I.
is curious that in a country as musical as ours, many pieces missing to tell the story of his music. We know that the Indians, blacks and Creoles had your favorite tunes, dances and instruments. Historians have given the task of discovering, little by little, the missing pieces. Searched in libraries, churches and in the most unexpected data files that can give us more light on the music of Mexico. As the drama of New Spain were often represented in order to raise funds for hospitals, it is not uncommon to find arguments and their respective theatrical music files sanitation.
On the streets, mulattos, Indians and blacks, had their music. Chuchumbe danced, the sounds and all kinds of syrups. Among these, we mention the syrup gypsy syrup bread and syrup catlike. In the latter, for example, she danced as if toreara and man as if rammed. As one report of the Inquisition, "the whole man becomes horns to ram the bullfight." With this same complaint we know how popular were these syrups:
"This dance, illustrious honor, not those who are from time to time, is fairly common, and I think there are gatherings of harp and guitar, especially in country houses in the small and ancient Jalapa Veracruz, which will not be dancing, sometimes more, sometimes with less ease, but often too dissolution. "
Each of these styles had their particularity and were extremely varied. If anything united so much diversity in these dances, was that none of them liked the Church and the inquisitors were devoted to prohibit such dances full of immorality. In 1796, Bachiller don José Mariano Paredes went to a church to attend a lodge and what was his surprise that the organist began playing a tune called "bread of butter." The father immediately went to the Inquisition to report this music, because if this happened in a church, was probably worse in the popular celebrations, in which tyrants dancing, bowling and seguidillas, ie, compositions that "sensitize the evil emotions that are soaking a truly carnal hearts. " These pieces were danced with such ease and pleasure, that if these could account for any ballet dancers folk now surely be unaware of it completely. Today
syrup produced no ill affects, on the other hand, bursts with joy and life. The writer Pedro Henríquez Ureña, when he arrived in Mexico noted that unlike the West Indies, where there is a huge amount of dance-in the highlands of Mexico, syrup summarizing all the dances. A Henríquez Ureña did not like our music burning and languid, on the contrary it seemed "Dry." He concluded that listening to music in the Midwest is equivalent to drinking a glass of sherry, while the West Indies has a sweeter music, like muscat wine. And is of English origin and comes from the seguidillas and footwork, or do I have influence of the indigenous dances of Jalisco, the fact is that the syrup has a distinct identity, a unique sound that is not repeated in the music of other countries America. In addition, it distinguishes something else, as noted by the Dominican, is spontaneous and popular, never danced among the upper classes, who preferred the mazurka, the schottische and polka. But the dance
more horrified the church was the chuchumbe. This dance we danced in the streets, singing everywhere, and priests did not rest in fighting with his lyrics. As the Church end all manifestations of this dance immoral, have reached us only the verses of chuchumbe transcribed records of the Inquisition:
In the corner stands a monk
de la Merced, the habits elevations
teaching the chuchumbe.
What you get well,
put you wrong,
the
chuchumbe I have to blow. While
need to know much of New Spain, although historians are still missing put the puzzle together influences of African, Indian and English, can be said that in the 300 years of the viceroyalty was musical miscegenation, that is, an amalgam of influences, the character that distinguishes the music of our country and the rich variety of combinations of instruments , rhythms and dances.
urban life of New Spain was in the theater center. That policy was said, were irrigated gossip of society and were to wear the new fashions. Men and women were just as prone to look extravagant fashion the common people were called dandies, dandy, dandies and rubbery. At the beginning 1810, lived in Mexico City a tense moment, since Spain was taken by Napoleon, so no musical or theatrical news came from Europe so many times the theaters were closed. And I must say that since they started getting news of the uprising of Father Miguel Hidalgo, the authorities of New Spain began to transmit the alarm on all citizens. On the contrary
passed between the ranks of the separatists. When the peasants took up arms to Hidalgo left their villages, they did with their guitars and violins, with their harps and drums. But what was that music could be heard daily from the ranks of Hidalgo? Syrups were certainly, as "dwarves", "The Cat" "The stick" and "El Torito", the most popular. Jas Reuter says historian syrups that have five distinct parts: introduction, verse sung, footwork, break (or walk) and final. Generally, the syrups were made up of smaller sounds, but one of his characteristics was taking fragments of popular songs, so that spread throughout the country. Although today it is rare that the strains carry point, the fact is that the sound and syrups are the name of the song that is sung. Currently, the syrup is usually played instrumentally, as musicians have forgotten the verses that accompanied it. It is worth transcribing the verses during years sang with the Jarabe Tapatio:
Come take atole
all who pass by,
that is very good porridge and atolera
is souring.
