DOCSLIB.ORG

Las Mañanitas (A Morning Greeting) Sounds Did You Recognize? and Mañanitas Tapatia (A Birthday Greeting)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Las Mañanitas (A Morning Greeting) Sounds Did You Recognize? and Mañanitas Tapatia (A Birthday Greeting) MUSIC TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: About the Artwork: Malagueña Salerosa Malagueña Salerosa is a standard selection in the mariachi repertoire and is an example of the Creators: Producer: Mariachi Los Camperos de Nati Cano Mexican ‘singing style’ which was influenced by Musical Director: Natividad Cano b. 1933 19th century Italian opera, and grew in popularity in Mexico during the same period. The vocal soloist Background Information: in Malagueña is expected to demonstrate the ability It is no surprise that Natividad (Nati) Cano chose music to sustain a beautiful high pitch in segments of the as a career. Born in Ahuisculco, Jalisco, Mexico, he grew verse and refrain. Audiences reward the successful up in a family of jornaleros (day workers) who considered soloist with applause and ‘gritos.’ The song also music a necessity, a means for earning additional money, illustrates two distinctive characteristics often found as well as a joyous outlet from working the soil. His in mariachi music, changing and simultaneous grandfather played the guitarron, the bass instrument of meters. Sometimes the meter alternates between 6/8 mariachi ensembles. His father, a versatile musician, and 3/4 (sesquialtera), at other times the two meters played all of the instruments of the mariachi, except the occur simultaneously (ritmo colonial). trumpet. Cano began to play the vihuela at the age of six, Creative Process of the Artist or Culture: and at age eight he began six years of violin lessons at the Traditionally, musicians of the mariachi memorize Academia de Musica in Guadalajara. Gradually, Cano’s their repertoire, often strolling among patrons as musical experiences, technical skills and knowledge broad- they play. They respond to requests which range ened as he played locally with his father, with the from the traditional sones to caciones rancheras Academia Chamber Orchestra, and later with two (country), musica Tejana (Texas-Mexican), musica professional mariachi groups. As the youngest member huasteca (north-eastern regional) and musica jarocha of Mariachi Chapala in Mexicali, Cano was selected to (Veracruz). Los Camperos performs compositions be the group’s arranger. He later joined the Tijuana- from different regions, however, Cano’s arrangements based Mariachi Aguila, and after becoming its musical adhere to the mariachi director, changed the name to Los Camperos. In 1969 instrumentation (violins, guitars, the group became permanently based in Los Angeles vihuelas, trumpets, harp and where it established a reputation for offering the best in guitarron), while retaining the mariachi music. In recognition of his outstanding musicianship, spirit of its various origins. Cano received a National Heritage fellowship from the Los Angeles National Endowment for the Arts in 1990. Notable “Lose yourself in music U.S.A. and you will find beauty.” among their recordings are two which were made with MEXICO Gulf Natividad Cano of Linda Ronstadt, Canciones de Me Padre and Mas Canciones. Mexico Jalisco Discussion Questions: Sample Experiences: After listening to the audio recording: Level I • There are various string instruments featured in * • Learn Mexican folk songs which are sung on special Malagueña Salerosa. Which string instrument occasions, such as Las Mañanitas (a morning greeting) sounds did you recognize? and Mañanitas Tapatia (a birthday greeting). Sing the • What did you hear in the vocal solo that songs in Spanish and English on appropriate occasions. demonstrates its 19th century Italian opera roots? • Learn Mexican game songs which are played in (sustained high-pitch, and resemblance to ‘recitative’ much the same manner as game songs from other in the verse) countries. Examples: Al Citron and Find the Ring; La • In most instrumental groups specific instruments Vibora de la Mar and London Bridge. constitute the rhythm section. Which instruments • Put on the music and let students discover ways to in the mariachi ensemble usually provide the basic dance to it. rhythm? (guitarron, vihuela, and sometimes the harp) Level II • Early mariachi ensembles were string ensembles. • Two similar holidays, Día de los Muertos and In the early thirties, when mariachi radio broadcasts Halloween, both occur in the autumn. Compare and emerged, groups began to add trumpets. Why do contrast the two observances. Learn a song suitable for you suppose this instrument was added? both celebrations. Create movement to illuminate the lyrics and illustrate the form. Multidisciplinary Options: • Play Malagueña Salerosa and listen for techniques of • In Mexico, as in other countries, different types of playing the violin, i.e. arco (bowing) and pizzicato music developed in the various states and regions (plucking). If possible, invite musicians to present within the country. Read to discover the historical, demonstrations. geographical and cultural/ethnic origins of the * • Select several standard mariachi selections and listen following kinds of music: musica huasteca, musica for the various playing techniques employed. Discuss Tejana (or conjunto), musica jarocha and musica how these techniques contribute to the unique sound mariachi. of mariachi music. • Mexico’s proximity to the United States has had a Level III cultural impact on the southwestern states, in * • Practice these rhythms: a three-beat rhythm with an particular (Arizona, California, New Mexico and accent on the first beat; a six-beat rhythm with accents Texas). Give examples of this cultural overlap as seen on the first and fourth beats; and a six-beat rhythm in food, clothing, sports, celebrations, architecture, with accents on the first, third and fifth beats. Perform names (streets, cities, parks, etc.) and the arts. the first two rhythms simultaneously and the first and Audio-Visual Materials: third rhythms alternately. Discuss, then listen for these examples in Malagueña Salerosa. Listen to an • Artsource® audio recording: Malagueña Salerosa, orchestral composition which incorporates these courtesy of Mariachi Los Camperos de Nati Cano, 1992. different Mexican folk melodies and rhythms. Additional References: Example: El Salón México (Copland). • Recordings: Mas Canciones (1991), Linda • Divide the class into groups and ask each to study a Ronstadt. Electra Entertainment; El Super different style of Mexican music. Provide recorded Mariachi, Mariachi Los Camperos de Nati Cano. examples for study and presentation. Encourage them Latin International, 1968. to plan unique ways to present their work. * Indicates sample lessons 2 MUSIC LAS MAÑANITAS (Birthday Song) THE HUMAN FAMILY LEVEL I Sample Lesson INTRODUCTION: Music is a central point of celebration for many cultures. One of the most popular occasions for celebration is a birthday. In the American culture people sing the Happy Birthday song on each person’s special day. In the Mexican culture, people sing a Mariachi song entitled Las Mañanitas. OBJECTIVES: (Student Outcomes) Students will be able to: • Sing a traditional Mexican song entitled Las Mañianitas. (Historical and Cultural Context) Mariachi Los Camperos de Nati Cano Photo: courtesy of Natividad Cano • Identify the 3/4 meter and clap and sing the song. (Artistic Perception) • Gain a greater appreciation for the traditions of the Mexican culture. (Historical and Cultural Context) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: • Artsource® audio recording of Malagueña Salerosa and Las Mañanitas. PROGRESSION: • Give some background information on Mariachi music and the instruments used. • Listen to the recording of Malagueña Salerosa and identify the instruments being used (trumpet, violin, guitar, etc.). • Listen to the recording again and clap on the beat. • Ask the students to give their impressions: • What do you think the musicians are communicating through their music? • How does the music make you feel? 3 • Give some background on Las Mañanitas and explain that it is also played in the style of Mariachi music. Play the Artsource® audio cassette recording and see if they can recognize what is the same about both pieces. • Read the lyrics to Las Mañanitas in both Spanish and English. • Learn the song. Las Mañanitas (Birthday Song) Esta son las mañanitas Que cantaba el rey David A las muchachas bonitas Se las cantamos aqui Despierta mi bien, despierta, Mira que ya amanecio Ya los pajarillos cantan La luna ya se metio Que linda esta la mañana En que vengo a saludarte Venimos todos con gusto Y placer a felicitarte (Chorus) El día a que tu naciste Nacieron todas las flores Y en la pila de bautismo Cantaron los ruiseñores Ya viene amaneciendo Ya la luz del día nos vio Levantate de mañana Mira que ya amanecio (Verse) Quisiera ser un San Juan Quisiera ser un San Pedro Pa venir a saludarte Con la musica del cielo De las estrellas del cielo Quisiera bajarte dos, Una para saludarte Y otra para decir adios (Chorus) Ya viene amaneciendo Ya la luz del día nos dio Levantate de mañana Mira que ya amanecio 4 Las Mañanitas (Birthday Song) English Translation- Ed Barguiarena and Susan Friel These are Las Mañanitas As sung by David the King To the beautiful young ladies; Now I come to you, to sing. Awake, my good one, awake, Wake up and meet the day. The morning birds are singing; The moon has gone away How beautiful is this morning In which I come to greet you. My heart is filled with happiness And pleasure to meet you. The day that you were born The flowers were born too; The Nightingales were singing In the baptismal morning dew. The translation is not intended to be an English (Chorus) version of the song but The Sun is now upon us, a poetic representation. Its rays are breaking through; It does not rhythmically Wake up, this special morning, match the melody – the This day is for you.
