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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, -
Old-Style Mariachi Music Cascades out of Gritty Strip Mall to Infuse New Generations - Joel Selvin, Chronicle Senior Pop Music Critic Thursday, October 5, 2006
Old-style mariachi music cascades out of gritty strip mall to infuse new generations - Joel Selvin, Chronicle Senior Pop Music Critic Thursday, October 5, 2006 In a small strip mall in the East Bay near the end of San Pablo Avenue, Los Cenzontles Mexican Arts Center sits between a run-down coin laundry and a Smart & Final discount store, a few blocks from the Richmond/San Pablo city line. Nearby are some of the toughest neighborhoods in California, 24/7 drug dealing on every corner, death and violence at hand every day. More than 200 students traipse through the remodeled liquor store each week to take music lessons in this hardscrabble part of town, blowing gently on the glowing ember of their culture that Los Cenzontles director Eugene Rodriguez is keeping alive. "We are playing the old-style mariachi music," he says, "something very few people have any value for." Rodriguez and the people at Los Cenzontles are working hard to preserve traditional Mexican music, teaching their grandparents' songs and dances to a new generation. In the trophy case in the center's light, airy main room are a photo of first lady Laura Bush giving Los Cenzontles an award, some of the 15 CDs the center has recorded with its touring company and photos of Los Lobos and Linda Ronstadt meeting with the students. Leather chairs and a couch that one student's parents dropped off on their way to the dump make a little living room at the end of the recital hall, lovingly built by more parents, many who work in the building trades. -
Arxiv:1904.04948V1 [Cs.SI] 9 Apr 2019 Others Through the Emotions of Music and Its Lyrics [8]
Environmental Changes and the Dynamics of Musical Identity Samuel F. Way,1, 2, ∗ Santiago Gil,2, y Ian Anderson,2, z and Aaron Clauset1, 3, x 1Department of Computer Science, University of Colorado, Boulder, CO, USA 2Spotify, New York, NY, USA 3Santa Fe Institute, Santa Fe, NM, USA Musical tastes reflect our unique values and experiences, our relationships with others, and the places where we live. But as each of these things changes, do our tastes also change to reflect the present, or remain fixed, reflecting our past? Here, we investigate how where a person lives shapes their musical preferences, using geographic relocation to construct quasi-natural experiments that measure short- and long-term effects. Analyzing comprehensive data on over 16 million users on Spotify, we show that relocation within the United States has only a small impact on individuals' tastes, which remain more similar to those of their past environments. We then show that the age gap between a person and the music they consume indicates that adolescence, and likely their environment during these years, shapes their lifelong musical tastes. Our results demonstrate the robustness of individuals' musical identity, and shed new light on the development of preferences. Music is the soundtrack of our lives. It reflects our personify [10{12]. mood and personality, as well as the important people, When a community forms around some kind of music, places, and times in our past [1]. In this way, a person's the surrounding environment takes on an identity of its musical identity|the set of musical tastes or preferences own. -
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. -
Los Tigres Del Norte
Station 2: Los Tigres del Norte Los Tigres del Norte and Christian Nodal are Norteño artists, which is Regional Mexican music. Los Tigres del Norte has been performing for over fifty years and have a large fanbase. Their songs are often corridos, a narrative ballad. Los Tigres tackle issues of the border and immigration in their songs, often centering the working class near the border. Read the below news article and respond to the following questions. Immigration Blues: On the road with Los Tigres del Norte By Alec Wilkinson, The New Yorker, May 17, 2010 A few days before Christmas, the norteño band Los Tigres del Norte, four brothers and a cousin, were aboard their bus in San Antonio, Texas, on their way to Randy’s Ballroom, on the city’s west side, which is rough. The brothers are Jorge, Hernán, Eduardo, and Luis Hernández, and the cousin is Oscar Lara. Jorge, the oldest, is the leader. He is watchful and determined, and he dreams of a boardroom where the band for the Super Bowl is chosen by someone who says, “Why not Los Tigres again?” Hernán, who dresses tastefully, and has black hair, with a streak of gray, is gracious, genial, and thoughtful. Eduardo is soulful and reserved and the most gifted musician among them. Luis, who is the youngest, is the heartthrob, and Oscar has the slightly remote air of a man who often appears to be amused by his thoughts… In the past few years, Los Tigres have spent several hundred thousand dollars on close-fitting suits made for them by the Nashville tailor Manuel, who is sometimes called the Rhinestone Rembrandt. -
