Méxican Music: an Ethnomusicology Outline
I.
Intro
A.
Mexican
music in Iowa City can be heard in any setting with an mp3 device. The music that we are exposed to is the
accumulated knowledge of the Spaniards and the indigenous populations’ ancient
history.
B.
Many
instruments that México had prior to its colonization by Spain were already
available, though relatively primitive. (Hague
4-5)
i. The Huehuetl drum
1.
It’s a
membranophone.
2.
In
Europe, drums existed too, though they were constructed with more advanced
techniques, arguably
3.
Generally,
the Aztecs and Mayas used the drums for their polytheistic rituals and war
dances, unlike the Europeans who used their own drums in a formal orchestra
setting or in a marching parade mostly.
4.
The
indigenous used them for animistic purposes, of who were considered inferior
among the Aztecs and Mayans before the arrival of the Spaniards (Mel Gibson’s Apocalypse).
ii. Flutes
1.
The
flutes in Mexico could have been traded between the Incans as well as the
Mayans and Aztecs through inter-empire trading
a.
They were made from different materials
i. Sea-shell
ii. Bamboo
iii. Horns (animal)
iv. Ocarina
1.
Is
referenced around the world in a video game you may be familiar with—Zelda :
Ocarina of Time
2.
Is
still being made today
b.
Had
from as few as 4 to as many as 9 holes
2.
They’re
aerophones
3.
Flutes
were used for certain specific settings that had to do with love (Hague 6).
iii. Marimba
1.
It’s an
idiophone
2.
In
Europe, it already existed as the Xylophone, which was made out of metal. But seeing that the indigenous never made
music instruments out of metal, México’s xylophones were relatively primitive.
iv. Turtle Shell, which "[is] played with
the palm of the hand and emits a melancholy sound" (Hague 4).
v. Guitars and other common chordophones in
Europe and the rest of the world didn’t exist in México that I’m aware of
vi. The use of these ancient instruments in
popular, Mexican/Texan-conjunto music
is non-existent.
vii. The instruments are hand-crafted using
pre-industrial techniques.
viii.
The
industry for making these primitive instruments still exists in Mexico among
the indigenous.
II.
Body
A.
The
Mexicans have brought to Iowa their musical, cultural heritage.
i. This was because they had their own music
traditions, albeit, Spanish-influenced.
ii. Their music traditions developed differently
than it did in the USA.
B.
México’s
history is uniquely different than the USA.
i. Spain’s brand of colonialism began and lasted
from 1492-1821 (Wikipedia).
1.
Colonialism
is the control of an otherwise sovereign nation through an ethnocentric view of
one’s superiority over a seemingly primitive one.
2.
Colonialism
changed Mexico’s social classes so that few got rich in Spain while the poor
indigenous remained poor, died of disease, or became subservient (Russell).
a.
Although,
the Spaniards brought missionaries to spread Christianity
b.
They
also brought their unique technology, know-how, science, and wealth in culture.
3.
Many
Spanish-born lived and started family, interracially marrying the
indigenous. In Mexico, there weren’t any
anti-miscegenation laws as there were in the USA and Nazi Germany.
ii. The former Aztec empire was conquered between
1519 and 1521 easily (Wikipedia).
iii. The former Mayan empire was conquered between
1551 and 1697 (Wikipedia).
iv. The war brought famine and European diseases,
which reduced the population of the indigenous from 20 million to just a few
million
v. The Spaniards set up a similar system as the
Brits did with its colonies—exploited the indigenous by the Spaniard's
classification of nobility and royalty who became rich (Russell).
1.
México’s
riches in gold and labor were exploited to send the goods to Spain (Russell).
a.
There
was chaos (from the perspective of the crown) among the ranks of the Spanish
nobility in Mexico, who wanted to hoard it all for themselves.
b.
Hernando
Cortez himself invaded Mexico without the Kings approval, and ever since, he
wasn’t seen as being loyal.
2.
México
didn’t have slavery as was the case in Iowa
3.
