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Music in Mexico

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World Music Central

Mexican music.

Mexico is located in North America, bordering the United States, Belize and Guatemala.

Mexican Musical Genres

Banda , an upbeat music with a fast tempo and a heavy horn section. In its most traditional incarnation, banda sounds similar to polka, with a stomping two-note beat, a r

Huapango – The Mexican Huapango is a descendant of the Spanish Son, but its rhythm is definitely of the new world. The Haupango of Mexico combines 2/4 time with 3/4 time and 6/8 time, creating cross rhythms of great complexity.

Mariachi – The musical genre mariachi goes beyond music, it is the sum of a cultural revolution expressed through a group of musicians, dressed in popular clothing (most recently charro suits) which encompasses the essence of Mexico and its people. It is something cultural, spiritual and traditional that is unique to this country, an experience not to be missed.

The word mariachi refers to the musicians now commonly seen in restaurants or strolling the streets, dressed in silver studded charro outfits with wide brimmed hats playing a variety of instruments which include violins, guitars, basses, vihuelas (a 5 string guitar) and trumpets.

Mariachi songs speak about machismo, love, betrayal, death, politics, revolutionary heroes and even animals (one particularly famous song is “La Cucaracha”).

Mariachi History

The mariachi originated in the southern part of the state of Jalisco sometime in the 19th century. No one is sure where the name comes from although a variety of theories have been postulated and, depending on which best fits the postulators needs, are adhered to.

The original theory held that mariachi was derived from the French word for wedding – marriage, because of the type of music played at these events. The only problem with this theory is that the music originates in a part of Mexico the French never visited and, even it they had, it began before their arrival in 1864.

Another theory states that the word comes from the indigenous name of the Pilla or Cirimo tree, whose wood is used to make guitars. If this were true then the word mariachi would be applied to the instrument itself and not to those who play it.

It has also been suggested that the name comes from a festival in honor of a virgin known as Maria H. (mah-ree-ah AH-cheh) at which musicians played and that over time they were given this name.

The truth is that no one knows where the name originated, but it is one which is associated with a great deal of prestige not only in Mexico, but around the world.

The origins of the mariachi itself (the group, culture, music, etc.) are not much easier to trace. The mariachi is the sum of a cultural evolution which has taken place over the last century or so in Mexico

Mariachi instruments

Although the indigenous tribes of Mexico made music with flutes, drums and whistles, there is no clear link between the indigenous music and the mariachi. The instruments originally used by the mariachi were those introduced by the Spaniards – violins, guitars, vihuelas, harps, etc.

These instruments were intended to be used during masses but the criollos (Mexicans of Spanish descent) began using them to make popular music as well, much to the chagrin of the priests, since they were used to accompany some of the more scandalous, satirical or anticlerical couplets of the times.

Mariachi evolution

Mariachi music thrived with the support of the people. The criollos of the 19th century did all they could to wipe out every last trace of the Spanish presence in Mexico and, by doing so, supported the mariachi music.

Mariachis could be seen wearing traditional workmen’s clothes – white pants and shirt and a straw hat, and traveling around looking for work. Most commonly they would find employment at any of the haciendas where they would earn more than the average laborer.

With the revolution, many of the haciendas were forced to let the mariachis go. They would then wander from town to town singing songs of revolutionary heroes and enemies, carrying news from one place to another.

Still not enjoying the same position they had before, the mariachis took to playing in public venues for a fee. One of the most popular of these was San Pedro Tlaquepaque in the state of Jalisco, a fashionable place for the residents of Guadalajara to spend their summers. Since they were playing for a fee they were forced to add new elements to their music and to expand their repertoire to include waltzes and polkas.

By the early part of this century the mariachi began to regain its popularity. The most prized of the mariachis were still those from the state of Jalisco, particularly the areas of Cocula and Tecaltitlan. They represented Mexico to the people during the Independence Day celebrations in Mexico City in 1933 as well as during L?zaro Cardenas’ election campaign in 1936.

With the advent of radio and television their popularity continued to grow. Recording contracts were signed and they were paired with famous singers like Jorge Negrete and Pedro Infante. Due to the popularity of jazz and Cuban music the trumpet was adopted, pushing the violins into second place and, in some cases, replacing the harp.

Movies were made which represented Mexico as a place populated with truly macho men whose live revolved around the charro, tequila and, of course, the mariachi.

Mariachi Music Today

Today, mariachi music is played around the world in places as far away as Japan and Europe. This integral part of Mexico’s culture and history is celebrated each September in its birthplace, Jalisco.

Rancheras – Ranch songs, accompanied by mariachi bands. This music style from Mexico began as Mexican cowboy music. In the 20th century, Mexican films popularized the genre. It became a pop style that attracted thousands of fans throughout Spanish-speaking countries in the Americas and Spain.

Son huasteco – A festive, poetic song marked by a melodic violin, rhythmic guitar, and soaring vocals. Sones huastecos are created by the rural people of northeast Mexico, singing of nature, folk wisdom, and love. Some of the guitars used in son huasteco music include instruments that are unique to the region: a guitarra quinta, a deep-bodied guitar with eight strings; and the smaller, five-stringed jarana huasteca, tuned higher and played with rhythmic flourishes.

Son Jarocho – A genre found in the Veracruz Gulf Coast region of Mexico. It is a blending of instrumental music traditions featuring Spanish and Afro-Caribbean influences, oral poetry and dance. The ensemble that plays this style of music usually consists of a harp, jarana (five string guitar), and requinto (small four string guitar).

Son Jarocho has been experiencing a resurgence of interest through the works of young musicians who experienced the history of the genre through their elders, and are now reinterpreting a modern historical continuation of the music and a devotion to exposing new generations to the Son Jarocho heritage.

In the United States, Son Jarocho is popular in cities like Los Angeles, Chicago and San Antonio. Son Jarocho is not only a genre, but a way of life that promotes a true sense of community.  Fandangos are the heartbeat of son jarocho.

Mexican Musicians

Antonio Zepeda Arturo O’Farrill Claudia Martínez (Tonana) Guillermo Barron Rios Jaramar Lila Downs Los Pregoneros del Puerto Los Utrera Mariachi Vargas de Tecalitlan Nortec Collective Sergio Lara Tlen-Huicani Xavier Quijas Yxayotl

Son, Ranchera, and Mariachi Musical Styles in Mexico

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Mexico has a musical history that is full of many different musical styles and influences, such as music from the Aztecan indigenous culture, music from Spain and Africa, songs from ranching life or festive mariachi bands.

Mexico's Rich Musical History

Dating back more than a thousand years before any contact was made with Europeans in the 16th century, the area was dominated by the Aztec culture , a culture that maintained an important and complex musical tradition.

After Cortes ’ invasion and conquest, Mexico became a Spanish colony and remained under Spanish dominion for the next two hundred years. The music of Mexico incorporated their Pre-Columbian, Aztecan roots together with Spanish culture. Then, add a third dimension to the mix, the music of the Spanish-imported African slaves to the land. Mexican folk music draws from all three of these cultural influences.

Mexican Son

Son Mexicano means "sound" in Spanish. The music style first appeared in the 17th century and is a fusion of music from indigenous, Spanish and African traditions, much like the  Cuban son . 

In Mexico, the music exhibits lots of variation from region to region, both in rhythm and instrumentation. Some of these regional differences include son jarocho from the area around Vera Cruz, son jaliscenses from Jalisco, and others, such as  son huasteco , son calentano , and  son michoacano. 

Ranchera is an outgrowth of son jaliscenses . Ranchera is a type of song that was literally sung on a Mexican ranch. Ranchera originated in the mid-19th century just before the Mexican revolution . The music was centered on traditional themes of love, patriotism, and nature. Ranchera songs are not just one rhythm; the style can be like a waltz, polka or bolero. Ranchera music is formulaic, it has an instrumental introduction and conclusion as well as a verse and refrain in the middle.

Mariachi Origins

We tend to think of mariachi as a style of music, but it's actually a group of musicians. There is some disagreement about where the name mariachi comes from. Some music historians believe that it is derived from the French word mariage, meaning " wedding," and indeed, mariachi groups still form an essential part of weddings in Mexico.

An alternate theory posits that the word comes from a Coca Indian word that originally referred to the platform on which the orchestra performed.

A mariachi orchestra is composed of at least two violins, two trumpets, a Spanish guitar, and two other types of guitars, the vihuela, and guitarron. The charro suits, or ornate horseman suits, worn by the band members are attributed to General Portofino Diaz who, in 1907, ordered the poor peasant musicians to don these outfits in order to look good for a visit by the U.S. Secretary of State. The tradition has lived on ever since.

Mariachi Evolution

Mariachis play many different types of music, although the style is closely tied to ranchera music. Originally mariachi and ranchera music was mostly about romantic themes, but as the Mexican economy worsened, the haciendas could no longer afford to have their own mariachi band on the premises and they let the musicians go. As a result of unemployment and harder times, the mariachi began to change themes singing about revolutionary heroes or current events.

By the early 20th century, mariachi previously known only through their various regional styles began to coalesce into a uniform musical genre, one that became recognizable throughout all of Mexico. That was due, in large part, to musicians Silvestre Vargas and Ruben Fuentes of the mariachi group "Vargas de Tecalitlan" who made sure that the popular music was written down and standardized.