Bringing Mexican Regional Music to Market Amanda Maria Morrison University of Texas at Austin, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SJSU ScholarWorks San Jose State University SJSU ScholarWorks National Association for Chicana and Chicano 2008: 35th Annual: Poesia, Baile, y Cancion - Studies Annual Conference Austin, TX Apr 1st, 5:00 AM Too Mex for the Masses: Bringing Mexican Regional Music to Market Amanda Maria Morrison University of Texas at Austin, [email protected] Follow this and additional works at: http://scholarworks.sjsu.edu/naccs Part of the Chicano Studies Commons, Ethnic Studies Commons, Music Commons, and the Race and Ethnicity Commons Amanda Maria Morrison, "Too Mex for the Masses: Bringing Mexican Regional Music to Market" (April 1, 2008). National Association for Chicana and Chicano Studies Annual Conference. Paper 12. http://scholarworks.sjsu.edu/naccs/2008/Proceedings/12 This Event is brought to you for free and open access by the Conferences at SJSU ScholarWorks. It has been accepted for inclusion in National Association for Chicana and Chicano Studies Annual Conference by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Amanda Maria Morrison Department of Anthropology University of Texas at Austin 2008 NACCS Conference Presentation Too Mex for the Masses: Bringing Mexican Regional Music to Market The notion of a “Latin boom” in the music industry typically conjures the swiveling hips and buoyant salsa-infused rhythms of pop performers like Ricky Martin and Shakira or, more recently, the driving island beats of reggaeton. Few imagine a Stetson-sporting vaquero as a representative figure of the contemporary Latin music scene. -
Week of February 22, 2021
2/22/2021 Mail - OSU Humanities Institute - Outlook [Huminst] Humanities Institute Weekly Digest 2/22 - 3/1 Huminst <[email protected]> on behalf of OSU Humanities Institute via Huminst <[email protected]> Mon 2/22/2021 5:23 PM To: [email protected] <[email protected]> 1 attachments (490 bytes) ATT00001.txt; Greetings Affiliates, Below, please find this week’s Humanities Institute bulletin. Stay safe and have a great week! Humanities Weekly Digest Humanities Institute Spotlights of the Week https://outlook.office365.com/mail/[email protected]/inbox/id/AAQkAGQ0ZTRkYzFlLWZkMGItNDI5NC1hNDRhLTFmNTBiMGFkNzVmZAAQAGyQsvs… 1/8 2/22/2021 Mail - OSU Humanities Institute - Outlook February 22, 7:00p.m. - 9:00p.m.: Thomas and Diann Mann Jewish Study Film Series The Melton Center presents a Jewish study film series via Zoom with Ohio State Jewish studies professors. Participation is free and is limited to 25 participants. Participants will view each film before the zoom meeting. All of the films are available to rent for $3.99 each or less. Click on the film title for rental information. Session 3: Dancing Arabs, (2014). Available to rent on Google Play, iTunes, or Vulu. Meet on Zoom with Naomi Brenner, Associate Professor of modern Hebrew and Yiddish literature and culture, on February 22 at 7:00 PM. Session 4: Dirty Dancing, (1987). Available to rent through Amazon for $3.99. Meet on Zoom with Sonia Gollance, Assistant Professor of Yiddish. Date TBA, spring, 2021. REGISTER The film series is supported by the Thomas and Diann Mann Symposia Fund. February 23, 1:30p.m. -
Mexican American Roots Music with a Vibrant, Contemporary Attitude
Mexican American roots music with a vibrant, contemporary attitude Los Cenzontles (Nahuatl for “The Mockingbirds”) dig deep into cultural traditions, creating a vibrant, con- temporary sound infused with the gutsy soul of Mexi- co’s rural roots. Los Cenzontles (senn-SONT-less) have produced 19 albums with their 20th, Regeneration, re- leased with critical acclaim this past fall. The band has performed across the U.S., in Europe, the Dominican Republic, and throughout Mexico; they have collaborat- ed with artists including The Chieftains, Los Lobos, Los Tigres del Norte, Linda Ronstadt, Ry Cooder, David Hi- dalgo and Taj Mahal, among others. The group's core members also operate Los Cenzontles Mexican Arts Center in San Pablo, California. The nonprofit has been training Bay Area youth in traditional Mexican music, dance, and art since 1994. Los Cenzontles "both honors and upends traditional Mexican music, tapping deep roots as it flow- ers into something completely new, and distinctly American." — New York Times "Los Cenzontles’ gutsy rhythms and delightful voices reinvigorated my love of Mexican music." — Linda Ronstadt “Meeting Los Cenzontles was just like meeting a medieval clan of wonderful musicians from the West Coast of Ireland. The fusion of their music with ours was something that just had to happen. It was inevitable.” — Paddy Moloney, The Chieftains For more reviews and press materials, visit www.loscenzontles.com/band. Select Recent Perfor- La Pelota Soy Mexico Americano Valor Latino Tirana mance Venues: Gran Teatro del Cibao (Santiago, Dominican Republic) * UCLA Live / Royce Hall * America Society (New York) * Rialto Center for the Arts (Atlanta) * Town Hall (Seattle) * Los Angeles Music Center * Cal Performances / UC Berkeley * World Music Festival / Cal State Chi- For booking, contact Peter Maund at (510) 233-8015 / [email protected] Music & video available online at www.loscenzontles.com . -