Load more

Recommended publications
  • Smithsonian Folklife Festival
    I SMITHSONIAN FOLKLIFE FESTIVAL .J HAITI Freedom and Creativity from the Mountains to the Sea NUESTRA MUSICA Music in Latino Culture WATER WAYS Mid-Atlantic Maritime Communities The annual Smithsonian Folklife Festival brings together exemplary keepers of diverse traditions, both old and new, from communities across the United States and around the world. The goal of the Festival is to strengthen and preserve these traditions by presenting them on the National Mall, so that the traciition-bearers and the public can connect with and learn from one another, and understand cultural differences in a respectful way. Smiths (JNIAN Institution Center for Folklife and Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www.folklife.si.edu © 2004 by the Smithsonian Institution ISSN 1056-6805 Editor: Carla Borden Associate Editors: Frank Proschan, Peter Seitel Art Director: Denise Arnot Production Manager: Joan Erdesky Graphic Designer: Krystyn MacGregor Confair Printing: Schneidereith & Sons, Baltimore, Maryland FESTIVAL SPONSORS The Festival is supported by federally appropriated funds; Smithsonian trust tunds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and cratt sales. The Festival is co-sponsored by the National Park Service. Major hinders for this year's programs include Whole Foocis Market and the Music Performance Fund. Telecommunications support tor the Festival has been provided by Motorola. Nextel. Pegasus, and Icoiii America. Media partners include WAMU 88.5 FM, American University Radio, and WashingtonPost.com. with in-kind sup- port from Signature Systems and Go-Ped. Haiti: Frcciioin and Creativity fnvu the Moiiiitdiin to the Sea is produced in partnership with the Ministry of Haitians Living Abroad and the Institut Femmes Entrepreneurs (IFE), 111 collaboration with the National Organization for the Advancement of Haitians, and enjoys the broad-based support of Haitians and triends ot Haiti around the world.
    [Show full text]
  • February 2, 2020
    Assumption B.V.M. Parish / Parroquia de la Asunción Reverend Arturo2434 J. S. Pérez California-Rodriguez Ave., Chicago IL, 60608 Pastor/Párroco773- 247-6644 / fax 773-247-0665 Email: [email protected] Website: www.assumptionofbvm.org Religious Education Coordinator/ Coordinador del ProgramaFr. Jason Religioso: Malave, Administrator Liliana Santos, Coordinator of Religious Education Alvaro Davila Mayra Guzman de Muñoz, Parish Secretary Edward Estrada, Secretary for Religious Education Rectory/Rectoria:Victor Hernandez, Custodian 2434 S. California Avenue Kolbe House Jail Ministry Chicago, Ministerio Illinois 60608 a Los Encarcelados (773) 247-6644 773-247-0070 Website: www.kolbehouseministry.org Fax: (773) 247-0665 MaryClare Birmingham, Director Deacon Pablo Perez, Associate Director Gloria Hernandez, Office Manager https://www.givecentral.org/ Emily Cortina, Outreach Program Coordinator Edward Estrada, Evening Receptionist Feast of the Presentation of the Lord February 2, 2020 MASS SCHEDULE HORARIO DE MISAS Feast of the Presentation of the Lord SATURDAY / SABADO 5:00 pm - Bilingual / Bilingüe English / Spanish SUNDAY / DOMINGO 9:00 am - Español 11:00 am - English 1:00 pm - Español WEEKDAYS / ENTRE SEMANA 7:45 am - Español Misa—lunes, miercoles, y viernes (Servicio de comunion—martes y jueves) PARISH OFFICE HOURS / HORARIO DE LA OFICINA Monday - Friday❖Lunes - Viernes 8:30 am - 7:00 pm Saturday/Sábado: 9:00 am - 2:00 pm Fiesta de la Presentación del Señor Chicago a cappella will be celebrating the colorful and dynamic music of Mexico, from the 16th century to today. National Museum of Mexican Art in Chicago Saturday, Feb. 15th, 8pm For additional information or tickets: chicagoacappella.org / 773-281-7820 Chicago a capella estará celebrando la música colorida y dinámica de México, desde el siglo XVI hasta la actualidad.
