TEST 3 Latin America - Lecture notes 5/22-6/7 PDF

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Juan Wolf...

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Godspeed my students~~~~Good luck and I hope you have a wonderful summer! -WALLACE CAN SOMEONE REPOST THE iclicker QUESTIONS...IDK where it went!!!!!!!!! 

MUS 359: Test Three Review Sheet [5/22/18]: Mexico: Reviving Folk Forms in Different Contexts · Be aware that Madrid’s themes are related to the course themes: postcolonialism àmigration and diaspora, hybridity àethnic  identity, modernity àmedia · Postcolonialism:official name of Mexico and status before 1848 · “Son” complex:music-dance-sung poetry o Regionally different o Son jarocho: from state of Veracruz § People discuss as a mixture of primarily African and European, but we must be sensitive to the idea that “mixing” often disguises real power relationships that were at play · Fandango:community festive gathering where son jarocho is played o Stringed instruments:jaranaand  guitarra de son o Zapateo: footwork on the tarima(raised wooden platform) o Poetry: most often in coplas(couplets),  cuartetas(quatrains) anddécimas(10-line stanzas), can be improvised o Sesquialtera Rhythm: patterns of six notes, alternately grouped in threes and twos · Mariachi comes from state of Jalisco – politicians from the region used mariachi musicians in their presidential campaigns, led to recordings, radio, and movie performances that helped make mariachi the national music · Beginning in late 1940s through 1950s, son jarocho also has politicians promote it in similar ways, together with the emergence of folkloric ballets · In 1958, Ritchie Valens records a rock-and-roll version of “La Bamba,” making U.S. audiences aware of the song · In 1987, movie and recording by Los Lobos makes a new generation of Mexican Americans aware of son jarocho · Both versions of “La Bamba” coincide with moments in Mexican history o Presidents from Veracruz and emergence of Ballet Folklórico (Folkloric Ballet) in 1952 o Los Lobos in wake of son jarocho revival in Mexico and transcultural o Illustrate the idea of transnational   § Transnational:refers to cultural flows that go beyond the boundary of nation-state § Transcultural:process of change in cultural encounters

[5/24/18]: Mexico: Mariachi as Mestizaje · NationalismàMariachi as Mestizo o Origins of “Mariachi” in 1800s associated with state of Jalisco and folk practices for local events o Considered Mestizo àuse   of stringed instruments by indigenous, peasant groups o Becomes national thanks to the support of local politicians (Porfirio Diaz) and media including radio (25% Mexican content), recordings, and film (singing cowboys) o Mariachis “cleaned up” by adopting charro(Mexican  cowboy) dress and cosmopolitan through incorporation of trumpets · Mariachi Musical Practice o Son jalisciense (local variation of son): features use of sesquíaltera rhythm in rasgueado  patterns o Instruments: vihuela, guitarrón, guitar, trumpets and violins o Mariachi musicians have code of conduct and pride in heritage o Representative performers are Mariachi Vargas de Tecalitlán (from Jalisco) · Mariachi as Hypermasculine

o Malinchismo: famous theory that Mexican machismo has roots in the treason and rape of La Malinche o Performance: dominated by men, sustained notes and lyrics that depict a person who acts as if in charge despite undergoing hardship as signs of masculinity o Parody: some performers poke fun at this hypermasculinity, creating sexual ambiguity and questioning what is considered “national” o Changes in Mariachi: include all-female mariachi groups, transnational practice, mixing with rock music, and an “indigenous” revival

[5/29/18]: Mexican Cosmopolitanism via Romantic Song o Roots of bolero  in Cuba as music for listening, with romantic and countryside themes, two sections of melodic material, and a cyclical timeline o Historical connections between Cuba and Yucatán mean that bolero is also played there in adapted trova format o Musicians, including Guty  Cárdenas, from the Yucatán region present bolero in Mexico City on recordings and radio in the 1920s o In the 1930s and 40s, Agustín  Lara and others transform the bolero using cosmopolitan aesthetics (piano and orchestra) and disseminate through radio, recordings, and film o These media also spread the bolero performed in guitar trios and as bolero ranchera in mariachi groups o These boleros demonstrate a simplified rhythm and open modernista imagery o The bolero represents a transnational practice of sophistication. o During the 1970s, the balada  takes over from the bolero § The balada is more dramatic, both musically and lyrically, with lush arrangements. § Televisa (and its associated OTI festival) promote a type of ballad aimed at the middle-class. This type of balada tends to use orchestra arrangements. § Another type of balada demonstrates more of a working-class sensibility, played by rock-like groups, hence the name balada grupera. · Balada grupera uses elements of cumbia, to make a more rhythmically active balada that while still lyrically romantic, brings up working-class contexts and concerns.

