UNIVERSITY OF CALIFORNIA Los Angeles From Fiesta to Festival: Mariachi Music in California and the Southwestern United States A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Lauryn Camille Salazar 2011 UMI Number: 3493399 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI 3493399 Copyright 2012 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. uest ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Lauryn Camille Salazar 2011 The dissertation of Lauryn Camille Salazar is approved. Mitchell Morris Timothy Rice YAS6C~ Tara Browner, Committee Chair University of California, Los Angeles 2011 ii TABLE OF CONTENTS List of Figures iv Acknowledgements vii Vita ix Abstract xii Chapter One 1 Introduction Chapter Two 29 The Basics of Mariachi Chapter Three 68 Mexican Music in Early California Chapter Four 91 Mariachi Festivals Chapter Five 125 Transcribing Mariachi Music Chapter Six 156 Mariachi Education Chapter Seven 194 Tag Ending References 206 in LIST OF FIGURES Figure 2.1: Map of Mexico. Public domain map by Alex Covarrubias 33 Figure 2.2: Picture of my father holding a guitarron. Front view and side view of instrument. Photo by author 36 Figure 2.3: Front view of a vihuela. Photo by author 37 Figure 2.4: Side view of a vihuela. Photo by author 37 Figure 2.5: Picture of a typical harp. Photo by Romeo Guzman. Used with permission 38 Figure 2.6: Basic sonjalisciense rhythms. 53 Figure 2.7: Most common tag ending for a sonjalisciense 54 Figure 2.8: Alternate tag ending for a sonjalisciense 54 Figure 2.9: Typical bolero rhythmic pattern 55 Figure 2.10: Tag ending for a bolero in a major key 55 Figure 2.11: Tag ending for a bolero ending in minor 55 Figure 2.12: Typical chotis rhythmic pattern 56 Figure 2.13: Typical cumbia rhythmic pattern 58 Figure 2.14: A typical danzon rhythm 58 Figure 2.15: Shows atypical huapango rhythmic pattern 59 Figure 2.16: A typical jarabe rhythmic pattern 60 Figure 2.17: Typical joropo rhythm 61 Figure 2.18: Pasodoble rhythmic pattern 61 Figure 2.19: Excerpt of the trumpet 1 part of "Espaiia Cani" as arranged by Jesus Guzman. Excerpt used with permission. 62 Figure 2.20: A typical polka rhythm 63 Figure 2.21: Example of atypical 3/4 ranchera rhythm 64 Figure 2.22: Example of a typical 4/4 ranchera rhythm 64 Figure 2.23: Example of a common 3/4 time ranchera tag ending 64 Figure 2.24: Ranchera tag ending in 4/4 time, example 1 65 Figure 2.25: Ranchera tag ending in 4/4 time, example 2 65 Figure 2.26: Typical Vols rhythmic pattern 66 Figure 3.1: Picture of Charles Fletcher Lummis with his children (1903). Braun Research Library Collection, Autry National Center; P.33557. Used with permission 75 Figure 3.2: Picture of Rosendo Uruchurtu recording for Lummis (1904). Braun Research Library Collection, Autry National Center; P.33391B. Used with permission 78 Figure 3.3: Picture of Arthur Farwell (1904). Braun Research Library Collection, Autry National Center; P.32252. Used with permission 79 IV Figure 3.4: Image of Farwell's transcription of "La Zorrita." Braun Research Library Collection, Autry National Center; Sung by Don Porfirio Rivera. MS.1.5; Folder Songs, Verse and Music, 1850-1929. Used with permission 83 Figure 3.5: Author's transcription of "La Zorrita." 84 Figure 3.6: Photograph of Don Antonio Coronel with part of his collection of swords and instruments, circa 1890. Braun Research Library Collection, Autry National Center; P.36396. Used with permission 88 Figure 3.7: Photographs of two mariachi harps belonging to the author. Photo by Romeo Guzman. Used with permission 89 Figure 4.1: Photos from the 1979 San Antonio Mariachi Festival. Photos by William "Bill" Faulkner. Used with permission 96 Figure 4.2: Picture of the author with Jonathan Clark at the 2005 Chula Vista Mariachi festival. Photo by Diana Verdugo. Used with permission 98 Figure 4.3: Photo of William Faulkner during the harp workshop at the 2007 San Jose Mariachi festival. Photo by author 100 Figure 4.4: Nati Cano and author at 2003 Tucson Mariachi Festival. Photo by Diana Verdugo. Used with permission 103 Figure 4.5: Picture of students taking a break backstage before the final show. Taken at the Tucson Mariachi Festival 2004. Photo by author 104 Figure 4.6: Picture of the harp workshop during the 2006 Tucson Mariachi Festival. Photo by Diana Verdugo. Used with permission 104 Figure 4.6: Promotional poster advertising the 2005 festival. Photo by the author 108 Figure 4.7: Mariachi musicians performing on the Tequila Express. Photo by author 110 Figure 4.8: Picture of workshop participants at the 2006 Chula