Since the insurrection began, the people made him Hidalgo and Morelos their songs, happy birthday, their hymns and marches. "It's the Mexican people a very expressive singer and nice," writes Luis G. Urbina, "In all the episodes of his life, passionate and generous than most, the muse has found stanzas anonymous simple and crude, but extremely friendly and true, to commemorate and glorify the incidents of his epic for freedom." Dice the historian Carlos Bustamante Maria Morelos soldiers sang with his guitar before going into battle: "On one end I give two reals, / by a sergeant, a doubloon, / by my general Morelos / give all my heart," but as soon as the enemy was near, they changed their guitars and guns and throwing a fight with fury. "Once the set, as celebrated with song and were so calm as if nothing had been done."
The Chronicles of that time tell of a fearful city, in which the theater was in decline and that the authorities ignore theatrical affairs. It seemed that everything would change when Iturbide entered Mexico City, compared Trigarante army. Before him, people sang: I soldier
Iturbide,
seen the Three Guarantees, do the guards
barefoot and fasting every day.
But nothing has improved and that each function that was fight between the royalists, the Iturbide, the centralist and federalist, so often the government forbade theatrical performances. What I liked and what he preferred theater goers were Italian opera. In the early nineteenth century was the great attraction of the inhabitants of Mexico City. The poet wrote about this Anastasio de Ochoa:
That mouth and hands clap
John's Italian verses,
go in peace;
but because he extended
in his praise, understand them, what can
!
The audience was eager for as much as the European opera. For example, the September 13, 1823, The Thieving Magpie was released in Mexico, that is, only six years after he composed Gioachomo Rossini. It was said that the composer was imprisoned by the producer of the opera to finish writing the overture, so Rossini was pouring through the window scores for the arranger was made by the parties of each of the instruments. Rossini was so popular that even mentioned the clothes worn by actresses releases his operas. In addition to Rossini, the theater audience was fond of the operas of Bellini and Donizetti. This tells us that Mexico has not yet reached the time taken and tragic romance, because just then the works that were liked were the happy ending.
Elízaga
Mariano Mariano Elízaga
The Michoacán (1786-1842) was the most important musician of this period. Was compared to Mozart, because besides being a musician was educated early with great severity by his father, when he realized his musical talent. It was both his talent to La Gaceta de Mexico published a note talking about a child prodigy. Perhaps for this reason, the Viceroy Revillagigedo summoned him to his court. Thanks to this, could take lessons in composition and professionally dedicated to music. Later he was a renowned teacher, among his students was Ana Maria Huarte, a girl also Michoacan, who later would marry Don Agustin de Iturbide, for what was to become Empress of Mexico during the ten months since her husband remained power. While Iturbide ruled Elízaga appointed "Kapellmeister", although it was only an honorary appointment which did not include salary. Hence Elízaga seek other ways of earning a living as a musician, so with a friend, Manuel Rionda was working and in February 1826 announced the founding of the first printed music of Mexico. It was also the first to make a philharmonic orchestra in Mexico. As is known, a "Philharmonic" is behind a group that organizes concerts for music lovers to spread the music. It was not strange, since Elízaga was a man much admired, so it was that that the uproar was made when he released his patriotic anthem was only comparable to the input of Trigarante Army in 1821. The novelist Manuel Payne, in The Cold River Bandits made a remembrance of Elízaga, who was known as "the Mexican Rossini" in the plush lounge of one of the characters in the story:
Elízaga teacher input was an event every Thursday, men and ladies to their feet, he shook hands, greeted him and told him so many warm words as if for years he had not been seen. The teacher was nice, good figure, a man of the world, and it was for both entertainment with ease and kindness, leaving all your friends happy. Talked and rested a while, and then, without anyone making his appeal and without disclosing how much he liked the applause of that meeting, it became the piano and loved to hear him, for he had a knack, a tenderness and a property ... that even today, that so many distinguished pianists are in Europe and America, would be a notability. Generally, instead of playing the music pieces that were used at that time, improvised and produced songs that were completely unknown.