[5/31/18]: Bolero vs Balada Lyrics / Norteño · The romantic focus of bolero and balada lyrics has given scholars a window into gender and class relationships o While the songs often written gender-neutral or adaptable to either gender, a male perspective is often implied. § In older boleros, this perspective included: · The subject of affection in the song as a romantic “Other” · The subject of the song as a fallen woman § In baladas, however, some room was made for:’ · Criticism of class-structure · A Queer perspective

Onda Grupera and Norteño (Tejano) · The “Onda Grupera” movement was a marketing term created in the 1990s to refer to several music performed in a group format including: banda, norteño, cumbia, balada. · While groups tended to dress alike, these first two musics (banda and norteño) were linked to ways that people in the Mexican northern regions identified.

· Norteño(and Tejano) arose out of the transculturation of German and Mexican influences, including genres like the polka and waltz, as well as instruments like the accordion in southern Texas and northeastern Mexico. · This music was linked via film to a norteño character that was quick-witted, easy-going, wore cowboy hats and boots, as well as danced with a unique heel-like step · Norteño became more familiar to Mexicans and Mexican Americans as Mexicans migrated to the U.S., particularly in the 80s and 90s · Los Tigres del Norte became famous for their outfits, adding electronic instruments, and their corridos, initially narcocorridos but later as corridos about immigrants.

[6/5/18]: Banda and the Beginnings of Grupera · Banda is associated with Mexico’s Northwest, growing out of military and municipal band traditions. Bands from the state of Sinaloa became particularly famous for their upbeat, syncopated way of playing polkas and marches. · In the 1990s, synthesizers with brass sounds could imitate the sounds of these bandas in a grupero format. Together with adopting the norteño look made famous by Los Tigres del Norte and electronic percussion from cumbia practice, they created tecnobanda. · Quebradita was the closed-position, back-breaking dance that was associated with an upbeat tecnobanda sound. A specific form of quebradita, performed by second and third generation immigrants in Chicago, became known as the pasito duranguese. · Although created in Chicago, pasito duranguense circulated and became appropriated by people from Durango state, an example of cultural remittance. · Important to all Mexican music practice is the corrido  , a narrative ballad form that celebrates important people or events of social/historical importance o Corridos found in both the norteño and banda traditions. o Narcocorridos emerged in the 90s and 00s, as a result of the success and increased power of the drug cartels in Mexico, thanks to high demand for drugs in the U.S. o Points to the problematic nature of music; the corridos can be celebratory of a hero, but they can also portray negative influence in promoting violence, although some narcocorridos can be cautionary tales. Often, however, these narcocorridos comment more on relationships and society than drugs. · Rigo Tovar o Forerunner of later onda grupera bands; like those bands, associated with the working class. o Simplified cumbia, open to criticism by elite, but make working class visible o The multiple groups of Latin American immigrants (Mexican, Central American) suggest that dancing and listening to Rigo’s music was a way of expressing “transnational cultural citizenship.”

[6/7/18]: Mexican Rock and Canto Nuevo · Early 1960s rock in Mexico copied songs from the U.S., replacing the English lyrics with more conservative Spanish ones, sometimes referred to as “refrito.” · Later, as rock starts to develop into a stronger counterculture genre in Mexico, English lyrics become a marker for authenticity, whether writing their own songs or covering U.S. artists. · The clash between Mexican rock and mainstream society comes to a head at the 1971 Avándaro festival. Critiqued from both the right and the left, the rock scene is forced underground. · At the beginning of 1970s, U.S.-supported right-wing dictatorships take over several South American countries and Nueva Canción artists are forced into exile. Some come to Mexico, and Mexican Nueva Canción artists also emerged.

