Between Norteno And Tejano Conjunto

Between Norteño and Tejano Conjunto analyzes the origin, evolution, and dissemination of the norteño and tejano conjunto. This group represents a marginalized local identity that was transformed primarily into an identity of the northeast. It then gave way to the whole of northern México and the American Southwest, and was later assimilated internationally as a mainstream genre. This book provides a long-term historic vision of conjunto and the various musical forms it uses, such as polka, corrido, or canción (song), and, more recently, bolero and cumbia, as well as its transformations and contributions to other musical cultures.

Around 1930, a highly popular and distinctive type of accordion music, commonly known as conjunto, emerged among Texas-Mexicans. Manuel Peña's The Texas-Mexican Con;unto is the first comprehensive study of this unique folk style. The author's exhaustive fieldwork and personal interviews with performers, disc jockeys, dance promoters, recording company owners, and conjunto music lovers provide the crucial connection between an analysis of the music itself and the richness of the culture from which it sprang. Using an approach that integrates musicological, historical, and sociological methods of analysis, Peña traces the development of the conjunto from its tentative beginnings to its preeminence as a full-blown style by the early 1960s. Biographical sketches of such major early performers as Narciso Martínez (El Huracán del Valle), Santiago Jiménez (El Flaco), Pedro Ayala, Valerio Longoria, Tony de la Rosa, and Paulino Bernal, along with detailed transcriptions of representative compositions, illustrate the various phases of conjunto evolution. Peña also probes the vital connection between conjunto's emergence as a powerful symbolic expression and the transformation of Texas-Mexican society from a pre-industrial folk group to a community with increasingly divergent socioeconomic classes and ideologies. Of concern throughout the study is the interplay between ethnicity, class, and culture, and Peña's use of methods and theories from a variety of scholarly disciplines enables him to tell the story of conjunto in a manner both engaging and enlightening. This important study will be of interest to all students of Mexican American culture, ethnomusicology, and folklore.

The first history of the music that binds together Mexican immigrant communities.

"The Strachwitz Frontera Collection is the largest repository of commercially produced Mexican and Mexican American vernacular recordings in existence. It contains more than 130,000 individual recordings. Many are rare, and some are one of a kind. Although border music is the focus of the collection, it also includes notable recordings of other Latin forms, including salsa, mambo, sones, and rancheras. More than 40,000 of the recordings, all from the first half of the twentieth century, have been digitized with the help of the UCLA Chicano Studies Research Center and are available online through the University of California's Digital Library Program. Agustin Gurza explores the Frontera Collection from different viewpoints, discussing genre, themes, and some of the thousands of composers and performers whose work is contained in the archive. Throughout he discusses the cultural significance of the recordings and relates the stories of those who have had a vital role in their production and preservation. Rounding out the volume are chapters by Jonathan Clark, who surveys the recordings of mariachi ensembles, and Chris Strachwitz, the founder of the Arhoolie Foundation, who reflects on his six decades of collecting the music that makes up the Frontera Collection."--Publisher description.

Corazón Abierto: Mexican American Voices in Texas Music provides a wide view of the myriad contributions Mexican American artists have made to music in Texas and the United States. Based on interviews with longtime stalwarts of Mexican American music—Flaco Jiménez, Tish Hinojosa, Ernie Durawa, Rosie Flores, and others—and also conversations with newer voices like Lesly Reynaga, Marisa Rose Mejia, Josh Baca, and many more, Kathleen Hudson allows the musicians to tell their own stories in a unique and personal way. As the artists reveal in their free-ranging discussions with Hudson, their influences go far beyond traditionally Mexican genres like conjunto, norteño, and Tejano to extend into rock, jazz, country-western, zydeco, and many other styles. Hudson’s survey also includes essays, poetry, and other creative works by Dagoberto Gilb, Sandra Cisneros, and others, but the core of the book consists of what she describes as “a collection of voices from different locations in Texas. . . . Some represent voices from the edge, while others give us a view from the center.” Weaving together a tapestry that combines “family, borders, creativity, music, food, and community,” the book presents an image as varied and difficult to define as the musicians themselves. By sharing the artists’ accounts of their influences, their experiences, their family stories, and their musical and cultural journeys, Corazón Abierto reminds us that borders can be gateways, that differences enrich, rather than isolate.

"In the 1990s Tejano basked in the media spotlight as one of the fastest-growing subgenres in American music." "This sourcebook recounts the fascinating, never-before-told history of this innovative and influential musical genre - as well as of norteno, conjunto, grupo, mariachi, trio, tropical/cumbia, vallenato, and banda. Organized in an easy-to-use A-Z format, The Billboard Guide to Tejano and Regional Mexican Music features succinct but revealing biographies as well as discographies of 300 of these genres' most innovative and successful artists."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

A collection of thirty-three essays from the program-magazine from the Tejano Conjunto Festival in San Antonio.

Beginning with Number 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research underway in specialized areas.