Unfortunately, for him there was only one Mass in A major, until in 1993 he discovered a copy of the work he published in the editorial that was founded in 1826. Yes, the work was lost last changes nearly 167 years until miraculously a Mexican musicologist, Ricardo Miranda, found this work for piano which already has some recordings.
While music in the upper echelons of Mexico's major cities began to have Italian and French influences, rural people had their own songs, certainly not appreciated by the people of the city. Many of the most representative genres of music of our folk music developed in the nineteenth century. One of the oldest genres, with examples in Cologne is the oldest Walloon-even the run.
Walloon and corridos
was formerly a widespread genus in the country, but now only sings in some areas of Guanajuato, San Luis Potosi and Michoacan mainly. The flange is a holiday gender in which is brilliant improviser and shows his talent for versification. A lively introduction announces that she will sing a flange, you hear a violin playing hard, while the guitar and harp strums accompany her and arpeggios. In the case of Michoacán, use a harp so great that he joined another musician who is called "drum" and plays the harp box. The valoneros then improvise verses humorous or parodic political subject. The basis of this kind is the tenth, a verse form invented by the English poet Vicente Espinel, who became popular in the seventeenth century. The spinel was fortunate not only in Spain but in the popular poetry of all America, so there tenths in all countries where English is spoken, from the U.S. to Chile. Vincent T. says scholar Mendoza, who traveled to Mexico, studying traditional music, that when the parties reached their moment of maximum warmth, always someone shouted: "Let's sing Walloon!" Is when is a celebration of music and ability to improvise . Here is a tenth of those old Walloon, in which a valonero says a "Prescription against love"
fire was put two
adarmes of indifference,
forty drops of essence of "Abur!" And go with God adds
post one pound of "I do not care" (ground), and all very well
cooked with the oil of gladness,
taken once a day
in the cup of oblivion. Just
year Consummation of Independence, Pepe Quevedo, a musician we have no biographical data, wrote the first run of our history. How curious that the corrido and Independence are the same year as the run is the genre called to recount the main events in Mexico since then. That first run is called "The Flea" and is versed in the form of tenth:
Oh, I saw a flea plowing
yoked with a bullock
and this was a skunk,
with seed sowing. The opossum was covering
deformed with a plow.
and the mosquito that was an earl.
came out and said ... angel!
friend, at work, I vide
mourn a man!
Much has been debated whether this song is a ballad, because gender scholars say that a ballad must follow the ways of the English romance, that is to be quatrains of eight-syllable verses, rhyming assonance in pairs. However, it is not surprising that today, the narco-corridos are composed in lines ten syllables regardless of the nature of the rhymes. The corrido has served as a minstrel from the Middle Ages and in the case of Mexico, has served to report news, tragedy spread, especially to see the story from the standpoint of daily life, ie, with a touch ironic that often characterizes the red note: Among
ten and eleven,
Juana began to think:
"I'll kill my husband
to get out for a walk. After
killed him and stooped and said:
"I Morist you, Joseph,
star of my soul."
("Juana Matamaridos)
Bullfighters, revolutionaries, accidents, bandits, drug traffickers, those who murder for love, the shot, the ghosts, the earthquakes, epidemics, autoviudas, the persecuted, migrants, horses, oil, boxers, the Agrarians and finally UFOs, have inspired thousands of corridos. No need to stop saying there is virtually no social or historical fact phenomenon in Mexico that has not been registered by a run. When they reach the people, the places or markets, the singers ask permission to start singing and do not say goodbye without leaving a moral or a lesson, with a promise to return, as long as there is dead, revolutions or tragedies continue corridos sung: "I tell my friends, / let's go accommodating, / that if they continue to kill, / calendar I fixing. "
II.