Over time, these artists follow the general trend that wants to maintain the strong social justice message but is OK with a more cosmopolitan sound – Canto Nuevo. · Rock rupestre: the blend of Canto Nuevo sensibilities with blues and rock that began to emerge in the mid-1980s, allowing rock to become mainstream again, as shown by the winning of the 1985 OTI festival by a rock rupestre artist. · The success of rock rupestre leads to national record labels marketing the emerging rock groups as rock  en tu idioma (rock in your language), so English loses its cache as an authenticity marker. Several Mexican groups like Maná and Café Tacvba become well-known across Latin America and, after being marketed in the US as “Rock en español,” even collaborate with US artists like Santana.

MULTIMEDIA EXAMPLES Son Jarocho: El Colás

El Colas a cuadrilla (Links to an external site.)Links to an external site.

● One of the more famous sones from the state of Veracruz, El Colás. This performance illustrates dancers on a tarima, or elevated platform, in order to provide percussive accompaniment to the song. Notice the different sizes of the jarana guitars used for strumming. The guitarra de son, or requinto, played with a plectrum, can be seen if look between the dancers. This version is interesting because it is performed as a square dance, or cuadrilla. This community gathering, or fandango, also features a harp and a leona (bass requinto). ○ Shows hybridity through string instruments (european descent) and rhythm of the zapateo (african descent) ○ Dance steps are zapateo ○ State of veracruz ○ Tarima wooden Platform ○ Sesquialtera (Patterns of six notes grouped into 3 or 2) ○ Fandango ○ Cuadrilla--square dance ○ Guitarra de son (requinto/) and Plectrum harp

Los Lobos: La Bamba

● Los Lobos - La Bamba (HQ,16:9) (Links to an external site.)Links to an external site. ● The video of the song's version from the movie soundtrack of the same name. The 1958 Ritchie Valens version made the song well-known in the U.S., albeit in a rock-and-roll format. This 1987 version became important as a way for Mexican Americans to connect with the revival of the son jarocho revival happening in Mexico. At the time, Los Lobos was an East L.A. rock band that also had experience playing different types of Mexican music at weddings. Notice the mix of instruments as the video fades (guitarron and guitar from the mariachi tradition, requinto and jarana from son jarocho tradition). Both versions are an example of transculturation. ○ Connecting with son jarocho revival in Mexico ■ Not authentic son Jarocho ○ Los Lobos transcultural band in LA ○ Connects with two moments in Mexican history ---Ballet Folklorico to Revival ○ Example of transculturation and transnationalism ○ 1958 Ritchie Valens----1987 ○ Guitarron (mariachi) / Requinto / Jarana

"El Son de la Negra" by Mariachi Vargas de Tecalitlán

● El Son de la Negra (Links to an external site.)Links to an external site. https://youtu.be/MiY-Rj3VA5s (Links to an external site.)Links to an external site.

● One of most well-known sones from Jalisco, performed by the most celebrated mariachi group. Note the use of sequiáltera strumming to keep the rhythm and the use of gritos (cries to inspire the musicians and audience). Also valued are long, sustained sung notes and bel canto (opera-like) singing. ○ Often dressed as charros ○ machismo elements --all male mariachi most common ■ Malinchismo → famous theory that Mexican machismo has roots in the treason and rape of La

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Malinche (was traitor) Sesquialtera rhythm Gritos(cries to inspire the musicians and audience) Most well-known son from Jalisco

Los Panchos: Solamente Una Vez

● Los Panchos: Solamente Una Vez (Links to an external site.)Links to an external site.

● Perhaps Agustin Lara's best known bolero, presented here in the now-standard guitar trio format of requinto, guitar, and harmony vocals by the best known of these trios. By this time, the rhythm of the bolero has become a steady stream of eighth notes. This song would also be performed in English and by such stars as Nat King Cole. ○ Marketed to the upper class → sounding as sophisticated as possible ○ Comes from Cuba and Yucatan----Trova form of bolero

■ Guty Cardena presents bolero in Mexico City on recordings and radio in 1920’s ■ Augustin Lara transformed bolero w/ more cosmopolitan aesthetics (piano & orchestra) in 40’s and 50’s. ■ Presented in trio format---requinto,guitar, and harmony vocals

José José: El Triste (the sad one)