In the 1950s, trumpets and a harp were introduced to the orchestra, and that instrumentation is what we can currently find in mariachi bands of today.

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Regional Mexican music is crossing borders and going global. Here’s how it happened

Eslabon Armado frontman Pedro Tovar reflects on rise of regional Mexican music and success of Peso Pluma collaboration “Ella Baila Sola.” (Nov. 14)

This combination of photos show Becky G on NBC’s “Today” show in New York on Aug. 25, 2023, left, Carin Leon at the Latin American Music Awards in Los Angeles on April 20, 2023, center, and Peso Pluma at the 24th annual Latin Grammy Awards in Seville, Spain, on Nov. 16, 2023. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (AP Photo)

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FILE - Peso Pluma performs during the MTV Video Music Awards on Tuesday, Sept. 12, 2023, at the Prudential Center in Newark, N.J. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (Photo by Charles Sykes/Invision/AP, File)

FILE - Grupo Frontera arrives at the Latin American Music Awards in Las Vegas on April 20, 2023. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (AP Photo/John Locher, File)

FILE - Becky G performs on NBC’s “Today” show at Rockefeller Plaza on Friday, Aug. 25, 2023, in New York. Becky G, 26, experimented with regional Mexican music on her latest album, “Esquinas.” (Photo by Charles Sykes/Invision/AP, File)

FILE - Brian Tovar, from left, Pedro Tovar and Gabriel Hidalgo of Eslabon Armado arrive at the iHeartRadio Music Awards on Tuesday, March 22, 2022, at the Shrine Auditorium in Los Angeles. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (Photo by Jordan Strauss/Invision/AP, File)

FILE - Mexican singer Junior H performs at the Axe Ceremonia music festival at Bicentenario Park in Mexico City, Saturday, April 1, 2023. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (AP Photo/Marco Ugarte, File)

FILE - Carin Leon performs at the Latin American Music Awards on Thursday, April 20, 2023, at the MGM Grand Garden Arena in Las Vegas. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (AP Photo/John Locher, File)

FILE - Fuerza Regida performs at the Suenos music festival on Sunday, May 29, 2022, at Grant Park in Chicago. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (Photo by Rob Grabowski/Invision/AP, File)

FILE - DannyLux performs at the Coachella Music & Arts Festival in Indio, Calif., on April 14, 2023. Regional Mexican music has become a global phenomenon, topping music charts, breaking streaming records and reaching new audiences as it crosses borders. (Photo by Amy Harris/Invision/AP, File)

MEXICO CITY (AP) — Regional Mexican music — a catchall term that encompasses mariachi, banda, corridos, norteño, sierreño and other genres — has become a global phenomenon, topping music charts and reaching new audiences as it crosses borders.

While it has been around the U.S. for decades, with the late Selena Quintanilla weaving pop, disco and R&B rhythms into her Tejano music in the ’80s and ’90s, something extraordinary happened in the last year.

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” single surpassed a billion streams on Spotify last month, becoming the first regional Mexican Top 10 hit on Billboard’s all-genre Hot 100, peaking at No. 4. Days later, Bad Bunny’s collaboration with Grupo Frontera, “Un x100to,” hit No. 5.

According to Luminate’s 2023 end-of-year report , four of the six Latin artists to reach 1 billion audio streams in the U.S. were Mexican artists: Peso Pluma, Eslabon Armado, Junior H and Fuerza Regida. They were in the top 125 artists streamed. Overall, regional Mexican music grew 60% in the U.S., accounting for a whopping 21.9 billion on-demand audio streams.

How did this happen? The Associated Press reached out to musicians, producers and industry experts to get a sense of the evolution of regional Mexican music ahead of the 66th Grammy Awards on Feb. 4.

A LONG TIME COMING

Leila Cobo, Billboard’s chief content officer for Latin music coverage, always believed Mexican music was going to be huge in the U.S., given its large Mexican American population.

“But I never, in a million years, thought it was going to become so global,” she says.

For Cobo, one of the factors contributing to regional Mexican music’s global reach is streaming, which democratized listening habits and allowed listeners who might not otherwise come across this music to fall in love with it.

On Spotify, Mexican music grew 400% worldwide over the last five years, according to Uriel Waizel, lead editor at Spotify Mexico. And on YouTube, Peso Pluma bested Taylor Swift and Bad Bunny to become 2023’s most streamed artist on the platform.

In addition to streaming, Cobo points at a large population of Mexican descent in the U.S. interested in exploring the music of their ancestors — and a new generation of musicians embracing the genre but mixing it up with rap, reggaeton and electronic instrumentation, invigorating it in the process.

“It went from being music that was a little bit old-fashioned,” Cobo says. “But now I see a movement. And I think that is exciting.”

Waizel says that while Mexican music is centuries old, “current Mexican music is breaking because it is the music that young people listen to.”

Spotify confirmed that last month, 56% of those listening to Latin American artists were under 30. In Mexico, that jumps to 60% of listeners.

DannyLux at the 2023 Coachella Music & Arts Festival in Indio, California (Photo by Amy Harris/Invision/AP, File)

“Before, parents taught regional music to their children, but now the young people are the ones who are teaching their parents music,” says DannyLux, a 19-year-old singer of sad sierreño, a novelty subgenre that surfaced almost five years ago. “Regional music is reaching the heights of reggaeton, which was not seen before.”

A MOVEMENT, NOT A MOMENT

For Grammy-winning producer Édgar Barrera , to understand regional Mexican music, listeners must first understand that “it is a movement” finally having its “moment to shine globally,” because regional Mexican artists now encompass a variety of genres and sounds.

He cites the cumbias of Grupo Frontera and the corridos tumbados of Peso Pluma, both with very different lyrical approaches: “And they are doing numbers that the American artists are doing.”

Artists like Frontera, Fuerza Regida and Junior H are selling out “the same venues that Drake goes to a week later,” he says.

Barrera believes part of the cross-border appeal is that these regional Mexican genres are founded in live instrumental performance — guitars, tubas, trombones, trumpets and more.

“They are real musicians, they are people making real music, not a computer where you are programming or grabbing something from a sound library,” he says.

REGIONAL IS INTERNATIONAL

Last summer, at the Premios Juventud awards show in Puerto Rico, Mexican singer-songwriter Carín León wore a t-shirt that read “F--- Regional,” an apparent reference to the phrase “regional Mexican music,” and later published a manifesto chastising the ways in which different types of Mexican folk music have been restricted by the term.

“Labeling it regional” is wrong, he told the AP. “We are not more ‘regional,’ we are more ‘international.’”

Carin Leon at the 2023 Latin American Music Awards in Las Vegas (AP Photo/John Locher, File)

And it’s not just Mexican artists experimenting with the genre. Colombian superstar Maluma released a pop-norteño track on his 2023 album “Don Juan,” called “Según Quién,” a collaboration with León.

Maluma told the AP he sensed years ago that corridos and banda music were going to enter the global music market. So, he called up Barrera, the producer, in 2018 and said: “I need different instrumentals because I want to start writing Mexican songs, like, regional music. He said, ‘Why? Let’s keep doing reggaeton,’ and I was like, ‘You’ll see!’”

Then the sound was everywhere.

“I’m so glad that it happened because we really needed it in the industry,” Maluma says. “That Mexican sauce we were missing in the global view of Latin music.”

A quick-hit glossary of regional Mexican music genres:

• mariachi: ensemble folk music originating in Jalisco; usually includes guitar, guitarrón, vihuela, violin and trumpets
• banda (norteña/sinaloense): ensemble music that features brass instruments and percussion
• corridos tumbados/corridos bélicos: a new genre of corridos from the last half-decade as spearheaded by people like Peso Pluma and Natanael Cano, these are more explicit corridos and can have influences of other genres like hip-hop
• norteño: from Northern Mexico and Texas, ensemble music identifiable for its use of the accordion
• sad sierreño: From Northern Mexico and the U.S., a new version of sierreño that surfaced in 2019; played mainly with guitars, bajoloache and percussion, sometimes incorporating electronic instruments
• tejano: Music from the Texas-Mexican border; combines norteño with U.S. genres and those from European immigrants, like polka. Think Selena Quintanilla.
• cumbias: From Colombia, a style of dance music; included here because modern regional Mexican music often weaves cumbias into its songs

A ROCKY ROAD TO WORLDWIDE SUCCESS

It wasn’t long ago that regional Mexican music was in a tough spot. For some, the music was subject to a kind of classism, vilified the same way reggaeton was before it became accepted the world over.

Now, a new generation is responsible for refreshing the way in which the world looks at it, the very reason singer Pedro Tovar of Eslabon Armado hopes the genre will change from “regional Mexican” to just “Mexican music.”

“The roots are there,” for a younger generation of listeners, “and the genre is expanding more and more,” he says.

Brian Tovar, Pedro Tovar and Gabriel Hidalgo of Eslabon Armado arrive at the 2022 iHeartRadio Music Awards in Los Angeles (Photo by Jordan Strauss/Invision/AP, File)

That wasn’t always the case. Less than a decade ago, the category for best ranchera/mariachi music album was completely removed from the 2016 Latin Grammys due to too few entries in a year also marked by the death of icon Juan Gabriel and Vicente Fernández’s retirement from the stage.