The revelry
In Yucatan, the same happens with the syrups of the plateau, are combined into more complex dances, which run so carefree and fun at popular festivals. The orchestra is particularly happy, and usually consists of two clarinets, two trumpets, two trombones, guiro and drum. About its origin, several musicologists have noted that this dance is the influence of English shoes that arrived in that region since the seventeenth century. As it was, the revelry is a dance for the people of Yucatan important because it is a way in which the Maya of the peninsula were his English music that was danced in the estates. It is also part of its history since the nineteenth century dates a piece called The degollete, who sang in the Caste War (begun in 1847), which hoisted the Maya against the Creoles. So the spree, despite being completely original English has become part of the Mayan identity. It is customary to dance with your arms at the sides and back completely straight, though it also has its complications, as seen in the typical "dance a bushel." So called because the dancer puts a bottle on his head and begins to dance on a basket, ie on a box that was formerly used to measure seed. Today its use is restricted only to dance on it. The revelry is a dance almost done for the legs, as the arms are on either side except when it comes to lifting for snapping fingers, as in the English shoe.
As you know, the cry of bomb! serves to announce that the music pauses for a moment that one of the dancers recite a little verse of love or humor. Jesus Amaro Gamboa, Yucatecan culture specialist, explains that bomb! was originally used to warn that a charge of dynamite was about to explode while doing excavation work, and so that people would run for cover from a stone thrown into the air. Today, the cry the bomb! is much more lively and, as we said, anticipates a verse such as this beautiful and simple, the poet Elmer Marín Llanes:
medal I would be your gold chain to be
on your chest and tell you I adore .
is common for many of the songs are worth the Maya, as shown in the following case:
P'urux Dzoncauich,
Tahmek born ', is a poor Uinik
'
pek-faced. " And while still dziriz
, Tata
your gift Sos,
k'oliz
left him so much uazk'op.
That means: The chubby Dzoncauich
,
Tahmek born ', is a poor man
-faced dog.
And while still a child, the Tata
Don Sos,
left him bald so much slap.
About the revelry, there are several details that makes the teacher Amaro Gamboa uayeísmo Vocabulary in the culture of Yucatan (1985): first, that revels sung are those dances, and are instrumental only are for listening, and second, that revels in the rate of 3 / 4-slow-is stomp and those in 6 / 8 "faster-is guapachoso (ie, danced with her legs spread and making an kind of arc). In addition, "Binge dancers should not wear the red bandanna hanging from his waist, and should wear sandals. The dancers must wear a hat and band with embroidered shoes, satin, never use the shawl dance. " Moreover, if the dance is the day, is called dairy and if it is night, is called binge. The difference is that the dairy is the party to brand the cattle, so the cowboy suit women makes sense only in the morning.
shine After the dance, the woman "when so considered, with a greeting, bowing his head slightly, pointing to her partner to dance and retired without more, to sit in his place. With this, the dancing ceased in his dancing as well, "writes the poet Marin Llanes (Tales of my homeland, 1961).
Jose Antonio Gomez Jose Antonio Gomez (1805-1870) is another example of those composers, famous in other times and that virtually nothing survives. When I was young, Gomez was director of the Lyric Orchestra, which accompanied him during his tour of Manuel Garcia, a famous English tenor for which no less than Rossini had composed his opera Elisabetta. The entire city was eager to listen to this wording, however, the entrepreneur sold tickets to a very high price. It must be said that the Mexican public then did not have much sympathy for the English, so Garcia was so bad that the company had brought was ruined. To make matters worse, the tenor lost in an assault "until the last weight," so we can not even knowing if he could leave Mexico.
On December 15, 1839, following the example of Mariano Elízaga, Gomez founded the Grand Philharmonic Society, and the same way his predecessor, had the interest of organizing concerts and giving music lessons. In the opening concert was sung an aria from the opera Semiramis, of Rossini, who was still the most admired composer by Mexican society. On 1 month and 15 had a concert regulatory done by the students of the Philharmonic Society. At the headquarters of this company was taught music theory, vocalization, song, piano, violin, guitar, clarinet, flute, accompaniment, Italian, French, English, dance, fencing, writing, English and English natural drawing, miniature and watercolor. Gómez students became prominent musicians, for just one year after the founding of the Philharmonic Society, these young people formed an orchestra to accompany the violinist, pianist, composer and teacher of the Grand Conservatory of London, William Irish Vincent Wallace (1812-1865). During his celebrated concerts in Mexico performed the overture to the opera Precious, Carl Maria von Weber, and works by Donizetti. But most attention was that Wallace took three strings to his fiddle to play the Great fantasy about a single string of Paganini.