● José José: El Triste (Links to an external site.)Links to an external site. ● Here Mexican singer José José performs an example of the balada that was marketed at middle and upper classes. Notice the dramatic pauses, changes in volume, and lush arrangements in this performance. This appearance is at one of the famous OTI festivals that ended up being important in spreading balada practice throughout Latin America and Spain. ○ Women are idealized ○ BALADA marketed to middle/upper class ○ Lyrics shape how these genres are viewed and lets us see how relationships are often perceived ○ View on Heterosexuality and queer perspective ■ OTI festival

Los Bukis: Tu Carcel (Your Jail)

● Los Bukis: Tu Carcel (Your Jail) (Links to an external site.)Links to an external site. ● Some groups incorporated influences from both rock and cumbia, creating a more active rhythm section than the baladas aimed at middle class audiences. These baladas gruperas appealed to working-class

sensibilities in their lyrics as well, often taking the perspective of a poor man's unrequited love for a rich woman. ○ Geared more towards the working class ■ Unrequited love between a poor man a rich women ■ Rock & Cumbia (very active rhythm) ■ Working class ■ Baladas gruperas

Los Tigres del Norte: Pacas de a kilo (One Kilogram Packs) ● LOS TIGRES DEL NORTE PACAS DE A KILO (Links to an external site.)Links to an external site.

● The most famous norteño group is Los Tigres del Norte (The Northern Tigers). They added a electric bass to the usual norteño line-up and wore elegant cowboy outfits in the norteño style. They first became famous singing narcocorridos like this song, but later became favorites of Mexican migrants because they sang about the migrant experience and the troubles Mexico was facing. ○ Focuses on telling stories --about narcocorridos and corridos about migrant experience/troubles of mexico ○ Most famous norteno group ○ Cowboy outfits in Norteno style

Montéz de Durango: Pasito Duranguense ● Montéz De Durango - ~Pasito Duranguense~. En Vivo Desde Chicago... (Links to an external site.)Links to

an external site.

● This band is playing Pasito Duranguense, a form of dancing tecnobanda that developed among second and

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third generation immigrants in Chicago, but took their name from the state of Durango. Now that state has adopted it as its own. In this performance, the music comes full circle as a band from Durango plays for a Chicagi audience. Dancing technobanda Pasito Duranguense is back-breaking dance (adapted from quebradita)

Rigo Tovar: Como Será la Mujer

● Rigo Tovar: Como Será la Mujer (Links to an external site.)Links to an external site.

● Rigo Tovar preceeded the onda grupera, becoming popular with a working class audience, initially by getting

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radio play and touring in the Texas-Mexico borderlands. According to Dr. Madrid's ideas, Mexicans and Central Americans would dance to his cumbias in a type of dialectical sounding, hearing the sounds of their homelands back at parties with friends in the U.S. Preceeded Onda Grupera Working class( simple cumbia) Toured the border

Rigo’s music was a way of expressing “transnational cultural citizenship.”

Mexicanto: Vienen Cantando ("They come singing")

● Mexicanto: Vienen Cantando (Links to an external site.)Links to an external site. ● Mexicanto is a Mexican Canto Nuevo group that emerged in the 1980s. Canto Nuevo musicians were still

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interested in singing about social justice but did not focus as much on the "Latin American" sound, opting more for the cosmopolitan singer-songwriter style. In this song, the group pays tribute to the Nueva Canción artists of the past, the lyrics pointing out that these "committed" singers sing for everyone. Mexican canto nuevo group

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Did not focus on “Latin American Sound”...Focused on social justice (cosmopolitan) Arose from nuevo cancion underground exiles

Café Tacvba: Eres

● Café Tacvba: Eres (Links to an external site.)Links to an external site. ● Café Tacvba was a Mexican rock group that became well-known during the "Rock en tu idioma" era. After a

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decade underground, rock started to get a spotlight again, first with rock rupestre, which was influenced by Canto Nuevo. Once that type of rock became acceptable, record labels started marketing rock as "in your language." Café Tacvba remains popular among cosmopolitan Mexicans because it tends to illustrate both cosmopolitan rock and Mexican sensibilities. This video has a recognizably rock sound while the video suggests young love in a common Mexican high school setting. Street cred whose better Mexican sensibilities Canto nuevo + blues rock=Rock rupestre~~lead to "Rock en tu idioma" era...