“We started sounding the alarm years in advance to say ‘this genre is going down,’” said Gabriel Abaroa Jr., president of the Latin Recording Academy, in an interview with the AP at the time.

Actor and singer Lucero, a veteran performer of regional Mexican music, also remembers those days.

“A few years ago, the problem was that regional music was disappearing, and it was increasingly difficult to sing ranchera songs,” she says. But now that it has rebounded, she is “very excited,” even if the songs are a hybrid approach to the genre.

A NEW SOURCE OF PRIDE

While there is no shortage of musical genres to play with, young Latin American musicians continue to embrace — and experiment with — regional Mexican music. They see it as a point of pride, a connection with and a celebration of their identity.

Becky G in 2023 on NBC’s “Today” show in New York (Photo by Charles Sykes/Invision/AP, File)

It is something Mexican American artist Becky G, 26, accomplished with her latest album, “Esquinas,” which she described as “a love letter to my abuelitos, to my younger self and, hopefully, to the future generations.”

“Since I was a child I always talked with my grandparents about doing a project totally inspired by regional Mexican music,” she said.

And to perform at a time when regional Mexican music is bigger than ever is something she describes as “a source of pride for us Mexicans.”

Peso Pluma, 24, couldn’t agree more.

“It feels great, hearing all these people from different countries listening and singing (along) to my songs, it’s just a dream, man,” he told the AP at the 2023 MTV Video Music Awards .

“I’m very grateful for the genre that I do,” he said. “It’s going global and it’s breaking barriers. And I’m just thankful for all the people that are supporting Mexican music.”

A beginner’s playlist of the global hits that put regional Mexican music on the map:

• “Ella Baila Sola,” Eslabon Armado and Peso Pluma
• “LOU LOU,” Gabito Ballesteros and Natanael Cano
• “Un x100to,” Grupo Frontera and Bad Bunny
• “Harley Quinn,” Fuerza Regida and Marshmello
• “CUIDADITO,” Becky G and Chiquis
• “Quiero,” Dariell Cano and DannyLux
• “Fin De Semana,” Oscar Maydón and Junior H
• “Según Quién,” Maluma and Carín León

Sherman reported from Los Angeles.

For more coverage of the 2024 Grammys, visit https://apnews.com/hub/grammy-awards

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In This Article Expand or collapse the "in this article" section The Musical Tradition in Latin America

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The Musical Tradition in Latin America by Kristin Mann LAST REVIEWED: 04 January 2021 LAST MODIFIED: 31 August 2015 DOI: 10.1093/obo/9780199766581-0179

Music is an important part of understanding the history and people of Latin America. The musical diversity and complexity of Latin America is extraordinary, having developed over centuries as the product of cultural exchange. Prior to European contact, native groups incorporated music and dance as integral parts of daily life, in education, work, and leisure activities. Song and dance, accompanied by percussion instruments and aerophones made from bones and shells, comprised a large part of religious rituals, ceremonies for rites of passage and harvest, and leisure and work activities throughout the Americas. It functioned as a medium of communication within and between groups and with the spiritual world. Music was part of European expeditions to claim territory in the Americas, and it was quickly incorporated into missionary evangelization efforts. Dance and musical practice provided opportunities for indigenous cultural maintenance and reinvention within the context of colonialism. Europeans brought musical instruments that were adapted to use in new contexts: these included stringed instruments, such as the guitar, violin, and harp; wind instruments such as flutes and chirimías; and the organ. The music and liturgy of the mass, devotional songs, liturgical theater, and secular song and dance all gained important places in colonial culture throughout American colonies. Africans, enslaved and free, brought new rhythms, dances, songs, and musical practices with them to the Americas as well, creating unique syncretic blends of song, dance, and performance. In the 19th century, art music was composed and performed in the urban centers of Latin America, and music was incorporated into newly independent states as part of efforts to define national identity. Modern music in Latin America continues to reflect the diversity of the history and population of the region. Ethnic groups define themselves through music and dance. Religious music remains an important part of ritual celebrations, particularly processions and festivals of the Catholic Church. Secular song and dance genres, from son, to salsa, merengue, rumba, and samba gained popularity not only in Latin America but also in the United States and worldwide in the second half of the 20th century. Music became linked with mass media—first radio, then movies and television, audio recordings, and performances for tourists—reshaping its meaning. This article will consider work by scholars in the fields of music, anthropology, sociology, history, and cultural studies, which looks not only at the musical genres and performers but also at the cultural, political, and economic contexts and meanings.

Overviews of music in Latin America are largely authored by musicologists and ethnomusicologists. These works focus on tracing the development of unique musical genres that have resulted from interethnic contact, and defining the types of music performed in Latin America today. Succinct introductions to the major genres and themes appear in Seeger 1998 and the first chapter of Schechter 1999 (cited under Textbooks ). Other good, frequently updated starting points for understanding Latin American music are the online encyclopedia entries Stevenson and Webber 2012 and Robertson and Béhague 2012 . The former is a concise entry, arranged geographically, while the latter is more extensive and is arranged chronologically. The first major overview of music in Latin America, arranged by historic period and by country in the national period was Chase 1972 . Gerard Béhague, Chase’s student, authored the standard overview ( Béhague 1979 ). Multiple authors contributed to the encyclopedic treatments of Latin American music, Kuss 2004 and Olsen and Sheehy 1998 .

Béhague, Gerard. Music in Latin America: An Introduction . Englewood Cliffs, NJ: Prentice-Hall, 1979.

A historical overview of art music in Latin America from the colonial period through the 20th century. Major genres and composers are discussed, and musical examples are included.

Chase, Gilbert. A Guide to the Music of Latin America . 2d rev. ed. New York: AMS, 1972.

A reprint of the second expanded edition (1962) of the classic overview of Latin American music, published in 1945 by the Pan American Union’s Division of Music and Visual Arts and the Library of Congress.

Kuss, Malena, ed. Music in Latin America and the Caribbean: An Encyclopedic History . 2 vols. Austin: University of Texas Press, 2004.

This encyclopedia set currently includes two volumes with audio examples on compact discs. Volume 1 covers the music and performance of indigenous groups. The second volume contains essays on music of the Caribbean. Two future volumes are planned; volume three will be a historical overview of major genres, and Volume 4 will include essays on urban popular music.

Olsen, Dale A., and Daniel E. Sheehy. The Garland Encyclopedia of World Music : South America, Mexico, Central America, and the Caribbean . Vol. 2. New York: Garland, 1998.

Thorough, illustrated treatment of Latin American music, arranged by country with a historical overview of major periods.

Robertson, Carolina, and Gerard Béhague. “ Latin America .” In Grove Music Online . 2012.

Current entry from the electronic version of the New Grove Dictionary of Music and Musicians . Printed version widely available in library reference sections, while online version requires a subscription. Sections on indigenous music, past and present, historical patterns, and contemporary musical practices.

Seeger, Anthony. “Musical Genres and Contexts.” In The Garland Encyclopedia of World Music : South America, Mexico, Central America, and the Caribbean . Vol. 2. Edited by Dale A. Olsen and Daniel E. Sheehy, 43–53. New York: Garland, 1998.

This brief essay provides an excellent introduction to the contexts in which music has been performed throughout Latin America and defines the most important musical genres.

Stevenson, Robert, and Christopher Webber. “ Latin America .” In The Oxford Companion to Music . Edited by Alison Latham. 2012.

Current entry from the electronic version of the Oxford Companion to Music , the briefest introduction to Latin American music arranged by region: Mexico and Central America, Spanish-speaking South America, Brazil, and the Caribbean. Online version requires a subscription.

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Mexico's Most Iconic Music: An Introduction To Mariachi

Northern England Writer

A musical style deeply associated with Mexico , mariachi originally developed in western Mexico. While the majority accept that Jalisco is the birthplace of this music, nearby states Colima and Michoacán also lay claim to the development of this distinctive style. Wherever it came from, mariachi is now an intrinsic part of Mexico’s identity and its sense of national pride. Mariachi has even been deemed an element of Intangible Cultural Heritage by UNESCO. It’s importance within Mexican culture was further confirmed when Lázaro Cárdenas invited a Jalisciense mariachi group, Mariachi Vargas de Tecalitlán , to perform at his inauguration in Mexico City. The word mariachi – which can actually refer to the music, group, or singular musician – is said to come from an indigenous word for the wood that formed the dancing platform, though this remains unsubstantiated and the roots of the word remain murky at best. However, whoever tells you mariachi comes from a confusion over the French word for marriage is incorrect! This music is meant to be danced to and is particularly associated with zapateado, a dance of Spanish origin dance that involves driving your heels into the dance floor to match the rhythm of the music. The jarabe , in particular the infamous and highly choreographed jarabe tapatío, is also intimately linked to mariachi. The male dancer’s charro outfit and the shawl and skirt of the female dancer are iconic.

