Mariachi Music
The origins of the word "mariachi" are not very clear. One theory, that the word came from the French word for marriage has been totally discounted. Many historians believed that the word originated when a Frenchman named Maximillian was the emperor of Mexico. Evidence of the usage of the word dates back much earlier than the arrival of Europeans, so the word had to come from somewhere else. Another theory states that the origin came from the name of the wood used to make the guitars or platforms on which the musicians performed. The most recent theory, however, dates the word back to the early 1500’s to the Coca Indian word for a musician (Ruiz, 2002). Today, the term mariachi refers to the musicians who play traditional Mexican music on streets, at celebrations, and in cafes.
The history of the mariachi can be traced back to the sixteenth century and the days of the Spanish colonization. During this time, theatre was immensely popular. The instruments used in these theatrical productions included violins, guitars, and harps. It was to this time, and to these instruments, that the origins of the modern mariachi can be traced (Mexico, The Melting of Two Cultures, 1991).
The modern mariachi ensemble originated in the Mexican state of Jalisco where traveling groups of musicians would play for hire in haciendas. During the Mexican Revolution which began in 1910, they were unable to perform in the haciendas as they had in the past and were forced to travel from town to town singing about, and thus carrying news about, the war. During this time, they would play for fees at celebrations or for tips in public squares and cafes (Collins, 2004).
After the revolution, the music of the mariachi became a symbo...
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Mackey, C. Mucho Mariachi. Americas. (English edition). Washington: Jan 1996. Vol. 48, Iss. 1; pg. 2, 2 pgs.
Mariachi History. El Mariachi.com. 2004. On-Line. Internet. http://www.elmariachi.com/library/history.asp.
Mexico, The Melting of Two Cultures. Higgins and Associates. 1991. New York, NY.
Ruiz, R. Mariachi – An Evolving Mexican Tradition. La Prensa. San Antonio: Dec 1, 2002. Vol. XIV, Iss. 22; pg. 8B.
Sharp, J. Mariachi: From the Heart of Mexico. DesertUSA. 2004. On-Line. Internet. http://www.desertusa.com/mag04/apr/mar.html.
AUDIO EXAMPLES REFERENCED
Mariachi Vargas de Tecalitlan. “Guadalajara”. Serie Platino: 20 Exitos. U.S. Latin. 1997.
Mariachi Vargas de Tecalitlan. “La Negra”. Serie Platino: 20 Exitos. U.S. Latin. 1997.
Mariachi Vargas de Tecalitlan. “Las Mañanitas”. Serie Platino: 20 Exitos. U.S. Latin. 1997.
Tutino, John. "Power, Class, and Family: Men and Women in the Mexican Elite, 1750-1810." The Americas, No. 3 (1983): 359-381. http://www.jstor.org/stable/981230 (accessed December 1, 2013).
This website is sponsored by Sonoma State University Library in Rohnert Park, California. This page of the website is a capsule biography of Maria Ygnacia Lopez de Carrillo, who in 1837 began construction on her adobe, which still stands in Santa Rosa today. The biography begins in 1793 with Carrillo’s birth in San Diego, and continues throughout prominent life events such as the Mexican American War, moving between her adobe and San Diego, the Bear Flag Revolt, her death in 1849, and when in 1997 a high school was constructed across the street from her adobe which was named Maria Carrillo High School.
8. Meyer, Michael C., et al. The Course of Mexican History, 7th ed. New York: Oxford University Press, 2003.
The tradition still takes place today in many areas of Mexico. However, some parts of Mexico do the dance a little differently. The dance is more common in the central regi...
The principal music played by these early Mariachis was the SON, the popular music of the day. A mixture of folk traditions from Spain, Mexico, and Africa, the son was found in many regions of the country. The son from Jalisco is called the son jaliscience. Sones from other regions include the son jarocho or veracruzano, from the region around the Gulf port of Veracruz. The most famous example of the son jarocho is La Bamba. A typical son huasteco, also known as the huapango, is the La Malague~n a.
Mignolo, W. D. (2005). The Idea of Latin America (pp. 1-94). Malden, MA: Blackwell Publishing.
Tropicalia is not only know as a form of music in Brazil but as a rebellion. Its theme of cultural non conformity was strengthened by the idea that Brazil had lost its way. Tropicalia took a stand against the social and musical hierarchy of Brazil. Though mainly known as a form of Brazilian pop music Tropicalia is deeply rooted in the political and cultural background of Brazil.
Burns, E. B., & Charlip, J. A. (2007). Latin America: an interpretive history (8th ed.). Upper Saddle River, N.J.: Pearson Prentice Hall.
Burns, E. B., & Charlip, J. A. (2007). Latin America: an interpretive history (8th ed.). Upper Saddle River, N.J.: Pearson Prentice Hall.
Mignolo, W. D. (2005). The Idea of Latin America (pp. 1-94). Malden, MA: Blackwell Publishing.
It was music of country people that celebrated the joys, the struggles, and the triumphs of the Mexican people. The Mariachi was a version of Spanish theatrical orchestra consisting of violins (usually two), guitars, also called “guitarron”, and a harp. The word “Mariachi” derives from the French word “wedding” or “marriage”. Music and dance were important elements of Spanish theatrical productions, enormously popular throughout the Spanish-speaking world during the colonial period. It was from this group that several of the most distinctive regional ensembles of Mexico developed, including the Mariachi. The musical form and ensemble of the Mariachi developed differently from region to region throughout time. The ensemble that is familiar today began to take shape in the nineteenth century in the state of Jalisco. In other areas such as Veracruz and Huasteca, the northeast region of the country, the ensemble evolved differently. By the end of the nineteenth century, the instrumentation consisted of the cocula or the vihuela, two violins, the guitarron, and two
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
Some theorist agreed with Bowlby 's attachment theory and some did not. "In addition, attachment theory underemphasises the degree to which humans can self repair. Schnarch (1999) argues that while the drive for connection is powerful in humans, it is not as strong as the need for emotional self regulation and self preservation. Attachment theorists have ignored our capacity to stabilise ourselves and our strivings for autonomy, instead focusing on interaction and believing that all soothing must be internalised from others. He cites research suggesting that parents and infants are constantly moving in and out of “synch” with each other in terms of soothing. Babies soothe themselves when mismatches occur, and even break contact when they are overstimulated by a good connection. So we may in fact self regulate at the expense of connection. Attachment is not the dominant and overriding drive but only one among several including self control and self direction." The Limitations of Attachment Theory for Adult Psychotherapy, JONATHAN NORTON ⋅ JUNE 3,
The origin of Mexican Folklorico dances originate from Mesoamerican days when the Mayas and the Aztecs
de la Cruz, Juana Ines. "Hombres Necios." A Sor Juana Anthology. Ed.Alan S. Trueblood. Cambridge, Mass.: Harvard UP, 1988.