Music in Latin American Cultures Midterm Study Guide PDF

Mexico 1. Historical Context The conquistadores discovered two major empires, the Aztec and Mayan, which had dominated other Indian groups for centuries. Among the most popular instruments of the Aztecs were the huehuetl (a large drum) and the teponaztli (a slit drum). While...

Mexico 1. Historical Context The conquistadores discovered two major empires, the Aztec and Mayan, which had dominated other Indian groups for centuries. Among the most popular instruments of the Aztecs were the huehuetl (a large drum) and the teponaztli (a slit drum). While Spaniards explored Indian cultures, Indigenous people were simultaneously discovering European culture, including multistringed instruments like the guitar, violin, and harp. Indian musicians and artisans quickly became accomplished performers and instrument makers. 2. The Catholic Influence Following the conquistadores, Catholic missionaries arrived to spread Christianity among the Indigenous population. They taught the Indians to perform and compose Spanish church music. Local people found striking similarities between these practices and their previous ways of life, leading them to learn eagerly. A prominent example of the synthesis between Catholic and Indigenous religions is the acceptance of the Virgin of Guadalupe as the religious patroness of Mexico. ○ For Mexican American women, the Virgin represents motherhood, femininity, and sometimes even women's struggle against oppression. ○ According to the legend, the Virgin of Guadalupe appeared to Juan Diego four times over the course of several days in December 1531. Here's a breakdown of each apparition: First apparition (December 9, 1531): On Tepeyac Hill, the Virgin Mary appeared to Juan Diego for the first time. She spoke to him in Nahuatl, his native language, and asked him to go to the local bishop, Juan de Zumárraga, to request that a church be built in her honor on the hill. Second apparition (Later on December 9, 1531): After Juan Diego spoke to the bishop and was not believed, he returned to Tepeyac Hill. The Virgin appeared to him again, urging him to try once more to convince the bishop. Third apparition (December 10, 1531): The next day, Juan Diego met with the bishop again, who requested a sign from the Virgin to prove the truth of the vision. Juan returned to Tepeyac, and the Virgin appeared to him, promising that she would provide a sign the next day.  Fourth apparition (December 12, 1531): On this day, Juan Diego's uncle, Juan Bernardino, was gravely ill, and instead of going to meet the Virgin, Juan Diego tried to avoid her by taking a different route. But the Virgin intercepted him and assured him that his uncle would be healed. She then directed him to gather roses from the hilltop as the sign for the bishop. This is when the miracle of the roses and the imprinting of her image on his tilma occurred. Later that same day, Juan Diego found that his uncle had been healed, as promised, and his uncle also reported seeing the Virgin, who told him her name was "Guadalupe." This fourth and final apparition solidified the legend and the devotion to the Virgin of Guadalupe. 3. Emergence of the Mestizo Culture The mixing of people of European, Indian, and African descent during colonial times led to the creation of a new mestizo (mixed) population. By the late 1700s, distinct signs of a Mexican identity began to emerge, separate from that of Spain. New musical forms developed, including son, jarabe, and cancion ranchera, becoming associated with this new Mexican identity. ○ Son: A broad genre of Mexican folk music blending indigenous, African, and Spanish influences. It varies by region, with styles like son jarocho and son huasteco, featuring lively rhythms and string instruments. It symbolizes rural life and mestizo culture. ○ Jarabe: A traditional Mexican folk dance and music style, notably the Jarabe Tapatío (Mexican Hat Dance). It has a lively tempo and is often performed during celebrations, representing national pride and resistance to foreign influences. ○ Canción Ranchera: A popular music genre originating in rural Mexico, characterized by themes of love, heartbreak, and patriotism. Often performed with mariachi groups, ranchera music reflects the experiences and values of the working-class Mexican identity. 4. Musica de Mariachi Mariachi is a traditional ensemble originating from western Mexico, particularly the state of Jalisco, and is now found throughout the country. A typical mariachi ensemble consists of: ○ Trumpets and violins ○ Five-string vihuela  ○ Guitar(s) ○ Guitarron (a six-string bass guitar). People danced joyful jarabes to the sounds of the harp, violin, vihuela, snare drum, cymbals, and bass. ○ ○ 5. Musica Jarocha At the beginning of the 20th century, the principal instruments in traditional jarocho music included: ○ Jarana: a strummed guitar.  ○ Requinto jarocho: a plucked guitar. ○ A type of arpa (harp) constructed differently from the West Mexican version. ○ Violin. In the 1940s, a harpist from Veracruz, Andres Huesca, gained popularity through recordings, movies, and live shows. Huesca adopted the larger-sized harp of West Mexico, playing it standing up, as opposed to the smaller early jarocho harp that was played sitting down. 6. Son Jarocho The most common style of jarocho music is son jarocho, characterized by a vigorous triple or duple meter. This style emphasizes improvisation and features a repeated rhythmic/harmonic pattern known as compas, which runs throughout the entire piece. The concept of a short rhythmic pattern repeated through the piece reflects influences from West and Central African music. 7. Another African Borrowed Feature Another African influence in sones jarochos is the call-and-response pattern, where a pregonero (caller or lead singer) is answered by a coro (chorus). Modern sones jarocho performances typically include: ○ An instrumental introduction ○ Strophes separated by instrumental interludes ○ A final strophe often taking the form of a despedida (farewell).