Prior to the development of modern mariachi, however, there existed son jalisciense, a regional variation of the son style of music. One of the style’s most famed songs is ‘ La Negra ,’ which is often considered one of the most iconic of mariachi songs. Another notable son is ‘ La Bamba ,’ which is technically a son jarocho. Yet perhaps the most famous mariachi song is ‘Las Mañanitas,’ which is basically the Mexican stand-in for ‘Happy Birthday’ and can be heard at birthday celebrations nationwide. And of course, there’s always ‘ La Cucaracha’ .

Modern mariachi developed from this style of music called son, which was popularized following the Spanish invasion of Mexico and the introduction of new stringed instruments previously unknown to the indigenous peoples of the country. These included violins, guitars, and brass instruments, the influence of which are clear to see in modern-day mariachi, which is dominated by the modified guitar typical of the musical style, as well as violins and trumpets. A complete mariachi group today boasts between six and eight violins, two trumpets and a guitar, as well as the distinctive rounded guitar called a vihuela, a bass guitarrón, and a Mexican folk harp.

Mariachi has long had a starring role in Mexican cinema , especially during the era of the popular c harro genre films, starring actors such as Tito Guízar, Pedro Infante, and Jorge Negrete. These leading men would serenade their leading ladies by singing powerful mariachi songs. In fact, the distinctive charro outfit that is widely recognized as the ‘uniform’ of the mariachi musician was not actually incorporated into the style of the urban mariachi until the 1920s, and it became more popular with the rise of this cinematic genre. The suit features the close-cut, intricately detailed and embroidered jacket and high, close-cut wool pants. While typically black, mariachi today often wear white versions. This is of course all topped off with that most recognizable of Mexican accessories – the wide brimmed sombrero.

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The Invention of Latin American Music: A Transnational History , by Pablo Palomino

CAROLINA SANTAMARÍA-DELGADO is Associate Professor of Musicology and Ethnomusicology at the University of Antioquia (Colombia). She has written extensively on the historical connections between the music industry and the media in Colombia in the twentieth century. She is coauthor of the book Travesías por la tierra del olvido: Modernidad y colombianidad en la música de Carlos Vives y La Provincia (Editorial PUJ, 2014), and winner of the 2015 Alejandro Ángel Escobar Award for the best social science research in Colombia.

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Carolina Santamaría-Delgado; The Invention of Latin American Music: A Transnational History , by Pablo Palomino. Journal of the American Musicological Society 1 December 2021; 74 (3): 659–663. doi: https://doi.org/10.1525/jams.2021.74.3.659

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“Latin American music” is such a widely used term that it would seem to be a “no-brainer”: look for it in Google and you will find a ready definition. What it really means, however, presents a challenging issue for (ethno)musicologists like myself who, on a daily basis, work within the limits of such an undetermined field of study. In fact, what is Latin America? Who defined it? Why and when? The problematic nature of these questions emerges clearly when one considers that many universities in the United States have a center or an institute for Latin American Studies, and that these kinds of institutions are strangely absent from most universities located to the south of the Río Bravo (or Rio Grande, as it is known in the North). Was Latin America a conceptual category built by insiders or by outsiders? The work of cultural historians such as Pablo Palomino reveals that it is “in fact the result of the sedimentation of projects —diplomatic, aesthetic, political—that ‘invented’ it” (p. 1). Palomino’s book, therefore, explores in depth the role played by music in the history of that invention. His inquiry is thus framed in the history of the conceptual representation of the world as a sum of discrete geocultural regions, a process that began to take shape during the nineteenth century, was consolidated during the twentieth, and seems to be achieving a new life in the twenty-first with the new historiographic trends brought by a so-called global history. Palomino took on the challenge of searching for vestiges of convergent histories of great scope in terms of space and time, and has done so through a careful study of primary sources in five countries: Mexico, Brazil, Argentina, the United States, and Germany.

Palomino begins his quest by exploring in chapter 1 the discourses built in the North and the South during the nineteenth century, and unsurprisingly finds that “Latin America” evolved as a geopolitical term in reaction to the United States’ military expansion into Mexico and Central America. He approaches the issue through the compilation and analysis of numerous sources that reveal the role played by intellectuals of Spanish- and Portuguese-speaking America in constructing the idea of a geopolitical area opposed to the United States, who tried to discursively resist the effects of North American imperialism. His narrative also describes the tensions created between “pan-Americanism,” a term promoted by writers from the United States, and the concepts of “Hispanoamérica” and “Iberoamérica” promoted by Spain and Portugal, as well as that of “latinoamericanismo” promoted by intellectuals from Spanish-speaking countries resident in Paris.

The author’s original focus comes to light in chapter 2, where he begins to display evidence of a hypothesis announced in the introduction of the book: namely that, as a conceptual category, Latin American music precedes other concepts related to the region’s symbolic production, such as Latin American art and Latin American literature. As a cultural category, Latin America emerged in the 1930s in direct relation to music, an issue Palomino elegantly demonstrates through the analysis of four case studies framed mostly between the 1900s and 1920s, which had little or nothing in common with one another. His resourceful historiographical strategy is to search for an absence—to note that Latin American music did not exist then as an all-embracing concept to describe repertoires from such diverse countries as Mexico, Argentina, and Brazil. On the contrary, Palomino’s narrative highlights the transnational connections of musical repertoires and practices that did not call themselves Latin American but self-identified as cosmopolitan.

The first case study is the entertainment scene repertoire in use in Manila, in the Philippines, during the early 1920s, in which Spanish-language musics were identified with national origins (Argentine tango, Mexican music). The second case study concerns the career of Isa Kremer, a Russian Jewish singer who migrated to Argentina in the 1930s and was known for her “cosmopolitan/folkloric” repertoires (p. 56). The third describes the evolution of the Sociedad Argentina de Autores, Intérpretes y Compositores de Música and considers its struggles against the government’s attempts to control the lyric content of tangos, its connections with similar foreign associations dedicated to collecting royalties worldwide, and its scant interest in developing a national market or a nationalist discourse. The final case study explores the commercial strategies of the radio station XEW in Mexico, built on a consistent rhetoric relating to the idea of Latin America as a whole, not as a cultural abstraction imagined by intellectuals but as a big market of potential listeners and consumers.

In chapter 3, Palomino presents an interesting argument about the mutual constitution of national discourses and narratives of regional integration. A comparison of national populist rhetoric in Argentina, Brazil, and Mexico reveals similar mechanisms through which the selective values of each country’s intellectual elites demarcated what was considered traditional and modern. Specific characteristics of each country’s state apparatus, and the way in which each one managed its policies in relation to music in such areas as the school, the army, and the market, imprinted a particular stamp on the experience of what was defined as national and Latin American in each country.

Chapter 4 sheds fascinating light on the role played by musicologists in Palomino’s main argument, particularly the importance of Francisco Curt Lange’s leadership of the first generation of musicians and musicologists who wanted to consolidate “ americanismo musical ” in the 1930s (p. 142). Palomino traces the relationships between Lange and intellectuals from various countries, especially in the Southern Cone and Mexico, and explores their combined efforts to publish the five volumes of the Boletín latino-americano de música . Knowledge of these collaborations, and of the tensions between Lange and other European émigrés including Otto Mayer-Serra and Nicolas Slonimsky, is fragmentary and diffuse in the memories of present-day Latin Americanists. With the advent of the Second World War, the cultural policies of the US Department of State appropriated Lange’s original project, such that americanismo musical became subsumed in the idea of pan-Americanism promoted by the Music Division at the Pan American Union, as discussed in chapter 5. At the end of the war, changes in geopolitics in the North displaced the cultural policy focused on hemispheric alliances in favor of a global view that resulted in the foundation of UNESCO in 1948. Finally, Palomino’s sixth and last chapter explores the directions taken by Latin American music after the 1950s, opening the field for future research.

It should be noted that books that, like Palomino’s, successfully trace comprehensive histories of the role of music through large-scale connections between the countries to the south of the Mexican-American border are far from common. Many edited volumes with a transnational scope that focus on the history of musical practices in Latin America are compilations of articles written by a number of different scholars who investigate the development of specific musical practices within local or national frameworks. 1 Examples of works by a single author who investigates, from a critical standpoint, the historical confluences between cultural projects undertaken by various Latin American elites are still rare—Juliana Pérez’s study of music history books in Hispanic America is an exception. 2 While we know that the original cultural bonds with the Iberian Peninsula’s imperial projects were not completely broken after the wars of independence, the merit of Palomino’s book is that he does not take those connections for granted; he instead looks for and finds concrete evidence of how the fiction of a cultural unity was “invented,” or rather, how the notion of a cultural unity was reworked through discourses on Latin American music between the 1920s and 1960s.

In addition to the meticulous archival work that yielded rich primary sources, one of the most admirable aspects of Palomino’s monograph is the richness and variety of the secondary sources he draws on. His book contains an extensive and impressive bibliographic review that offers readers a broad view of recent intellectual contributions to the cultural study of music in Spanish, Portuguese, and English. It is the relative abundance of these secondary sources, focused on specific case studies, that feeds Palomino’s ability to delineate broad traces of musical circuits in Latin America. More than just a testament to the author’s capacity to handle large volumes of scholarly information in various languages, the work is, I would contend, an exercise in epistemic justice. In this time of fierce criticism of the embeddedness of white supremacism within musicological discourses produced in the American academy, Palomino does not hide behind the usual dynamics of asymmetric ignorance. Moreover, he takes seriously the task of establishing fruitful dialogues with the work of non-English-speaking authors.