Undoubtedly, Gomez was a well known musician, who worked for years as organist at the Cathedral of Mexico City and later, with the same job, he moved to Tulancingo, Hidalgo. He wrote masses, oratorios, square dances, but today only known his "Variations on the theme of Mexican syrup" which premiered in 1841.
Norteño music Read what he says Yolanda Moreno Rivas musicologist in his History of Mexican popular music (1979):
The vast expanse of Mexican territory was one of the decisive factors in historical and political events century [to] past. In 1821 Moses Austin was authorized to settle a part of Texas with three hundred families mostly from the United States, although there were also Europeans, mainly Poles and Germans. In 1836, settlers Texans won their independence after defeating the army of General Santa Anna. The rest is history well known, in 1848, following Win U.S. interventionist, Mexico was forced to cede New Mexico, Alta California and Texas. In 1853 Santa Anna sold the Mesilla and in 1860 the American Civil War caused the emigration of large numbers of people of various nationalities.
As can be seen, the accordion was the instrument that European immigrants brought with them, and for this reason became the sound of the music of the North. A mid-century, musicologist Vicente T. Mendoza traveled to New Mexico to investigate the Mexican music that had been across the border. Studies that have made this respect are a source of surprises, they show that the Mexico that was lost in 1848 has kept the music in English, not only survive the northern joint-accordion, bajo sexto and bass-also mariachis, trios, orchestras and the their repertoire is known there. The ballads, corridos, Cuban dances, polkas, the schottische, the pasodobles, mazurkas and waltzes, still ringing in speaking English. To make matters worse, a hundred years after Mexico lost half its territory in the United States continued to sing religious music of New Spain origin, tenths, songs, operettas, tunes, sounds and syrups.
one hand, Europeans migrated to northern Mexico, bringing the music of their countries (and the accordion, which, unlike the piano, is a good traveling companion), and on the other, Mexican folk music then they sang without accordion, as the joint Northern (or Texans, as they say in America) only appear until 1920. We ask ourselves, what happened in nearly a century? Why the accordion became the hallmark of this music after so long? Perhaps, for many years, the accordion followed by European immigrants, which accompanied their songs with accordion, guitar and violin, but this music was not yet part of Mexican folk groups. By contrast, the upper strata of northern society took a taste for opera, French and Italian songs and dances in Havana, they had learned in Mexico City. Naturally, as it was Polish and German, had also redova, mazurkas and polkas of their countries. This music came after a level which still can not be considered "popular", but spread in the ballroom of the bourgeoisie. And finally, the popular singers, musicians, farmers and pastoralists endorsed this musical tradition. Hence, in the late nineteenth century and has begun to play Mexican folk music with accordion. They then began to become popular the first virtuoso of the accordion, which has been characteristic of the music of the border.
must be said that only Mexican music, music we can talk about the border: the music of both sides have the same starting point, although each side has taken its own path. The south side of the border, polkas, songs and corridos rancheras, have occupied the musical preferences. And the U.S. side, although the tradition has survived Texans sets also have been more dynamic as they have played jazz, ragtime, fox trot, rock & roll, swing, among other beats (the best currently Texan accordionist, Flaco Jimenez, has touched even the Rolling Stones).