México’s
indigenous Aztecs and Mayans remained in a subsidiary position of power to the Spanish
pure-bloods who were born in Mexico and Spanish-born until independence, which
wasn’t until 1821 (Russell).
a.
Many of
those in power were nobles and/or royalty.
b.
Spain
ruled from afar their subjects through the use of appointed nobles loyal to the
crown
c.
The
state constantly checked up on the royalty and nobility who were their puppets
in the colony of Mexico to make sure they weren’t corrupt
4.
The Mestizos
had more power than the indigenous and sometimes held similar stations of power
as the Spanish pure-bloods and Spanish-born (Russell).
5.
The
wealth wasn’t redistributed until Mexico gained its independence.
C.
Spain
brought Christianity, their languages of Latin/Castilian Spanish, and music
genre/styles into Mexico and therefore, Iowa.
i. The orchestra and soloists
1.
Mexico
has its own national orchestra
2.
Mexico
has many new post-modern composers who are respected
3.
Mexico has
many well-known performers who like to play music from Europe, like Chopin, on
the piano
ii. In so doing, they nearly erased all of the
Mayan and Aztec’s cultures, which were vast.
Anthropologists are trying to unearth and learn about them to this day.
D.
The
instruments that existed in the Mayan and Aztec empires became available in Iowa
and other parts of the world due to this mixing of cultures.
i. Many of the indigenous’ instruments have
become incorporated into Iowa City’s and Spain’s diverse musical landscape.
1.
Maraca,
which my mom owns one.
2.
Guiro,
which again, my mom owns one.
a.
It’s an
idiophone made of wood, typically
b.
It
creates sound by sliding a drum stick across a grooved wooden, cylindrical box.
c.
Operates
much like a metal cymbal, except more advanced in my opinion.
3.
Marimba
4.
Ocarina,
which is heard usually if a tourist in a household has visited México or other
Latin American countries
5.
Huehuetl,
which a tourist may have bought for private use, and I experienced while in
Mexico City during Christmas one year.
E.
Iowa
has a richly diverse population of migrants from Mexico who have brought with
them a taste in conjunto styles of
music
i. Conjunto-stylized vocals have a uniquely raspy and
nasal quality
ii. We hear Spanish music stations either on the
radio or on the iPod at many venues.
1.
At
“Cactus,” I heard mostly conjunto
styles of music. (I discovered these
artists and their styles by using Shazaam).
a.
Julion
Alvarez, which is an artist from México
i. Corrido style of conjunto/Banda
music
ii. The name of the song was “Márchate,” which
means, “Leg it!”
iii. Their ensemble includes only European
instruments
1.
Saxophone
2.
Tuba
3.
Guitar
4.
Accordion
5.
Vocals
b.
Banda
Machos, which is another group from México, which also is referred to as “The
Queen of Bands”
i. Quebradita dancing style
ii. Ranchera style of conjunto music
iii. The song I listened to was “Linda princesa,”
which means “Princess Linda”
iv. Their ensemble, which is rather large,
includes only European instruments
1.
Trombones
2.
Trumpets
3.
Vocals
4.
Accordion
5.
Saxophone
6.
Guitar
2.
At
“Mesa Pizza,” which means “Pizza Table,” I heard Mexican conjunto music being played.
(Not just Mexican conjunto,
but also other international genres).
iii. In California, particularly, there are many
Mexican-American bands/groups that are out of the mainstream among the gringos
(Al Otro Lado).
1.
Their
music is typically sung in English to reach a broader audience
2.
The
style and form is conjunto and corrido, typically
3.
Mexican-American
vocals in conjunto music can be
discerned by listening for a nasal and raspy sound
4.
The
lyrics tend to be more politically charged than in Mexico, where they tend to
stick with romantic and impassioned ideas of love
F.
Many of
the modes used in Europe were absorbed into México’s music during the early era
of colonization (Hague 6).
i. The major scale is used primarily in corridos forms (Wikipedia)
ii. The indigenous, before colonization, only
used pentatonic scales with their flutes, which only purpose was for the
expression of love.
iii. Certain rituals called for certain modes, of
which there were "26" not unlike Indian Ragas.