As a cultural historian rather than a musician or musicologist, Palomino has a unique vantage point since he is not distracted by somewhat sterile discussions about the technical characteristics that supposedly define “Latin American music.” Certainly, he is not the first to mistrust ontological assumptions that trace remote origins or ethnic lineages supposedly hidden in the musical sounds. Yet his work offers interesting clues that unravel the multiple mechanisms through which taxonomies and categories have been established in Latin America for certain musical practices, both popular and traditional. The categorization practices of Mexican record labels and radio stations in the 1930s, discussed in chapter 2, provide a good example of the way in which terms could be generated by the dynamics of the market. Later on, some of those empty terms were invested with content and ended up crystallizing as musical genres. That insight might be a clue for analyzing other cases of musical practices located in the fringes of the recording industry and oral tradition. Take the genre of cumbia , for example: it appeared as a market category in Colombia during the 1940s, and the first ontologizing discourses about it came out some years later, Delia Zapata describing it as the “synthesis of the Colombian nation”; and just a few years ago, the undetermined nature of its many local variants became the object of musicological description and critique. 3 While it may seem obvious that, in this case, the crystallization and the invention of a musical genre are but two sides of the same coin, we still encounter aficionados who try to trace the origins of the sounds of cumbia to an immemorial ethnic past, and scholars who find in cumbia the meta-narrative of a truly Latin American identity. 4

By exploring Latin American music as an invention, Palomino not only teaches us that it is possible to dispense with ontologizing discourses on complicated topics from the outset; he also offers a historical method by which to trace a discursive absence and recognize the crystallization of a category. If readers still want to know what Latin American music is they must look to Palomino’s own words: “Latin American music is the history of a musical conversation about Latin America” (p. 12). Consequently, to be a Latin American music scholar is not a self-identifying label; it is in fact a very conscious strategic position.

See, for example, Geoffrey Baker and Tess Knighton, eds., Music and Urban Society in Colonial Latin America (New York: Cambridge University Press, 2011), and Héctor Fernández L’Hoeste and Pablo Vila, eds., Cumbia! Scenes of a Migrant Latin American Music Genre (Durham, NC: Duke University Press, 2013).

Juliana Pérez González, Las historias de la música en Hispanoamérica (1876–2000) (Bogotá: Universidad Nacional de Colombia, Facultad de Ciencias Humanas, 2010).

Delia Zapata Olivella, “La cumbia: síntesis musical de la nación colombiana: reseña histórica y coreográfica,” Revista colombiana de folclor 3, no. 7 (1962): 187–204; Juan Sebastián Ochoa, Carlos Javier Pérez, and Federico Ochoa, El libro de las cumbias colombianas (Medellín: Fundación Cultural Latin Grammy and Universidad de Antioquia, 2017).

For example, Darío Blanco Arboleda, La cumbia como matriz sonora de Latinoamérica: Identidad y cultura continental (Medellín: Universidad de Antioquia, 2018).

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10 Mariachi Music: Pathways to Expressing Mexican Musical Identity

• Published: November 2016
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Mariachi music is rooted in Mexican identity. As an instrumental and vocal genre that encompasses traditional, folkloric, and popular Mexican expressions, mariachi dates back to the 19th century in western Mexico. Over the past century, its reality as a diasporic genre has generated widening audiences, but also prompts questions regarding its sustainability. Despite the fact that mariachi ensembles and their music spread north to the United States and elsewhere in the world, local traditional groups in Mexico continued to perform their particular style for community festivities. With the changing needs of modernizing societies, the mariachi tradition has been constantly recreated by its diverse and growing communities, in response both to the shifting aesthetics of time and place and to how musicians and communities have interacted with their own history.

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The Role of Music in Latin American Culture

Music plays a crucial role in the culture of Latin America, and it always has. This continent has a rich and colorful musical landscape with sounds that range from tribal roots to folk music to modern pop. The sounds and songs of Latin America are expressive and diverse. We’re going to explore the role of music in this particular culture and understand its importance. 

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Latin American Music & Its History

Latin America is home to many indigenous populations and tribes. These tribes cultivated many unique instruments, folksy and earthy music, even leaning to very spiritually-inclined chanting and song. Prominent instruments like maracas or the pan flute come from these indigenous tribes. 

Further on in time, Spanish settlers influenced these tribes and populations, which led to the blending and emergence of new musical styles in Latin America and, of course, the spread of 

music like Samba, Tango, and Mariachi. 

Preserving Indigenous Cultures

A very important role that music upholds in Latin American culture is to preserve and proudly showcase the roots of the people. Music helps celebrate the culture of indigenous communities, and many of these communities across Latam have very rich musical traditions, showcasing truly one-of-a-kind vocal styles and instruments.

Because of colonization and modernization, these traditions have been lost, so music bridges the gap for those who want to reconnect to their roots and the music that their ancestors played. Music has helped preserve these traditions, and it’s also helped keep their memory alive. It isn’t only used to celebrate cultural heritage; it’s also used to educate those interested in these traditions without necessarily belonging to them. 

And as of late, there has been a re-emergence of such ancient songs and styles being incorporated into more modern mixes, with artists like Mose and Deya Dova deriving immediate inspiration from the earthy, often spiritual tones found in the music of these indigenous tribes. 

The Role Of Music In Identity

In Latin America, music has a role in representing collective identities and shaping individuality. It is intertwined with regional identities and national identities. Some examples of this: 

• Brazil: Samba 
• Argentina: Tango
• Mexico: Ranchera
• Columbia: Cumbia

In many countries across the continent, music expresses cultural heritage and national pride. 

The Role Of Music In Social Movements

Music is used and has been used as a social and political tool for activism across Latin America. For example, the “Nueva Canción” movement emerged in Chile and other Latam countries during the 60s and 70s. 

The music that represented this movement had clear socially-conscious lyrics criticizing the government and demanding social equality and justice. Unfortunately, political strife, corruption, and violence still prevail in Latin America, and so the music continues to play the role of bringing attention to the struggle across the continent. 

Music, of course, also plays a positive role in the social movement of Latam. Hits like “Despacito” have helped popularize Latin American music everywhere, with artists like Rosalita and Bad Bunny now dominating the modern music scene with contemporary Latino songs. 

Representing Diversity

Music also embodies and represents the diversity of Latin America. Latam music features diverse styles and genres hailing from different traditions that are all unique, colorful, and rich with history. Diversity can be detected and felt even within regional sectors of one country, offering listeners variations in the same genre or from playing the same instrument. 

Let’s look at Peru, for example. In the Andean regions of Bolivia and Ecuador, the use of pan flutes is more prominent, as well as other wind instruments. On the other hand, in coastal regions of the same countries, percussion and dance are more prominent.

In Celebrating Life And Death

Latin American culture celebrates life and death equally. They celebrate both life and death in Latam, with the Mexican holiday of “Dia de los Muertos” being one of the most popular examples of this. During the Dia de los Muertos, families gather to honor their deceased family members and to pay homage to their memory/life. Music plays a crucial part during celebrations such as this one. 

Mariachi bands who play traditional songs and ballads help create a joyful atmosphere even in a solemn celebration. For life celebrations like quinceañeras, more often than not, live music will be found. Either a band will be hired, or a DJ will play a blend of traditional songs and modern ones to keep the festivities up. 

Latin American Music on the Global Stage

Throughout the years, Latin American music has made a huge impact on the global stage and has influenced other countries’ musicians and listeners. Latin American music has gained much popularity for its bass-y and festive vibes, often being used for parties, couple dances, and so on.

The continent’s music has also influenced other genres like jazz and hip-hop. Latin American instruments and rhythms can be heard and are often mixed into these genres of beats and melodies, which have created timelessly catchy and unique sounds. 

Final Thoughts

Music holds a high place in Latin American culture, where it serves a purpose in many different aspects of people’s lives. From representing national identities to being used for celebrations of death and life, it serves a vital and dynamic part that not only helps people express themselves but to heighten human celebrations. 

New generations of artists have now taken more traditional elements of music and blended them with modern and contemporary elements, which makes for intriguing sounds and melodies. There’s more to hear from Latam music, and we’re excited to discover more.

Follow Sounds and Colours: Facebook / Twitter / Instagram / Mixcloud / Soundcloud / Bandcamp Subscribe to the Sounds and Colours Newsletter for regular updates, news and competitions bringing the best of Latin American culture direct to your Inbox.

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History of Mexican music - Essay Example

• Subject: History
• Type: Essay
• Level: Undergraduate
• Pages: 2 (500 words)
• Downloads: 6
• Author: keeblerefrain

Extract of sample "History of Mexican music"

History of Mexican Music It is relevant to admit that music performs a significantrole in the culture of every country. Mexico is not an exception. History of Mexican music represents a huge number of interesting facts and involves specific features that are peculiar for the Mexican culture and traditions. It is relevant to admit that Mexican music has its roots from the sound of the drums of a Mayan and Aztec ceremonies. Drum rhythm of these Indian tribes is considered to be one of the first examples of Mexican music (Ilich, n.p.).