On the other hand, we must mention the run from the border most emblematic is the one dedicated to Joaquin Murrieta, known as "the Robin Hood of El Dorado." It is unclear where he was born and who knows where he is buried, as legend attributed to three places of birth and there are three tombs theirs. In 1850 came to California with his wife, to work in mines, it was the epoch of the gold rush, made his home there and one day came the Americans to run it. So went through several villages, until finally, his wife was murdered. There began the legend of Murrieta, as shortly after he formed a band of highwaymen. Historians attribute the theft of $ 100 000 and over a hundred horses. Finally, died at the hands of the rural police in 1853, and severed his head. Then she was sent a bottle of brandy in the county to collect the reward. However, many people actually said Joaquín Murrieta was not dead, and that he kept seeing in many places nearby. Hence the legend of this character that inspired not only one of the most famous corridos of border but even a play written by Pablo Neruda.
The
pirekuas
The Purépecha people who resisted the power of the Aztecs, and whose language survives until today, has a great respect for the music. His own language is like a melody, and songs, or to interpret their pirekuas-the-o pireri popular singers, are of great wealth in Mexico. The Purépecha of Michoacán towns not only keep alive the ancient repertoire, but continue composing pirekuas, it is estimated that each of the 120 existing populations are on average 5 composers. In June 2009, the Purépecha people asked UNESCO to recognize his music as Intangible Cultural Heritage of Humanity.
pirekuas The directory is a way to feel the nature, love and even the history of Michoacán. They sing, Heron said Perez, in his Cancionero Michoacán (1830-1940) (El Colegio de Michoacán, 2000), are abajeña pace, and accompanied by guitars and string orchestras or wind, when themes of love, interspersed with praise, love declarations, anxious questions, complaints, pleas and cries. See pirekua "Four stars", which has a beauty reminiscent of Hispanic poetry:
many things my heart tell
the four stars that I see happen.
They will shine as always,
while I, poor thing, childbirth forever
every day I walk away never to return. Therefore
Pérez Martínez said that the Purépecha is the brother of the flower, star and the mountain. We should add that while they sing primarily pirekuas Purépecha are also a form of miscegenation, as the manner of singing in chorus, maybe it was learned from the church choirs. Moreover, the pace of pirekua has a lot of European influences as the waltz.
The oldest pirekuas as "Four stars" talk about the world of nature, but the most refer to women today named flower or flower girl's name as "Josefinita", "Luisita", "Cinnamon Flower", etc.. The pirekuas come from far away in history are like the flowers of nature, while old and new. Francisco Lopez Morales, director of World Heritage INAH said about this musical tradition:
"The pirekua is a song performed by pireris (interpreters and authors), in Purépecha and English, and syncretism of elements pre-Hispanic origin, including their own language, and colonial Tarascan, especially in terms of instrumentation and the long tradition polyphonic led 'Tata' Basque territory from Michoacan.
"This musical expression handed down from generation to generation as we know, based on scores and musical forms are and abajeña, originated in the mid-nineteenth century. Today is a sharp edge that is interpreted in the same houses that events like the Race Art Contest Purépecha held since the 70's. "
Life in Mexico and its music (1839-1842)
Thanks to the letters of a remarkable woman, we know how the daily life of Mexico in the early forties of the nineteenth century. These are letters Frances Erskine Inglis (1804-1882), wife of the English ambassador, the Marquis de Calderón de la Barca, sent to his family in Boston. The letters are funny, as he marveled at the Marquesa everything he saw in the streets, shooting portraits of Mexican politicians, cities he met, and especially the festivals. Which for Mexicans is ordinary, for the Marquise was the most exotic and complicated. The slightest anecdote caused her amazement, like going to church:
"The gentlemen sat down in chairs or on benches in the church, but women must remain kneeling or sitting on the floor. Why?
"" Who known.
"That's all I could get a clean on this issue."
Read Only two passages narrated by this extraordinary writer: a concert during a Mass at the Cathedral and the description of the popular dances:
"The first chord of the music was by way of an outburst, which disturbed the taste of a numbness that I had gradually fallen. Never mortal ears were stunned with such discrepancies in instruments and voices, and such confusion worse confounded, and inharmonious harmony. It seemed as if the same tune celestial spheres, rolling and crashing with each other. How I have also cried Miserere! among this unruly orchestra, a "music teacher" brandishing the bow of a violin came in despair as his indomitable Phaeton trusted steeds, of a performer to another, frightened by that cry of which he himself was the instrument. The noise was becoming alarming, and the heat it was in proportion, the calm face of the Virgin seemed to lean with an air of reproach. We thanked God when, at the end of this stormy plea for mercy, we make our way towards the exit and enjoy the fresh air and the soft light of the moon ... "
and a dance at the family home Adalid Friends of the Marquis:
"The dances are monotonous, with small steps and with much embarrassment, but the music is rather pleasant and some of the dancers were very graceful and agile, and if it were not for the distinction causes envy, emphasis should be mentioned with Bernardo the Matador, the first driver and a beautiful young country girl missing red and yellow skirts, feet and ankles to the Vestris.
