Corrido and Conjunto

Relate each of the three music genres that developed on the Texas-Mexican border to its cultural background and the group associated with its widespread acceptance and dissemination. How did it change over time? Corrido The corrido has roots back to Spanish descendents in the 12th century. By the 15th century, the style was more developed; but the corrido really emerged after the Mexican-American War in 1846. This style became very popular in the late 19th and early 20th centuries in Mexico, and eventually Texas.The corrido showcased the change in the role of Mexicans in relation to Americans. Songs often spoke of events, tragedies, or conflicts. The songs were very racially focused and would often act as protest to the social prejudices that they faced. After World War II, the theme changed to cover the necessary changes in social structure. The reading â€Å"The New Chicano Heroic Corrido† by Jose Villarino discusses studies by Vicente Mendoza, the leading scholar in studies of the corrido. Mendoza finds that the subject of the corrido has constantly changed over time.He lists many topics that have been the focus of corrido music over the years: historical, revolutionaries, bravery, killings, political, robbers, jailing, rapes, persecutions, murders, evil, tragedies, horses, and a number of other categories. The reading also states, â€Å"Another category of corridos is that of focusingon women heroines instead of the traditional male heroes. One singer who made corridos popular was Lydia Mendoza. She is given credit for over 200 songs. She sang and accompanied herself by playing a 12-string guitar. Corrido used to just be sung a cappella, but she helped change this part of the culture of the corrido. Basis was founded by Spanish descendents in 1100-1200 AD * Well developed by 15th century * Emerged after Mex-Am War (1846-1848) * Became very popular in late 19th, early 20th century in Mexico * Documented change in role of Mexicans in relation to Ameri cans * Very racially focused (social protest agains prejudice) * After WWII, new theme, changes in social structure Conjunto The conjunto style of music began in the late 19th century along the Mexican-American border. It was a style of music for the working class that was made up of the accordion and the bajo sexto.The bajo sexto was originally used as a bass, but then became more commonly used as a regular guitar. In the 1930s, it spread through the southwestern United States with the help of the father of conjunto music, Narciso Martinez. He focused his music around a fast-paced accordion. Valerio Longoria added onto what Martinez began. Often referred to as the genius of conjunto, he tweaked his accordion to make it sound a bit different, and people have been trying to replicate it ever since. He also added drums and vocals to the music, which it didn’t have when the genre began.His music thrived after the Second World War. He helped raise the music to a higher level, but not to the upper class. The reading â€Å"Musica Fronteriza/Border Music† by Manuel Pena hinted at the causes of conjunto music. It states, â€Å"It is critical to an understanding of the conjunto’s significance that its complex social context be taken into account. Its emergence was a response to interethnic conflict of course, but it was, above all, a response to intra-ethnic class friction. † This was why it did not want to be seen as a song for those of the upper class.The working class took pride in their conjunto. Eventually, a man named Flacco Jimenez, advanced the genre more, by combining tejano music with country/western music from American popularity. * Emerged in the late 19th century along the border * Bajo Sexto, first used as bass, then as guitar * Humble, rural origins * Working class dance music * In 1930s, spread through Southwest US (Arizona, Cali, etc) * Narciso Martinez, father of conjunto music, focused on fast-paced accordion * Valerio Lon goria, tweaked his accordion, people have been trying to replicate it ever since.Added drums. * Genius of conjunto music, added vocals, thrived in post WWII. Raised to a higher value, but not upper class. Orquesta Speaking of upper class, this was where the orquesta thrived. It was developed in the 1930s, to give the upper class Mexicans a version of American ballroom dances, such as the swing and waltz. Many orquesta bands played the popular American songs, but new songs were also made, and were a good bit more popular. Noted by Pena in an interview with a member of an orquesta band, â€Å"The first hour we play nothing but American music and nobody’s dancing.Then we take off with Los Laureles, El Abandonado Ranchera, everybody starts dancing. † These songs are examples of orquesta dances such as Danzon, Bolero, Rumba, and Guaracha. In the 60s and 70s, orquesta is said to have fused with American jazz and rock. Pena again notes, â€Å"The old fashioned orquestas disa ppeared soon after the advent of the Mexican-American Generation. They were replaced by the surging, modern-style orquestas, which were capable not only of keeping alive the Mexican-Americans’ musical roots, but also of catering to the new generation’s more modern and Americanized outlook. In the 1940s and 50s, a man named Beto Villa (the father of the Mexican-American orquesta) mixed the Tex-Mex Polka style with American swing and foxtrot, creating a very new version of orquesta music. In the 60s and 70s, Little Joe Hernandez and his family became a very popular orquesta band. Compare and contrast the three styles in terms of form, lyrics, instrumentation and performance practice. Corrido (Ballad) The term Corrido described a type of song that was often very racially focused, telling a story about the prejudice that the Mexican-Americans were facing (this was especially true after World War II).The song El Corrido de Joaquin Murrieta told a story about a thief that th ey often referred to as the â€Å"Mexican Robin Hood. † Another song, El Corrido de Kiansis detailed a cattle drive by Americans that was