With the development of Mexican culture the specific national variety of musical genres becomes wider. It is possible to name the most popular through all of them. They are: Son, Ranchera, Mariachi and Norteño (Grupero). Son “first appeared in the 17th century and is a fusion of indigenous, Spanish and African traditions, much like Cuban son” (Ilich, n.p.). Still, Mexican variant of son is experienced a large number of variations through all the country. Ranchera is considered to be an outgrowth of son.

That has been “A type of song that was literally sung on a Mexican ranch, ranchera originated in the mid-19th century, just before the Mexican revolution” (Ilich, n.p.). Love, patriotism and nature are remained to be the most popular themes for this type of songs. Mariachi is considered to be highly popular style of music in Mexico. For the performing of this music people form a special orchestra. It consists of “at least two violins, two trumpets, a Spanish guitar, and two other types of guitars - the vilhuela and guitarron” (Ilich, n.p.).

Norteño is considered to be more modern variant of folk music in Mexico. The matter is that “in the late 19th century European migrants brought the accordion, waltz and polka, from their homeland to Northern Mexico and the U.S. Southwest” ( Hacienda Tres Rios, n.p.). Local bands have adopted these instruments and establish a new genre of music. As for the popular Mexican music there are also a huge number of variations with an interesting implications and influence of modern global culture.

It is possible to distinguish Latin alternative, Mexican Ska, Rock and Pop music as the basic directions of modern music. Latin alternative is considered to be a “music created by young players who have been raised not only on their parents music but also on rock, hip-hop and electronica” (Heritage of America, n.p.). The wave of Mexican Ska has started in 1960s when young bands and big orchestras intend to recorded ska tunes and covers of Jaimacan hits (Heritage of America, n.p.). The “Mexican rock movement began in the late 1950s and early 1960s, rapidly becoming popular, and peaking in the 80s and 90s with real authentic sounds and styles” (Heritage of America, n.p.).

The most popular groups are Dilemma, The Chasm, Xiuhtecuhtli, Disgorge, Brujeria, Transmetal, Hacavitz, Sargatanas, Mictlayotl and others. Mexican pop singers are highly popular around the world as everyone knows such names as Julio Iglesias, Enrique Iglesias, Shakira and Ricky Martin. These are considered to be the brightest representatives of Mexican pop music. All in all, it can be concluded that Mexican music represents its unique and interesting section in the world music culture. The historical evidences that are related to the Mexican music represent individual features of Mexican culture and traditions.

Reference List: Ilich, Tijana. “Music of Mexico - Son, Ranchera, Mariachi.” About.com. Web. 17 Feb, 2015. http://latinmusic.about.com/od/countrie1/p/PROBASICS17.htm “Music of Mexico”. Heritage of America, Educational and Cultural Foundation. Web. 17 Feb, 2015. http://heritageofamerica76.com/music_of_mexico.htm#modern “Traditional Mexican Music”. Hacienda Tres Rios, Blog. Web. 17 Feb, 2015. http://www.haciendatresrios.com/culture-and-tradition/traditional-mexican-music/

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Chicano Music in American-Mexican Culture Essay

A great number of Chicano musicians have used their traditional Mexican heritage as a source of inspiration. For instance, they have always mixed traditional acoustic sounds with modern vibes in order to produce quality songs.

This approach has encouraged the musicians to produce meaningful songs that can promote their culture. Some great musicians such as Jeffrey Pierce used their cultural heritage to produce the best Chicano songs. Their songs highlighted the experiences and hopes of many Latinos in the country. Selena “produced powerful songs in Tejano genre” (Castro 38).

Many Latino musicians have used different aspects of their cultural heritage in order to become successful. For example, Lalo Guerrero transformed the history and nature of Chicano music. His “achievements in music made him the father of Chicano music” (Castro 39). Guerrero began his career at a very tender age.

In the 1930s, the artist decided to write numerous songs using various Mexican genres. Some of these genres included swing and big band. Many Latino artists embraced such genres during the period. The artist “also expanded his unique repertoire thus producing new songs in different Mexican genres” (Castro 62). The practice made Lalo Guerrero one of the most successful Chicano musicians.

Some Chicano artists and bands produced various rock songs during the 1940s. Such songs borrowed powerful themes and genres from the Latino culture. For instance, some famous artists “such as Ritchie Valens and Joan Baez used their Chicano experiences to produce powerful protest songs” (Castro 66).

Such songs encouraged more individuals to understand the issues and challenges affecting this racial group. Chicano rock music was also common during the 1960s. This kind of music reshaped the experiences of many Latino artists and musicians.

Some musicians such as “Carlos Santana and Los Lobos produced their favorite songs in different Chicano genres” (Castro 54). According to Castro (72), “a great number of Chicano artists embraced different Mexican rhythms in order to become successful”. Such musicians eventually embraced more mainstream music such as blues, country, pop, and rock. This practice encouraged more musicians to produce new music genres that supported the Latino culture.

Some musicians tend to embrace the Chicano culture later in their careers. A good example of such artists is Linda Ronstadt. The musician began her career by producing pop and rock music. She also “produced more opera and country music” (Castro 57). The musician eventually transitioned into her Latino musical roots.

This move made it easier for the musician to produce various songs in different Mexican genres. Such “songs are known as mariachi music” (Castro 83). It is agreeable that many Latino musicians have gained their inspirations from this traditional musical heritage.

This fact is agreeable because many Latino musicians cannot succeed without connecting with their people. The decision to use such traditional heritages makes it easier for them to explore the plight of their people. The approach also encourages them to entertain more Latinos. Their Latino cultural heritage also gives them the best ideas and genres. Such ideas have made it easier for musicians to achieve their career goals (Castro 73).

The artists also get something meaningful from their cultural Latino heritage. This approach has made most of these Chicano musicians successful in their careers. Such artists have also worked hard to represent their socio-cultural values. This strategy makes such songs meaningful and significant in mainstream society.

Works Cited

Castro, Rafaela. Chicano Folklore: A Guide to the Folktales, Traditions, Rituals and Religious Practices. New York: Oxford University Press, 2000. Print.

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Bibliography

IvyPanda . "Chicano Music in American-Mexican Culture." March 22, 2020. https://ivypanda.com/essays/chicano-music-in-american-mexican-culture/.

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The Son as a Mexican Music Genre

Mexican music includes a range of genres, and the son is one of them. The very word “son” means “sound” (Noble 82). It refers to the regional music that can be mostly heard in eastern, western, and central parts of the country. It is played using such instruments as haupanguera, harp, and guitar, etc. As a rule, the performance is followed by foot-heel tapping and traditional or extemporized lyrics.

As people who play the son can be found throughout different locations, the peculiarities of the music vary. Still, there are common ones. Syncopation is among them. By dint of it, the rhythm of the melody occurs to be irregular. Rapid tempo encourages listeners to join the musicians, dance, and sing. Manicos imply a complicated sample of strumming that is aimed to produce a rhythmic background. The dance itself tends to become a part of melody as its acoustic qualities emphasize music.

This musical genre originates from the combination of local and Spanish elements, particularly for the 16 th century. At that time, it was a theatrical song performed in a flippant tone and followed by a dance. At the beginning of the 18 th century, the Church tried to forbid the son and claimed it to be immoral and indecent. Fortunately, the authorities did not achieve success and by the end of this century, it was played between the acts in the theaters of Mexico City. When the independence movements started, the son identified the new nation.

There are three well-known son varieties. The son jarocho can be observed during fandangos where musicians gather to present their sones in southern Veracruz. The son huasteco is performed throughout La Huasteca. The son de mariachi is played by representatives of western Mexico.

Noble, John. Mexico , Footscray: Lonely Planet, 2008. Print.

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Bibliography

StudyCorgi . "The Son as a Mexican Music Genre." March 31, 2021. https://studycorgi.com/the-son-as-a-mexican-music-genre/.

StudyCorgi . 2021. "The Son as a Mexican Music Genre." March 31, 2021. https://studycorgi.com/the-son-as-a-mexican-music-genre/.

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Essay on Mexican Culture

Students are often asked to write an essay on Mexican Culture in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Mexican Culture

Introduction to mexican culture.

Mexican culture is rich with history and color. It comes from ancient civilizations like the Aztecs and Mayans. Today, it’s a mix of those traditions with influences from Spain and other countries. People in Mexico are known for their love of family, music, and food.

Festivals and Holidays

Mexico is famous for its lively festivals. One of the biggest is the Day of the Dead, where families remember loved ones who have passed away. They decorate altars and graves with bright flowers and offer favorite foods.

Traditional Mexican Food

Mexican food is known worldwide. Tacos, enchiladas, and guacamole come from here. Corn, beans, and chili peppers are important ingredients. Meals are often shared with family, making eating a social event.

Music and Dance

Music and dance are key parts of Mexican culture. Mariachi bands play guitars, violins, and trumpets. Folk dances tell stories of Mexico’s history. The colorful costumes and lively rhythms are enjoyed by people of all ages.

Art and Craft

Mexican art is famous for its bright colors and patterns. Diego Rivera and Frida Kahlo are well-known artists. Crafts like pottery, weaving, and silverwork show Mexico’s creativity and skill.