"Everyone remained very calm but showed his intense joy, some of the men accompanied the dancers on the guitar.
"First, the guitarist strumming a lively rhythm and the dancer did a move fast. So the musician began to be accompanied with its own voice and started dancing a few steps slow. This applies, for example, dancing Aforrado, nom de tendressse curious, I guess it expresses the idea of \u200b\u200bsomething soft and padded. Here are the words:
lining of my life!
how are you, how you doing?
how you spend the night,
have not had news?
lining of my life, I
you would like to sing!
But my eyes are tender and begin to mourn
!
De Guadalajara come
dealing with a soldier,
only come to see my syrup
aforrado.
And come with me, and I will give
satin shoes color of coffee.
"The music for these" immortal verse, "I've learned by ear and I have to send you. In the Dance of the Dwarfs, the dancer is getting smaller every time you sing the chorus.
Ah how cute are the dwarves! The little
and Mexican! Sale
the beautiful, the ugly out
,
leaves the dwarf with his sheepskin.
were angry gnomes, dwarfs
because the pinched
.
"still more verses, but I think the shows will have enough to satisfied. Another dance called "El Toro" whose lyrics are not very interesting, and the "shoe" that danced with grace one of the gentlemen accompanied at the same time with the guitar. "
The letters were published in English in 1843, and all "are written in an easy and loose grace in many parts comes up shining a mocking wit and a subtle irony is full also of fine comments, thoughtful comments, apart from its simplicity and readability, which make them read with ease and without fatigue. " So describes Artemio de Valle-Arizpe. To know our music is of undeniable value. The Marquise returned to Spain and never returned to Mexico. He died in 1882.
III.
The sounds
There is no satisfactory definition of "is", there is no musical analysis to say what exactly. We know that this comes from the Latin word sonus, from which the English word-sound, which in turn derives from the Greek tones. Hence the words sound, tone, sound, tonic. Maybe, "" just want to say that this is how it sounds a people. There are sounds primarily in the Antilles, Central America and Mexico. In the case of our country, we can say that The son is the typical music, which has fueled five centuries of traditional music of our country. It must be said, writes the musicologist Jas Reuter, who is also the most refined and complex music, even if it is rare that musicians who perform it can read a note. But what distinguishes this genre? One of the difficulties about it, is that according to the region receives different names, "Huapango" in the Huasteca, "tastes" in Guerrero, and "revels" in Yucatan. Here are the features mentioned Reuter, the son is and secular holiday music (ie, has no religious affairs or used for sacred festivals). It is a genre made for dancing, usually couples do not touch and running on a platform that serves resonance for the stomping. In addition, the dance are expressed flirting between men and women. The
are sung parts alternating with instrumental parts. Generally, parties are the fastest dance and act for the showcasing of couples, and the sung parts are used by the dancers to "rest", they do not stop dancing, just that they are less visible, so the audience can concentrate in the letter. Finally, says Reuter, songs used in the various sounds of our country are of English origin. Interestingly, Many songs make references to animals, pigeons, mules, roosters and oxen, and many others. And it is usually the dancers mimic the movements of these animals.
quickly see what the major branches are: the Pacific coast is the son huasteco (Tamaulipas, San Luis Potosí, Querétaro, Hidalgo, Puebla and Veracruz) and the Son Jarocho (Veracruz and Tabasco). And on the Pacific side are the are Oaxaca, the state of Guerrero ("tastes" and "Chile"), the Michoacan and Jalisco, which arrives at Colima and Michoacan. Finally, I must say that for some scholars, the revelry would be the sound of Yucatan.
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