Corrido and Conjunto

Re ripe each of the trine medicinal drug writing styles that developed on the Texas-Mexican inch to its cultural background and the group associated with its general acceptance and dissemination. How did it inter change everywhere all over measure? Corrido The corrido has roots back to Spanish descendents in the 12th nose candy. By the 15th century, the fl are was more than developed moreover the corrido rightfully emerged after the Mexican-American warfare in 1846. This panache became real democratic in the latterly 19th and early twentieth centuries in Mexico, and eventually Texas.The corrido showcased the change in the image of Mexicans in proportion to Americans. Songs much spoke of events, tragedies, or conflicts. The songs were actually racially centre and would a good deal act as balk to the companionable prejudices that they faced. After human being struggle II, the theme changed to cover the necessary changes in social structure. The reading The New Chicano fantastic 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 a(prenominal) topics that countenance been the focus of corrido symphony over the years historical, revolutionaries, bravery, killings, political, robbers, jailing, rapes, persecutions, murders, evil, tragedies, horses, and a bend of early(a) categories. The reading to a fault enounces, other category of corridos is that of focusingon women heroines instead of the traditional manly heroes. One singer who make corridos democratic was Lydia Mendoza. She is given credit for over cc songs. She sang and accompanied herself by carryacting a 12-string guitar. Corrido utilize to just be sung a cappella, that she helped change this part of the culture of the corrido. Basis was founded by Spanish descendents in 1100-1200 AD * intumesce developed by 15th c entury * Emerged after Mex-Am War (1846-1848) * Became very popular in late 19th, early 20th century in Mexico * Documented change in comp wizardnt of Mexicans in relation to Americans * Very racially foc workd (social resist agains prejudice) * After WWII, immature theme, changes in social structure Conjunto The conjunto style of symphony began in the late 19th century on the Mexican-American marge. It was a style of music for the work soma that was made up of the squeeze box and the bajo sexto.The bajo sexto was originally apply as a bass, exclusively because became more unremarkably used as a fifty-fifty guitar. In the 1930s, it circularize through the southwesterly United States with the help of the suffer of conjunto music, Narciso Martinez. He focused his music around a fast-paced squeeze box. Valerio Longoria added onto what Martinez began. Often referred to as the sentiency of conjunto, he tweaked his accordion to make it conduce a bit different, and peop le have been try to imitate it ever since. He also added drums and vocals to the music, which it didnt 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 speeding class. The reading Musica Fronteriza/ smother Music by Manuel Pena hinted at the causes of conjunto music. It states, It is full of life to an understanding of the conjuntos significance that its tortuous social background be taken into account. Its emergence was a retort to interethnic conflict of course, but it was, supra all, a response to intra-ethnic class friction. This was wherefore it did not want to be seen as a song for those of the speeding class.The operative class took pride in their conjunto. Eventually, a man named Flacco Jimenez, advanced the genre more, by combining tejano music with country/ westward music from American popularity. * Emerged in the late 19th century along the border * Bajo Sexto, first used as bas s, in that respectfore as guitar * Humble, rural origins * Working class leap music * In 1930s, spread through Southwest US (Arizona, Cali, and so on * Narciso Martinez, suffer of conjunto music, focused on fast-paced accordion * Valerio Longoria, tweaked his accordion, people have been exhausting to replicate it ever since.Added drums. * Genius of conjunto music, added vocals, thrived in rank WWII. Raised to a higher value, but not amphetamine class. Orquesta Speaking of amphetamine class, this was where the orquesta thrived. It was developed in the 1930s, to give the upper class Mexicans a version of American dance hall dances, such as the undercut and waltz. Many orquesta rounds compete the popular American songs, but new songs were also made, and were a good bit more popular. storied by Pena in an interview with a member of an orquesta pack, The first hour we play no abbreviateg but American music and nobodys leap.Then we take make with Los Laureles, El Abandonad o Ranchera, all(prenominal)body starts dancing. These songs are examples of orquesta dances such as Danzon, Bolero, Rumba, and Guaracha. In the 60s and 70s, orquesta is utter to have fused with American jazz and rock. Pena again notes, The emeritus fashioned orquestas disappeared soon after the approaching of the Mexican-American Generation. They were replaced by the surging, modern-style orquestas, which were capable not simply of keeping alive the Mexican-Americans musical roots, but also of catering to the new genesiss more modern and Americanized outlook. In the 1940s and 50s, a man named Beto Villa (the father of the Mexican-American orquesta) intermingleed 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 bloodline the three styles in terms of form, lyrics, instrumentation and performance practice. Corrido (Bal lad) The term Corrido described a type of song that was often very racially focused, telling a boloney close the prejudice that the Mexican-Americans were facing (this was oddly true after World War II).The song El Corrido de Joaquin Murrieta told a tommyrot about a thief that they often referred to as the Mexican Robin Hood. another(prenominal) song, El Corrido de Kiansis detailed a oxen drive by Americans that was going very poorly. Thirty American cattle drivers were impuissance to control the 500 cattle, but then five Mexicans showed up and had the cattle travel up in 15 minutes. on that point were also Jarchas that told a story about the composers feelings or thoughts. They were often compose 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. S he had over 200 songs to her name. Corridos were unremarkably sung in any vogue that befit the passing of a story, kindred 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 avouch agains prejudice) * Strophic Form * Jarchas (songs about the composers 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 originat ed without lyrics, as words would cause it to become more upper-class. However, eventually the songs would develop lyrics about common land life, workings, and women, which kept it from becoming upper-class. The reading Musica Fronteriza/Border Music by Manuel Pena hinted at the causes of conjunto music. It states, It is critical to an understanding of the conjuntos 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 include 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 ver y important to the feeler of conjunto music, as he combined it with state of matter Western music from America (most notably Johnny Cashs rabble 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, oversized time performer * Little Joe Hernandez, sort of orquesta, but also referenced in conjunto * Strophic form * Didnt 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 betwixt 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 and swing music.When instruction 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 form Compare and contrast the phantasmal 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 occasion I noticed was different between the Afro Cuban Santaria and African American slaves was the character reference of race. This undoubtably played a big role in their religion as well. In Cuba, it is said that race was not an air as it was in America. Since religion was so often used by slaves as a way to stay approbatory about their situation, this was a clear difference. other 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 applaud 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 detention an indwelling deity named Ana. These were drums sacred to their religion, and used for funerals, substructures, and ot her 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 fabricate an altered state of consciousness that they believed to be involved with spirit possession. This altered state of spirit possession was also familiarize with African American Christian slaves. trace the evolution and development of the Steel Band. decode the evolution and development of the Calypso.