    [Show full text]
  • MUSIC] Expanded Course Outline
    CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA [CLASS ] [MUSIC] Expanded Course Outline Course Subject Area: MU Course Number: 3110 Course Title: Music of Mexico Units: 3 C/S Classification #: 02 Component: Lecture Grading Basis: (graded only, CR/NC only, student’s Graded only choice) Repeat Basis: (may be taken once, taken multiple times, taken multiple times only with different topics) Taken once Cross Listed Course: (if offered with another department) Dual Listed Course: (if offered as lower/upper division or undergraduate/graduate) Major course/Service course/GE Course: (pick all that Major course/Service course apply) General Education Area/Subarea: (as appropriate) Date Prepared: 3.27.15 Prepared by: Dr. Dave Kopplin I. Catalog Description Survey of music and dance of Mexico focusing on folk instruments and music patterns, cultural crossover between Hispanic and indigenous music heritages. II. Required Coursework and Background NONE III. Expected Outcomes Students will acquire: 1. A clear understanding of the place of traditional musics in Mexican society 2. A general knowledge of the regional styles throughout Mexico 3. A thorough familiarity with at least one specific musical style from Mexico 4. An ability to participate in some way in the cultural life of Mexico through the performing arts. The outcomes of this course relate to the following Music Department Student Learning Outcomes: 1 #2: Communicate effectively--verbally and in writing--about specific musical works and musicians, about the creative process in music, and about music’s role in human culture. #4: Demonstrate and articulate personal growth as a musician and student of music in the world. #5: Articulate a holistic understanding of the many influences on any musical endeavor (e.g., cultural, artistic, technological, economic, etc.).
    [Show full text]
  • 0821 Mariachi Csucitlan De CI, Perez
    Instructionally Related Activities Sponsor: Rafael Perez Program/Department: School of Education Activity Title: Mariachi CSUCItlan de CI Date(s) of activities: Spring Semester, 2017 A. 1. Provide a description of the activity(s). As detailed in our application, Mariachi music is played throughout the world. Several universities and colleges in the United States also provide resources to allow their students, and community members, to perform in Mariachi orchestras. Mariachi CSUCItlan de CI (MCdCI) has performed in CSUCI events, classes, clubs and various venues in our CSUCI community, since its founding in 2013. We had hoped to advertise our presence on campus and present our music to the entire CSUCI community. Another goal was to impress upon our university the importance of developing a course for Mariachi instruction and performance to both our students and staff. 2. How did the activity(s) relate to a course? Although a Mariachi class will not be on our CSUCI campus until the Spring, 2018 semester, our activities have “laid the groundwork” for the development of such a class. Many faculty, staff and students were very positive and helpful in that regard. Our class will discuss, and trace, the history of Mariachi, from Jalisco, Mexico, to its introduction in the United States; the Cultural and Social aspects, as it relates to our Hispanic Serving Institution. And, the acceptance of the Mariachi genre by our diverse student and staff population at CSUCI, as well as, our CSUCI community. 3. What did you see as the strengths of the activity(s)? As MCdCI performed at various CSUCI campus events, we discovered that many students, and staff, had no idea that a Mariachi orchestra was on our campus.