1.
They
would only be used for specific purposes and were not to be used outside of
these contexts (Hague 6).
2.
War
dances
3.
Love
songs set to music, such as the “Cantares Mexicanas,” of which there are 79
remaining (Hague 9).
a.
They
are very passionate poems that referenced Aztec Gods
b.
They
were written before the colonization of Mexico (Hague 8).
c.
One
poem I read referenced Aztec Gods, like Pachacamac and Viracocha, (not unlike the
poem, “Erlkonig,)” in its description of affection for a princess.
d.
In the
poems, words such as "cup", "creation", and other
references to everyday objects and natural events--such as the weather—attempted
to symbolize desire and lust (Hague 9).
III.
Conclusion
A.
Many of
Spain’s styles and genres of music that were previously unheard of were
incorporated into Mexico’s music
i. Metered music, which was nonexistent before
colonialism, was a new concept.
ii. In addition to Spain’s influence, surrounding
countries that had slaves, like Cuba, had unique rhythms that diffused into
Mexican music.
B.
Spain
brought many unique instruments into Mexico, which the Mexicans used in order
to develop new styles.
i. The instruments were initially brought during
Spanish colonization
ii. Harp
iii. Keyboard
1.
Accordion,
which is popular in conjunto music.
2.
Piano,
which at first the wealthy were the only ones who could afford one.
3.
Electric
piano, which is popular.
4.
Organ,
which is used in Catholic Church service often.
iv. Guitar
v. Homemade fiddles
vi. Other instruments we’re familiar with.
C.
Mexican
music can be summarized as being nostalgic and used common themes which
attempted to express the inexpressible (Schechter Page 1).
i. "past times…” or one’s memories that
could have been either sad or happy or in between
ii. “…Their love of place…” which may be akin to
love of homeland as in Europe, or be an allegory for social status.
iii. “…their frequent praise for the local—local
landscapes…” such as the mountains and warm weather, beautiful beaches
iv. “…women ways of life…”or in other words,
their love for a particular woman
v. “…and musical instruments” which was
entertainment back in the day
vi. My interviewee said that to him, the music is
less important than the words, which he likes to dwell in when he plays guitar
on his spare time (Apátiga)
1.
He
prefers to listen mostly to Punk-rock, then “…garage, rock, and indie” over any
other genre (Apátiga)
2.
Though,
he usually listens to music on his mp3 in his room, car, or at a party like any
typical American.
3.
In
Mexico, you hear music from all over the world being played at restaurants,
bars, the stadium such as “country and pop-rock” (Apátiga)
vii. Conjunto, which is the new “…music of the poor
people,” is heard performed live typically in bars, restaurants, and touristy
locations (Peña 114)
Bibliography
Levack, Brian P., Edward Muir, Michael Maas, and Meredith Veldman. The
West. Encounters &
Transformations. 2nd ed. Vol. 2. Princeton, NJ: Pearson Education, 2007.
Print.
Hague, Eleanore. Latin American
Music. Santa Ana, CA: Fine Arts Press,
1934. Print.
Schechter, John Mendell. Music in Latin American Culture: Regional
Traditions. New York:
Schirmer, 1999. Print.
Peña, Manuel H. The Texas-Mexican Conjunto. 1st ed. Austin: University
of Texas, 1985. Print.
The City of Lights: The Rise and Fall of Islamic Spain. Dir. Robert Gardner. Unity Production
Foundation, 2007. DVD.
"Music of Mexico." Wikipedia. Wikimedia Foundation, 04 Aug.
2013. Web. 09 Apr. 2013.
"History of
Mexico." Wikipedia.
Wikimedia Foundation, 04 Aug. 2013. Web. 09 Apr. 2013.
Russell, Philip L. The History of Mexico: From Pre-conquest to Present.
New York: Routledge,
2010. Print.
Apátiga, Luis Miguel. "Ethnomusicology Interview." Online
interview. 10 Mar. 2013.