Mariachi Herencia De México
Carolina Sanchez MARIACHI HERENCIA DE MÉXICO CURRICULUM GUIDE ABOUT THE ARTISTS Mariachi Herencia de México, an ensemble of students from Chicago’s immigrant barrios, is breathing new life into the traditional music. The group aims to preserve the tradition of mariachi music while innovating for a new generation of listeners. HOW IT BEGAN The unlikely story started with an idea that came to Chicago resident César Maldonado. Born in Chicago, Maldonado's parents were immigrants from Durango, Mexico. His parents were factory workers and did not know English. Maldonado excelled in school and at 33 was a successful investment banker living in Chicago. Maldonado wanted to give back, and he remembered that his elementary school never offered music or arts classes. He decided this is where he could make a difference for the next generation of young Mexican Americans. Maldonado did not have a music background, except for a deep appreciation for mariachi music — his parents played it constantly on the radio while he was growing up. So he decided to foundhttp://www.mariachiheritagefoundation.org the Mariachi Heritage Foundation in 2013. Since then, the foundation has grown to incorporate mariachi music education in the curriculum of eight of Chicago’s public schools, involving 2,100 students in grades 3 through 8. The foundation also supports Mariachi Herencia de México, an audition group for advanced students. http://www.whereig.com PRESERVING HERITAGE According to the U.S. Census, there are over 54 million Latinos in the U.S. today and Latinos represent nearly a third of Chicago’s total population of 2.7 www.nbcchicago.com/blogs/making-a-difference/WEB-430P-MARIACHI-SCHOOL_Chicago-373142001.html million residents. -
Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands
Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Laura E. Pérez, Chair Professor David Montejano Professor Paola Bacchetta Summer 2019 © Wayne Alejandro Wolbert 2019 Abstract Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert Doctor of Philosophy in Ethnic Studies University of California, Berkeley Professor Laura E. Pérez, Chair This dissertation examines the Texas Mexican musical genre known as conjunto and its concomitant social world. In this work I situate conjunto within a broader context of Mexican American cultural production, Texas Mexican popular music, and the shared histories of the U.S.- Mexico borderlands. As a social history, the dissertation traces the development of the genre and its practitioners across the twentieth century to the present. I examine interactions of power; expressions of identity; and constructions of race, class, and gender through movement (dance), performance (instrumentation and playing), and place (the dancehall or nite club) within and around San Antonio and South Texas. I argue that conjunto is an embodiment of Xicanx thought and knowledge, an everyday act of resistance and reaffirmation. 1 Dedicación -
CURRENTS Artist Biographies
CURRENTS Artist Biographies Conductor Michael Morgan was born and raised in Washington DC and is recognized worldwide for innovative and thematically rich programs that make connections between a wide range of artists and musical cultures. A key part of the Bay Area’s artistic and community fabric for three decades, he serves as Music Director of the Oakland Symphony and Artistic Director of the Oakland Youth Orchestra. Morgan’s ties to the San Francisco Symphony stretch back to 1994, when he first led Concerts for Kids performances. In 2022 he will present a boldly varied SF Symphony subscription program of works by Carlos Simon, Price, Brahms, and Franck—a concert that was originally to have taken place in April 2020 and was canceled due to COVID-19. From a young age, Canadian conductor Daniel Bartholomew-Poyser turned to orchestral music to bring light, beauty, and healing to his personal and professional life. Currently Artist-in-Residence and Community Ambassador at Symphony Nova Scotia, he is also on the Board of Orchestras Canada, where he serves as chair of the Inclusion, Diversity, Equity and Accessibility Committee. Bartholomew- Poyser was the subject of the CBC/Iron Bay Media documentary Disruptor Conductor, which features footage of him conducting the San Francisco Symphony during the 2018–19 season, in addition to documenting other significant projects he was involved in throughout that season. Since December 2015, when he led his first holiday Deck the Hall concert with the San Francisco Symphony, Daniel Bartholomew-Poyser has returned to lead the Orchestra almost every season. In addition to Deck the Hall, he has conducted the San Francisco Symphony’s Music for Families and Adventures in Music concerts, and led a set of SoundBox performances in December 2019. -
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.