    [Show full text]
  • Section I - Overview
    EDUCATOR GUIDE Story Theme: Street Art Subject: Los Cazadores del Sur Discipline: Music SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL OBJECTIVES INSTRUCTIONAL STRATEGIES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE SECTION III – RESOURCES .................................................................................................................6 TEXTS DISCOGRAPHY WEB SITES VIDEOS BAY AREA FIELD TRIPS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 11 Los Cazadores del Sur preparing for a work day. Still image from SPARK story, February 2005. SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL STRATEGIES Street Art Individual and group research Individual and group exercises SUBJECT Written research materials Los Cazadores del Sur Group oral discussion, review and analysis GRADE RANGES K-12, Post-Secondary EQUIPMENT NEEDED TV & VCR with SPARK story “Street Art,” about CURRICULUM CONNECTIONS duo Los Cazadores del Sur Music, Social Studies Computer with Internet access, navigation software,
    [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]
  • Inventos Musicales
    inventario de inventos musicales ficherode instrumentos LATINOAMERICANOS 1 ÁAK ACORDEÓN Instrumento de percusión entre los mayas Instrumento portátil, que funciona por el viento producido de la península de Yucatán, al cerrar un fuelle que hace vibrar unas lengüetas en el sureste mexicano, metálicas en el interior del instrumento. hecho con el caparazón de una tortuga Las notas que llevan la melodía se seleccionan al que se golpea con un clavo de metal. oprimir con la mano las piezas de un teclado de piano que se encuentra, generalmente, del lado derecho del instrumento, mientras con la mano izquierda, a través de botones, se obtienen las notas del acompañamiento. En algunos acordeones menos modernos, sólo existe un teclado y no dos. Según algunos, el acordeón lo inventó Buschman en Berlin en 1822 y según otros, fue en Viena por Cyrillus Demian. En todo caso, desde 1880 se usa ya con con teclado y aunque de origen europeo, es muy utilizado en América en los vallenatos de Colombia, el tango argentino o la polka y el “taconazo” de la música norteña de México. 2 3 AERÓFONO AFUCHÉ (también conocido como CABASA) Familia de instrumentos en los que el sonido Especie de maraca brasileña en forma de cilindro, se obtiene soplando el aire contenido en un tubo recubierto de pequeñas “cadenas” con esferas de acero que forma parte del mismo. que se golpean entre sí y relleno de arena o guijarros También conocidos como instrumentos de viento que aumentan el sonido al moverse rítmicamente (p.ej.clarinete,fagot,flauta,,oboe, saxofón,etc.) activados por una sola mano.
    [Show full text]
  • 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..
    [Show full text]
  • UNIVERSIDAD VERACRUZANA Ecos De La Bamba. Una Historia
    UNIVERSIDAD VERACRUZANA INSTITUTO DE INVESTIGACIONES HISTÓRICO -SOCIALES DOCTORADO EN HISTORIA Y ESTUDIOS REGIONALES Ecos de La bamba. Una historia etnomusicológica sobre el son jarocho del centro - sur de Veracruz, 1946 -1959. TESIS Que para optar el grado de: DOCTOR EN HISTORIA Y ESTUDIOS REGIONALES PRESENTA: Randall Ch. Kohl S. Director de tesis: Dr. Ernesto Isunza Vera Xalapa, Veracruz Mayo de 2004 * { ■,>■£$■ f t JúO t Agradecimientos......................................................... ..................................................... iii Dedicatoria...........................................................................................................................iv Capítulo I Introducción......................................................................................................1 1) Límites temporales y espaciales...................................... ........................... 2 2) Construcción de la región musical y marco teórico...................................6 3) Definiciones de términos................................................ .............................. 10 4) Revisión de la literatura existente.................................................................14 5) Metodología y fuentes primarias...................................................................19 6) Organización....................................................................................................35 Capítulo II El alemanismo y el son jarocho...................................................................37
    [Show full text]
  • Federico Ibarra - a Case Study
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-29-2019 11:00 AM Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study Francisco Eduardo Barradas Galván The University of Western Ontario Supervisor Ansari, Emily. The University of Western Ontario Co-Supervisor Wiebe, Thomas. The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Francisco Eduardo Barradas Galván 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Barradas Galván, Francisco Eduardo, "Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study" (2019). Electronic Thesis and Dissertation Repository. 6131. https://ir.lib.uwo.ca/etd/6131 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the musical modernist era in Mexico between 1945 and the 1970s. It aims to provide a new understanding of the eclecticism achieved by Mexican composers during this era, using three different focal points. First, I examine the cultural and musical context of this period of Mexican music history. I scrutinize the major events, personalities, and projects that precipitated Mexican composers’ move away from government-promoted musical nationalism during this period toward an embrace of international trends. I then provide a case study through which to better understand this era, examining the early life, education, and formative influences of Mexican composer Federico Ibarra (b.1946), focusing particularly on the 1960s and 1970s.