Mexican culture is a tapestry of traditions that celebrate life. It’s a blend of history, art, food, and music that brings joy to people and makes Mexico unique.

250 Words Essay on Mexican Culture

Mexican culture is a rich blend of native traditions and Spanish influence. It is known for its colorful art, lively music, and strong family values. Mexico’s history shapes its culture, from ancient civilizations like the Maya and Aztecs to the Spanish conquest.

Traditional Food

Mexican food is famous worldwide. Tacos, enchiladas, and tamales are just a few examples of the tasty dishes. Ingredients like corn, beans, and chili peppers are common. Families often gather to enjoy meals together, making food a central part of social life.

Festivals and Celebrations

Mexicans love to celebrate. One of the most famous events is the Day of the Dead, when people honor their loved ones who have passed away. There are also colorful parades, dances, and music. Christmas and Cinco de Mayo are other big celebrations full of joy and traditions.

Music and dance are vital in Mexican culture. Mariachi bands play lively tunes with violins, trumpets, and guitars. Folk dances tell stories of Mexico’s history and people. Young and old enjoy the rhythms and movements that make up Mexico’s musical heritage.

Family Values

In Mexico, family is everything. Relatives are very close and support each other. Big family gatherings with lots of food and laughter are common. Respect for parents and elders is taught from a young age, making family bonds very strong.

Mexican culture is a tapestry woven from history, food, celebrations, music, and family. It is a culture full of warmth, color, and life, inviting everyone to experience its beauty and traditions.

500 Words Essay on Mexican Culture

Mexican culture is a rich and colorful tapestry woven from a history that goes back thousands of years. It includes the traditions of the ancient Maya and Aztec civilizations, as well as influences from Spanish colonists who came to Mexico over 500 years ago. Today, Mexican culture is known around the world for its vibrant music, delicious food, and festive celebrations.

One of the most famous parts of Mexican culture is its food. Mexican cuisine is known for its bold flavors and colorful presentations. Dishes like tacos, enchiladas, and tamales are enjoyed by people all over the world. The food is often made with corn, beans, and chili peppers, which are ingredients that have been used in Mexico for a very long time. In Mexico, families often cook together and share meals, which helps to keep their cultural traditions alive.

Mexicans love to celebrate, and they have many festivals throughout the year. One of the most famous is the Day of the Dead, or Día de los Muertos, which is a time when people remember and honor their loved ones who have passed away. During this festival, families create altars with photos, candles, and flowers, and they might also visit the graves of their relatives. Another important celebration is Mexican Independence Day on September 16th, which marks the day Mexico began its fight for freedom from Spain.

Music and dance are at the heart of Mexican social life. Mariachi bands, with their trumpets, violins, and guitars, are a common sight at parties and celebrations. Folk dances, such as the Jarabe Tapatío, often known as the Mexican Hat Dance, tell stories through movement and are performed wearing traditional costumes. These art forms not only provide entertainment but also help to pass down history and traditions from one generation to the next.

Art and Handicrafts

Mexican art is famous for its bright colors and intricate designs. Artists like Frida Kahlo and Diego Rivera have gained international fame for their paintings that often reflect Mexican history and culture. In addition to fine art, Mexico is also known for its handicrafts, including pottery, weaving, and silverwork. These items are not just beautiful; they are also important to the economy as they are sold to tourists and collectors.

Family is a very important part of life in Mexico. Many generations often live in the same house or neighborhood, and they support each other in daily life. Respect for elders is a key value, and children are taught to listen to and learn from their parents and grandparents. Family members celebrate important events together, such as birthdays and religious ceremonies, which helps to strengthen their bonds.

Mexican culture is a beautiful blend of history, art, food, and family. It is a culture that is both ancient and ever-changing, as new generations add their own stories to the rich tapestry that has been created over thousands of years. Understanding Mexican culture can help people from all over the world appreciate the diversity and depth of human traditions.

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Zócalo Podcasts

In Search of the ‘Tomato King’

Finding a mexican migrant politician, rooted in california soil.

Ethnic studies scholar Adrián Félix traces the life of Andrés Bermúdez, a larger-than-life figure who was a farmer in California and a politician in Mexico. Illustration by Be Boggs .

by Adrián Félix | April 8, 2024

There is only one person more obsessed than I when it comes to the memory of Don Andrés Bermúdez: his son, Andrés Junior. Junior lives with his family in the place where he came of age, a spacious ranch home his father acquired in 1993, on the outskirts of Winters, California, in the western Sacramento Valley.

In a nod to his Catholic upbringing, Junior crosses himself when he passes the town cemetery, where his father is buried. He bought the burial plot adjacent to his father’s, so that he can be as close to him as possible.

It’s easy to understand the devotion. Bermúdez, the “Tomato King,” who died of cancer in 2009 at just 58, willed himself from undocumented field worker and ranch hand to naturalized U.S. citizen; from successful farmer and labor contractor in California to pathbreaking congressman and migrant politician in Mexico.

In 2001, he made history by being elected mayor of his hometown of Jerez, in the state of Zacatecas, which has sent over half a million people to the U.S. over the last half century. Bérmudez is believed to be the first U.S. immigrant to win a mayoral election in Mexico. His first victory was overturned—because his primary residence was in the U.S.—but he won again in 2004 after his binational residency was established, then left that post to run for federal congress in Mexico City two years later. There, Bermúdez championed migrant causes, including allocating greater federal resources for the repatriation of paisanos who died in the U.S.

I am writing a biography of Bermúdez, and I am drawn equally to this complex and contradictory figure by his larger-than-life character—in his signature all-black cowboy ensemble—and by the unprecedented transnational movement he ignited. Bermúdez gave migrants a voice in the politics of their homeland. He also reproduced the strongman tendencies and political bossism he fought against, not to mention machismo.

He is both rule and exception: so much like millions of fellow Mexican migrants who anonymously toil in this country, but also remarkable for transcending strictures of citizenship and borders. Tracing his California path through rural swaths of the state is a reminder of how Bermúdez, and others, have made it their home while maintaining lifelong ties to their ancestral motherlands.

And so I take the 99 Highway to Porterville, where the Bermúdez clan’s U.S. trailblazers first arrived in the mid-20th century as part of the Bracero program, which brought hundreds of thousands of guest workers from Mexico to the fields of California. Fiddling with the radio dial, I’m as likely to hear conservative Christian propaganda as I am to stumble over country music or a Mexican station with Mixteco programming.

In Porterville, I meet a group of Bermúdez’s first cousins and contemporaries. Their aging bodies and visible ailments—strained backs, aching knees—are a testament to lifetimes of physically taxing work in the fields.

We sit in their back patio under a light drizzle and talk. Like any good transnational testimonio, the assembled elders start by honoring their elders, the patriarchs who first came to the U.S. They left rough upbringings in the scattered ranchos of the Zacatecas mountains, where they migrated seasonally between their native El Cargadero and Cueva Grande, tending drought-stricken land and famished dairy cows.

After stints in construction jobs in L.A., these pioneers eventually landed in the Central Valley. They worked the crop circuit up and down rural California, picking grapes, peaches, apricots, plums, strawberries, cherries, oranges, and olives. Labor contractors murdered workers for their paychecks. The migra launched raids that sent them scattering through orchards “like deer.”

When Bermúdez followed these forbears, arriving in town in his late teens in 1969 , he did what the rest of the single migrants did, his cousins tell me: worked, drank, smoked, dated. You couldn’t tell, in Porterville, that his trajectory would be any different.

And so I head to Winters, a small town of just over 7,000, the place where Bermúdez’s path diverged from other young undocumented migrants’ stories. After his stint in Porterville, Bermúdez briefly returned to Mexico to marry and start a family. He then moved them to the U.S., choosing Winters for yearlong agricultural work—more appealing for a new father than following the crop circuit. A local white rancher named Tufts saw in Bermúdez a swift English learner and a hard worker, consistently the fastest picker on his crew. He invited Bermúdez and his young family out of the subsidized housing they lived in on the other side of town and into a trailer home on the ranch property.

In the late 1970s and early 1980s, the flow of migrant workers into California was plentiful, and Bermúdez, now bilingual, struck out on his own and began recruiting laborers for the U.S. Forest Service. By the 1990s, he returned to Winters a wealthy man and ventured into tomato growing—this time, as his own boss. He got involved in every stage of production, from sowing to transplanting, even innovating a technique that would earn him the “Tomato King” moniker, adapting agricultural machinery for a greater yield. He supplied Ragu, Morning Star, Del Monte, and Campbell’s.

In Winters, memories of the man in his “Tomato King” prime abound. Driving through the quaint town with Junior, he’s quick to point out McArthur Street, where his father bought his first property. Where he leased land to grow tomatoes. The exact spot where he got pulled over for driving under the influence, or where he broke out into a brawl. The Buckhorn, his favorite bar to rub elbows with the region’s white farmers. Rotary Park and the Winters Community Center where he hosted the Fiesta Mexicana and delivered impromptu speeches. The place where he threw epic parties for hundreds of his workers, many from his hometown of Jerez.

