bass, keyboards, horns, and Afro-Cuban percussion (congas, timbales, and bongos) to their instrumentation.2 The music has a strong tradition of family practitioners, with the Celedons, Oñates, and Zuletas standing out among vallenato’s musical dynasties. Since the 1980s, vallenato has become increasingly popular, so much so that presently, along with Colombian salsa, it is the most com- mercially successful and global Colombian popular music, overshadowing cumbia, champeta, and even Afro- Colombian rap.3 As a result of increased immigration since the early 1970s, vallenato tropical has become popular in New York City’s Colombian neighborhoods located in Jackson Heights, East Elmhurst, Corona, and Astoria as well as sections of Brooklyn and neighboring New Jersey. Nonetheless, there is mounting evidence that in addition to commercial
    [Show full text]
  • Musical Criminology: a Comparative Analysis of Jihadist Nasheeds And
    JEMEAA - FEATURE Musical Criminology A Comparative Analysis of Jihadist Nasheeds and Narco Corridos DR. HAYAT ALVI ihadists have their nasheeds, and the Islamic State (IS) became popular for its nasheed compositions used in propaganda videos. Nasheed is an a cappella song praising the Prophet Muhammad and reciting Quranic verses glorifying Jjihad. Similarly, drug cartels have bands that compose and sing narco corridos, or “drug ballads,” based on Mexican folk music, which glorify cartel leaders as modern- day “Robin Hood” figures and announce executions of enemies. Both nasheeds and narco corridos have much in common: glorifying historical victories over enemies in wars and revolutions; using lyrics to warn their enemies about their invincibility and strength and bravery; calling out specific enemies as targets; and using their respective ideologies to justify their acts, behaviors, and beliefs. This study examines and comparatively analyzes the two musical genres in the context of terrorism and narco-terrorism, and how these musical traditions affect their respective followers, admirers, and devotees. The analysis also highlights how these musical genres popularize crime and violence, and desensitize audiences to the extreme brutality praised and glorified in their songs. There are some contextual distinctions that separate the two genres as well, and these entail part of the comparative analysis. The use of social media in both contexts is an essential tool to popularize nasheeds and narco corridos; they use YouTube videos, Twitter and Facebook, and other Internet resources to spread their music and messages. In particular, Western democracies provide freedom of expression, which further facilitates the proliferation of nasheeds and narco cor- ridos.
    [Show full text]
  • Entertaining the Notion of Change
    44 Mara Favoretto University of Melbourne, Australia & Timothy Wilson University of Alaska Fairbanks, US “Entertaining” the Notion of Change: The Transformative Power of Performance in Argentine Pop All music can be used to create meaning and identity, but music born in a repressive political environment, in which freedom is lacking, changes the dynamic and actually facilitates that creation of meaning. This article explores some practices of protest related to pop music under dictatorship, specifically the Argentine military dictatorship of 1976­83, and what happens once their raison d’ệtre , the repressive regime, is removed. We examine pre­ and post­dictatorship music styles in recent Argentine pop: rock in the 1970s­80s and the current cumbia villera culture, in order to shed light on the relative roles of politics, economy and culture in the creation of pop music identity. Timothy Wilson is Assistant Professor of Spanish literature at the University of Alaska Fairbanks. He is known for his work on Argentine rock music and dictatorship, and his research interests are in the areas of government­sponsored terror and popular cultures of resistance. Mara Favoretto is a Lecturer in Hispanic Studies at the University of Melbourne, Australia. She specialises in contemporary popular music and cultural expressions of resistance in Latin American society. Young people come to the music looking for a way to communicate with other human beings, in the middle of a society where it seems the only meeting places that are tolerated are stadiums and concert halls. ‐Claudio Kleiman, editor I believe that in the concerts there are two artists: the audience and the musician.
    [Show full text]
  • Canto Porque Es Necesario Cantar: the New Song Movement in Chile, 1973-1983 By
    University of New Mexico UNM Digital Repository Research Papers Latin American and Iberian Institute 7-1-1984 Canto porque es necesario cantar: The ewN Song Movement in Chile, 1973-1983 Nancy E. Morris Follow this and additional works at: https://digitalrepository.unm.edu/laii_research Recommended Citation Morris, Nancy E.. "Canto porque es necesario cantar: The eN w Song Movement in Chile, 1973-1983." (1984). https://digitalrepository.unm.edu/laii_research/16 This Working Paper is brought to you for free and open access by the Latin American and Iberian Institute at UNM Digital Repository. It has been accepted for inclusion in Research Papers by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. LATIN AMERICAN INSTITUTE Research Paper Series No. 16 July 1984 Canto porque es necesario cantar: The New Song Movement in Chile, 1973-1983 by Nancy E. Morris THE UIIIYERSITY OF lEI lEXICa ALBUQUERQUE, lEI lEXICa 81131 The Latin American Institute at the University of New Mexico is one of the nation's leading foreign language and area centers. It is one of ten federally designated National Resource Centers for Latin America, and it is believed to be unique in terms of the number of degree programs and courses offered. More than 170 faculty specializing in Latin American research and teaching are members of the Faculty Concilium on Latin America, the constituent body of the Latin American Institute . The Latin American Institute's Research Paper Series provides a forum for the dissemination of Latin American research produced or presented at the University of New Mexico.
    [Show full text]