Vista Mariachi Festival. Photo by author 116 Figure 4.9: Picture of Rigoberto Alfaro and author at Chula Vista festival in 2006. Photo by Diana Verdugo. Used with permission 117 Figure 4.10: Workshop Rehearsal at the 2005 San Jose Mariachi festival. Photo by the author 119 Figure 5.1: Representing a 6/8 feel 137 Figure 5.2: Typical 3/4 beaming 137 Figure 5.3: Laura Sobrino's "LaNegra" transcription. Measures 1-7. Used with permission 144 v Figure 5.4: Jesus Guzman's "LaNegra" transcription. Measures 1-6. Used with permission 145 Figure 5.5: Laura Sobrino: Measures 14-19. Used with permission 147 Figure 5.6: Laura Sobrino: Measures 20-25. Used with permission 147 Figure 5.7: Laura Sobrino Measures 26-31. Used with permission 148 Figure 5.8: Laura Sobrino: Measures 32-37. Used with permission 148 Figure 5.9: Jesus Guzman: Measures 9-17. Used with permission 149 Figure 5.10a: Jesus Guzman: Measures 13-24. Used with permission 150 Figure 5.10b: Jesus Guzman: measures 25-36. Used with permission 151 Figure 5.10c: Jesus Guzman: Measures 29-40. Used with permission 152 Figure 6.1: Photo of Donald Borcherdt circa 1960s. UCLA Ethnomusicology Archive, Donn Borcherdt Collection 1966.01. Used with permission 161 Figure 6.2: Unpublished letter written by Borcherdt, 1965. UCLA Ethnomusicology Archive, Donn Borcherdt Collection 1966.01. Used with permission 166 Figure 6.3: Photo of Mariachi Uclatlan (1963). UCLA Ethnomusicology Archive, Donn Borcherdt Collection 1966.01. Used with permission 167 Figure 6.4: Lauryn Salazar and Laura Sobrino. Photo Diana Verdugo. Used with Permission 168 Figure 6.5: Arthur Gerst and Lauryn Salazar. Photo Diana Verdugo. Used with permission 169 Figure 6.6: Photo of Jesiis Sanchez circa 1970s. UCLA Ethnomusicology Archive, Donn Borcherdt Collection 1966.01. Used with permission 170 Figure 6.7: Mariachi Nuevo Uclatlan mid-1970s. Photo from the collection of Daniel Sheehy. Used with permission 172 Figure 6.8: Photo of Mariachi Uclatlan (1971). UCLA Ethnomusicology Archive, Donn Borcherdt Collection 1966.01. Used with permission 173 Figure 6.9: Mariachi UCLA, circa 1995. From the Collection of Sergio Alonso. Used with permission 175 Figure 6.10: Mariachi de Uclatlan 2008. Photo by Romeo Guzman. Used with permission 176 Figure 6.11: Mariachi de Uclatlan 2010. Photo by Romeo Guzman. Used with permission 179 vi ACKNOWLEDGMENTS I am very grateful to the organizations and individuals who helped make this dissertation possible. During the 2007-2008 school year, I received generous support through the Institute of American Cultures Chicano Studies Research Center Grant, which funded my year of archival and field-based research. Navigating the archives at the Braun Research Library Collection at the Southwest museum would have been impossible without the help of Liza Posas. Additionally, Aaron Bittel and Maureen Russell went above and beyond the call of duty to help me with my research at the UCLA Ethnomusicology Archive. Without their assistance, I would not have been able to find all of the necessary photographs and correspondence housed within the Borcherdt collection. Both archives have my appreciation for giving me permission to use various photographs and documents throughout my dissertation. My dissertation committee members: Mitchell Morris, Helen Rees and Timothy Rice all provided me with useful advice and encouragement throughout the research and writing process. I am especially thankful to my committee chair Tara Browner for urging me to continue with my writing and guiding me through various obstacles throughout this endeavor. My undergraduate advisor at Carleton College Melinda Russell deserves special mention, as I am very grateful to her for introducing me to the field of ethnomusicology. Through her guidance, I learned the fundamentals of the field and benefited greatly from her mentor ship. vn I would also like to thank: Daniel Sheehy, Sergio Alonso, Romeo P. Guzman, and Diana Verdugo for allowing me to use their photographs to enrich my various chapters. Jonathan Clark, William Faulkner, Arturo Gerst and Mark Fogelquist have all provided me with wonderful research opportunities, helped me network with other informants, and acted as a sounding board for various ideas throughout the years. My experience working as a mariachi in Boyle Heights proved to be a positive one, as most of the mariachi musicians I met and worked with were all very friendly and helpful. Though too numerous to mention each individual, I am grateful to all of the mariachis who work in Boyle Heights, Los Angeles for their help.