    [Show full text]
  • Folk Music of Mexico
    THE LIBRARY OF CONGRESS MUSIC DIVISION-RECORDING LABORATORY FOLK MUSIC OF THE AMERICAS Issued from the Collections of the Archive of American Folk Song ALBUM XIX FOLK MUSIC OF MEXICO RECORDED AND EDtTIW BY HENRIETTA YURCHENCO In 1943 the Library of Congress in cooperation with the Inter­ american Indian Institute and the Department of Education of Mexico set up a project to record Indian music. Between 1944 when the work hegan and 1946, music was recorded among th", following tribes: Seri and Yaqui of the State of Sonora; Tarahumara of Chihua­ hua; Cora from Nayarit; Huichol of Jalisco; and Tzotzil and Tzeltal of Chiapas. These trihes were selected because they are the most primitive tribes of Mexico and the least influenced by modern civi­ lization. T.he music contained in this album is representative of the entire collection. Many difficulties were encountered during the various expeditions: the Indian settlemepts were located far from the civilized centers and the heavy and delicate equipment had to be transported by mule over hazardous mountain trails; the general primitive conditions found in these areas imposed hardships on the personnel. Each new trip had its special burden: sometimes the machine broke down or the power supply gave out; occasionally a tired mule rolled over on his back, miraculously leaving the records intact. In some regions where the Indian settlements were dispersed over wide areas, contact with the musicians was a laborious task, particularly during the plant­ ing season when they would disappear for months at a time to their inaccessible mountain cornfields. Many local and federal agencies of the Mexican Government facili­ tated the work.
    [Show full text]
  • Music of Mexico
    Weill Music Institute Global EncountErs Music of MExico STUDENT GUIDE Global Encounters ACknoWledgMents Contributing Writer / editor Daniel Levy Consulting Writer Estevan Azcona Delivery of the Weill Music Institute’s programs to national audiences is funded in part by the US Department of Education and by an endowment grant from the Citi Foundation. Weill Music Institute at Carnegie Hall 881 Seventh Avenue New York, NY 10019 212-903-9670 212-903-0925 weillmusicinstitute.org © 2010 The Carnegie Hall Corporation. All rights reserved. Weill Music Institute IMPORTANT TERMS SG1 fandango: A social dance organized by a small town, a neighborhood, or even an institution such as a school or cultural arts center. it is in the fandango where the five elements of son jarocho (a traditional style of music from Veracruz, Mexico) come together most significantly: música (music), versada (lyrics or repertory of verses), instrumentos (musical instruments), zapateado (dance), and poesía (reciting of poetry). These five elements constitute not only the fandango, but also an important feeling of community, the sense of togetherness that social dances bring. The most prominent musicians at a fandango have facility with all five elements, but it only takes knowledge of a couple of the elements to fully participate in a fandango. Literally, the word fandango means “party” or “celebration.” décima: A ten-line poetic form that has a long history in Mexican balladry. The most used form is the décima espinela, named after the poet Vicente Espinel. This form uses octo-syllabic meter with the rhyme scheme ABBA AccDDc. maniqueo/mánico: A rhythmic pattern of up-strokes and down-strokes used to strum the jarana, a guitar-like instrument commonly used in Mexican folk music.
    [Show full text]