going very poorly. Thirty American cattle drivers were failing to control the 500 cattle, but then five Mexicans showed up and had the cattle rounded up in 15 minutes. There were also Jarchas that told a story about the composer’s feelings or thoughts. They were often written in Strophic form based on copla, which had 4 lines, 8 syllables per line, and rhymed every 2nd and 4th line.They used to be sung a cappella, but are now often accompanied by a guitar. One artist that made this very popular was Lydia Mendoza who sang and played a 12-string guitar. She had over 200 songs to her name. Corridos were usually sung in any manner that befit the passing of a story, like while traveling, around a campfire, or just at home. Lyrics were passed orally and this often lead to words being changed over the years. * Very racially focused (social protest agains prejudice) * Strophic Form * Jarchas (songs about the composer’s feeling, thoughts, and ideas) * Told a story Based on copla (4 lines, 8 syllables, 2&4 rhyme) * Sung A Capella, now some include guitar * El Corrido de Kiansis (Cattle Drivers failed, mexicans succeed) * El Corrido de Joaquin Murrieta (Mexican Robin Hood) * Lydia Mendoza, singer and 12 string guitar (200+ songs) * Performance Practice: Passed orally, often changing words, sang while traveling, at home, etc. Telling story. Conjunto The conjunto was considered the soul of tejano music. It was a type of dance music meant for the cantina, bar, or party (eventually, it would make its way to concerts).These songs originated without lyrics, as words would cause it to become more upper-class. However, eventually the songs would develop lyrics about common life, working, and women, which kept it from becoming upper-class. The reading â€Å"Musica Fronteriza/Border Music† by Manuel Pena hinted at the causes of conjunto music. It states, â€Å"It is critical to an understanding of the conjunto’s significance that its complex social context be taken into account. Its emergence was a response to interethnic conflict of course, but it was, above all, a response to intra-ethnic class friction. They were written in strophic form. Instruments for the conjunto included the accordion and bajo sexto (which was originally used as a bass, but was eventually used as a guitar). A famous accordion was that of Valerio Longoria, the genius of conjunto music. He tweaked his accordion to sound different, and people have been trying to replicate it ever since. He also added drums to the conjunto scene. Flacco Jimenez was also very important to the advancement of conjunto music, as he combined it with Country Western music from America (most notably Johnny Cash’s Ring of Fire). The soul of Tejano music * Dance music * Cantina music * Songs about women and life * For the working class * Valerio Longoria, tweaked his accordion, people have been trying to replicate it ever since. Added drums. * Genius of conjunto music, added vocals, thrived in post WWII. * Flacco Jimenez (Ring of Fire), combined tejano with country music, big time performer * Little Joe Hernandez, kinda orquesta, but also referenced in conjunto * Strophic form * Didn’t have lyrics at first, thought lyrics were for the wealthy * Added lyrics about life, women, troubles, etc. Used to be bajo sexto and accordion, then added drums and guitar and many other simple intruments * Shows, cantinas, parties, bars * Orquesta The orquesta walks the thin line between Mexican and American culture. It combines the tejano music with the style of American ballroom varieties. The orquesta was centered around the upper-class Mexicans as their version of an American ballroom dance. It began with violin, but eventually added brass, percussion, and other big band instruments. It incorporated the likes of waltz a nd swing music.When learning about the orquesta in class, Leah had said that there was no form. Orquesta music was used in upper-class parties or balls. Unlike other tejano music, it was not passed down by ear. Since this was the upper class, sheet music was used to pass down the songs. * Upper class dance music * Started with violin * Added brass, percussion, big band instruments * Incorporated waltz, swing, etc * Leah said there was no â€Å"form Compare and contrast the religious traditions of Afro Cuban Santaria and African American Christian slaves on southern plantationsThe Santaria is the largest Afro-Cuban religion, and is the Cuban mix of Yoruba spirituality with Roman Catholicism. The first thing I noticed was different between the Afro Cuban Santaria and African American slaves was the role of race. This undoubtably played a big role in their religion as well. In Cuba, it is said that race was not an issue as it was in America. Since religion was so often used by slaves as a way to stay optimistic about their situation, this was a clear difference. Another difference was the worship of Orishas, which the Cubans believed to be a spirit or deity that reflects one of the manifestations of God.In a way, this can be compared to a Saint in the Catholic Church. The Godess of Love and Fertility in Afro-Cuban worship was called Oshun. It was said that this was one of the first Orishas that an outsider would discover. As African American slaves were not allowed to use drums with their songs, the Afro-Cubans would use Bata drums that are said to hold an indwelling deity named Ana. These were drums sacred to their religion, and used for funerals, initiations, and other important ceremonies.Contrasting from regular sacraments of the Christian faith, the Afro-Cubans had an event called the Toque de Santo. It is an anniversary of initiation to honor the spirits. There is singing and dancing accompanied by the Bata drums. This ceremony would create an altered stat e of consciousness that they believed to be involved with spirit possession. This altered state of spirit possession was also present with African American Christian slaves. Trace the evolution and development of the Steel Band. Trace the evolution and development of the Calypso.