Most dream of a return. But Bermúdez actually managed to go back—and to take an unlikely and unprecedented leap into the Machiavellian world of Mexican politics. His critics will insist that Bermúdez was drawn by the allure of power; still, as a mayor and congress member, he battled the establishment by giving migrants a voice. “I am here to represent my people,” he once told me. He always told elite politicians that “to do away with migration, they need to have been migrants themselves. Nobody can do away with that which they have not felt.”

Death brought Bermúdez back, again, to the U.S. In the five years that I’ve been researching my book, I’ve grown close with the Bermúdez family; on another recent trip to Winters, I attended a rosary for Andrés Junior’s maternal grandmother, who died last year; Bermúdez jokingly called her his favorite suegra (mother-in-law) in an unabashed reference to his infidelity and cheating ways.

The family buried her just a few yards away from Bermúdez, where the entire nuclear family has plots. To paraphrase the migration scholar Osman Balkan , the interred bodies serve as anchors, investing the soil with political meaning for their relatives and survivors.

In death, as in life, Bermúdez has imbued this corner of California with his legacy—one that stretches to Zacatecas, and beyond.

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Let the music play: Mexico beach bands victorious after noise complaints

Hotel owner in Mazatlán had suggested limiting the time or places where the bands could play after complaints from foreign tourists

Bands who play the thumping tuba-and-drums songs of northern Mexico on beaches in the resort city of Mazatlán appear to have emerged victorious this week after noise complaints had threatened to silence them.

But anybody who planned to witness the 8 April eclipse in a moment of awed silence will likely be disappointed. Mazatlán, on the Pacific coast, will be first place in North America where the path of totality will be visible.

Because of complaints from foreign tourists who like to observe the resort’s sunsets in peace – or with a bit of soft music – a local hotel owner had suggested limiting the time or places where the bands could play. The bands usually wander the beaches, asking for a few dollars per song to play.

The beaches of Mazatlan, Sinaloa, México are known for live groups that play "Banda" music. Now gentrification pushed by hotel owners, business men & politicians have made an "anti-noise" coalition to prohibit live music on the beach, largely to appeal to influx of 🇨🇦tourists. pic.twitter.com/zbbR8wCZGz — Andalalucha (@Andalalucha) March 26, 2024

Their music is hardly conducive to reflection or relaxation – think of a frantic, speed-fueled polka with lots and lots of brass and snare drums.

But after a protest march by the musicians turned into a violent scuffle with police last week, efforts to limit them appear to have been abandoned.

“The people are very conscious now, and they are defending their rights,” President Andrés Manuel López Obrador said on Monday. “This is how they make a living, and besides, this is a long-standing tradition … and for that reason they protested and managed to get it reversed.

“What isn’t good is the violence,” López Obrador added. “But the Sinaloa bands, or the musicians of the Sinaloa bands, are completely within their rights to protest, just no violence.”

While there never appears to have been any city-wide ban, at least one hotel had put up signs prohibiting the bands from offering their services to beachgoers.

Videos of the scuffles between musicians and police went viral last week, with some band members hitting police with drum sticks. Drums were turned into weapons.

Rubén Rocha, the governor of the northern state of Sinaloa, where Mazatlán is located, wrote in his social media accounts Thursday: “I do not share the idea of prohibiting the musicians of Mazatlan from carrying out their honest dignified work, that allows them to feed their families.”

The issue came to a head when a local hotel operator, Ernesto Coppel, posted a video urging that the bands be limited as to when or where they could offer to play.

“They are a disaster on the beaches of Mazatlán. They don’t allow people to rest,” Coppel said. “I have a lot of complaints from hundreds of American tourists who say to me ‘I won’t return to Mazatlán because of the noise.’”

The ideas apparently included designating certain spaces on the beach for musicians, rather than having them wandering up and down the sand, playing to people in beach chairs in front of hotels.

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Jessica Simpson Shares Tropical Photo Dump From ‘Epic’ Spring Break Vacation

The singer spent time in Mexico with her husband and their three children.

By Rania Aniftos

Rania Aniftos

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Jessica Simpson

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Keith LeBlanc, Session Drummer For Sugar Hill Gang, Grandmaster Flash, NIN Dies at 69

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View this post on Instagram A post shared by Jessica Simpson (@jessicasimpson)

It’s looking to be an exciting upcoming 2024 for Simpson, who is in the process of preparing both an album and tour. Speaking with  Footwear News , Simpson shared that she’s been working on new material in Nashville after temporarily relocating her family there from Los Angeles last summer. “It’s like a retreat for me,” she told the outlet. “I get to just crawl up inside my head and embrace my heart. I feel so enlightened there. Writing music has become a beautiful therapeutic thing for me that I didn’t know was so natural, but it’s because I haven’t done it in so long. It’s just nice to know that I’m meeting myself back in this place, as a woman, and after going through everything that I’ve been through in my life. There’s a sense of freedom and empowerment.”

The  Dukes of Hazzard  star’s next album would mark her first in more than 13 years. Her last release,  Happy Christmas , was released on Nov. 22, 2010. 

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What Solar Eclipse-Gazing Has Looked Like for the Past 2 Centuries

Millions of people on Monday will continue the tradition of experiencing and capturing solar eclipses, a pursuit that has spawned a lot of unusual gear.

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By Sarah Eckinger

• April 8, 2024

For centuries, people have been clamoring to glimpse solar eclipses. From astronomers with custom-built photographic equipment to groups huddled together with special glasses, this spectacle has captivated the human imagination.

Creating a Permanent Record

In 1860, Warren de la Rue captured what many sources describe as the first photograph of a total solar eclipse . He took it in Rivabellosa, Spain, with an instrument known as the Kew Photoheliograph . This combination of a telescope and camera was specifically built to photograph the sun.

Forty years later, Nevil Maskelyne, a magician and an astronomy enthusiast, filmed a total solar eclipse in North Carolina. The footage was lost, however, and only released in 2019 after it was rediscovered in the Royal Astronomical Society’s archives.

Telescopic Vision

For scientists and astronomers, eclipses provide an opportunity not only to view the moon’s umbra and gaze at the sun’s corona, but also to make observations that further their studies. Many observatories, or friendly neighbors with a telescope, also make their instruments available to the public during eclipses.

Fredrik Hjalmar Johansen, Fridtjof Nansen and Sigurd Scott Hansen observing a solar eclipse while on a polar expedition in 1894 .

Women from Wellesley College in Massachusetts and their professor tested out equipment ahead of their eclipse trip (to “catch old Sol in the act,” as the original New York Times article phrased it) to New London, Conn., in 1922.

A group from Swarthmore College in Pennsylvania traveled to Yerbaniz, Mexico, in 1923, with telescopes and a 65-foot camera to observe the sun’s corona .

Dr. J.J. Nassau, director of the Warner and Swasey Observatory at Case School of Applied Science in Cleveland, prepared to head to Douglas Hill, Maine, to study an eclipse in 1932. An entire freight car was required to transport the institution’s equipment.

Visitors viewed a solar eclipse at an observatory in Berlin in the mid-1930s.

A family set up two telescopes in Bar Harbor, Maine, in 1963. The two children placed stones on the base to help steady them.

An astronomer examined equipment for an eclipse in a desert in Mauritania in June 1973. We credit the hot climate for his choice in outfit.

Indirect Light

If you see people on Monday sprinting to your local park clutching pieces of paper, or with a cardboard box of their head, they are probably planning to reflect or project images of the solar eclipse onto a surface.

Cynthia Goulakos demonstrated a safe way to view a solar eclipse , with two pieces of cardboard to create a reflection of the shadowed sun, in Lowell, Mass., in 1970.

Another popular option is to create a pinhole camera. This woman did so in Central Park in 1963 by using a paper cup with a small hole in the bottom and a twin-lens reflex camera.

Amateur astronomers viewed a partial eclipse, projected from a telescope onto a screen, from atop the Empire State Building in 1967 .

Back in Central Park, in 1970, Irving Schwartz and his wife reflected an eclipse onto a piece of paper by holding binoculars on the edge of a garbage basket.

Children in Denver in 1979 used cardboard viewing boxes and pieces of paper with small pinholes to view projections of a partial eclipse.

A crowd gathered around a basin of water dyed with dark ink, waiting for the reflection of a solar eclipse to appear, in Hanoi, Vietnam, in 1995.

Staring at the Sun (or, How Not to Burn Your Retinas)

Eclipse-gazers have used different methods to protect their eyes throughout the years, some safer than others .

In 1927, women gathered at a window in a building in London to watch a total eclipse through smoked glass. This was popularized in France in the 1700s , but fell out of favor when physicians began writing papers on children whose vision was damaged.

Another trend was to use a strip of exposed photographic film, as seen below in Sydney, Australia, in 1948 and in Turkana, Kenya, in 1963. This method, which was even suggested by The Times in 1979 , has since been declared unsafe.

Solar eclipse glasses are a popular and safe way to view the event ( if you use models compliant with international safety standards ). Over the years there have been various styles, including these large hand-held options found in West Palm Beach, Fla., in 1979.

Parents and children watched a partial eclipse through their eclipse glasses in Tokyo in 1981.

Slimmer, more colorful options were used in Nabusimake, Colombia, in 1998.

In France in 1999.

And in Iran and England in 1999.

And the best way to see the eclipse? With family and friends at a watch party, like this one in Isalo National Park in Madagascar in 2001.