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CHS 310: Regional Music of Mexico

Spring 2015 Section # 13407

Prof. Xilomen Herrera

MW 9:30-10:45AM/SH198

Office: JR143C

Office #:(818) 677-7215/677-2734

Email:[email protected]

Office Hours

MW 12:25-1:10PM

And by appointment

NOTE:

a) I will be communicating with you by way of CSUN e-mail. you are responsible for checking your CSUN e-mail account regularly and making sure that it is working.

b) Since music is meant to be heard, listening to the assigned CD’s constitutes a very

important element of the course. Begin listening to the selections as early as possible.

SYLLABUS

A. DESCRIPTION

This course examines the origin, evolution, and features of major musical genres of Mexico from Pre-Cuauhtemoc times to the present. Study of the subject matter will include consideration of regional styles and ensembles as well as influential composers, arrangers, and performers. Special attention directed to an analysis of instrumentation, lyrics, and performance technique.

B. METHOD

1.Lectures

2. Audio and video recordings (in class)

3.Class discussions

4.Home readings (from class reader)

5.Home listening (from class CD’s)

6.Guest performers

7.2,500 word GE writing requirement (Included in exams and reviews)

Note: The objective of CD’s is to provide you with samples of some sones and canciones that do not receive attention on radio or television but that have for centuries been a fundamental element of Mexican musical culture both in Mexico and in the United States.

C. CONTENT OUTLINE (The material listed here will be covered through lecture, reading, or other activity.)

*Note – Syllabus subject to change at the discretion of the instructor)

WEEKS 1: January 21

Course policies and requirements. Content overview: clarification of terms, identification of regions, genres, styles, and ensembles. Audio and video samples of genres to be studied.

READING: None.

LISTENING: None.

WEEKS 2-3: January 26-February 4

Musical expression in Mesoamerica. Sources for the study of Mesoamerican music (archaeological and documentary). Indigenous view of music and song. Major instrumental types; sample listening. Song categories; analysis of texts.

READING:

a) Chapter 12: Music

b) Indigenous Lyricism

c) Indigenous Lullaby

d) Indigenous Narrative

LISTENING:

a) CD 1

Indigenous Music /Pre-Cuauhtemoc Music Track

1) Tonantzin (Javier Quijas Yxayotl)

WEEK 4: February 9-11

Cultural syncretism and popular musical expression in colonial Mexico (1521-1821). Emergence of the son: formal characteristics (meter, instruments, vocalization, text, dance, etc.); origin (tonadilla escénica) and regionalization (western Mexico, the Huasteca area, southern Veracruz). Distinction between a son and a song (canción).Audio and video samples.

READING:

a) Introduction to the Son Mexicano

LISTENING:

a) CD 1

Son Samples

2) (El Gusto) -son huasteco (Trio Chicontepec)

3) ( La Bamba) – son jarocho (Conjunto Hueyapan)

4) (La Negra) – son de mariachi (Mariachi Vargas de Tecalitlan)

WEEK 5: February 16&18

The son huasteco: point of origin and current geographical distribution; social context; instruments and performance technique (violin, huapanguera, jarana huasteca); social context (huapango); vocal style (falsete); lyrics; dance style; important performers; Audio and video samples.

READING:

a) The Son Huasteco

b) Medium, Repertory, and Form : The Conjunto Huasteco

c) Lyrics of La Huasanga

d) Lyrics of El Caballito

e) Lyrics of El Caimán

LISTENING:

CD 1, Tracks

Son Huasteco

5)(Huapanguera)

6) (Jarana Huasteca)

7)(Huasteco Violin)

8)(Falsete)

9) (Zapateado)

10)La Huasanga (Los Hermanos Calderón) Note: a) Falsete b) Nonsensical rhythmic

fillers c) Call and response.

11)El Caballito (El Ballet Folkórico de México) Note: a) Zapateado

12)El Caimán (Trío Chicontepec) Note: a) Mánicos on the huapanguera

and jarana huasteca.

WEEK 6: February 23&25

The son jarocho: point of origin (southern Veracruz) and current geographical distribution; urban and rural varieties; instruments (harp, requinto jarocho, jarana jarocha) and performance technique; social context (fandango); vocal style (pregón); text (improvisation of lyrics); dance; important performers. Audio and video samples.

READING:

a) The Son Jarocho

b) Décimas

c) Lyrics of El Siquisirí

d) Lyrics of El Zapateado

e) Lyrics of El Toro Abajeño

LISTENING:

CD 1, Tracks

Son Jarocho

13) (Jarana jarocha)

14) (Requinto jarocho)

15) (Harp)

16) (Pregón)

17) (Zapateado)

18)El Siquisirí (Los Pregoneros del Puerto) Note: a) Harp solo b) requinto solo c)jarana

strumming

19)El Zapteado(Ballet Folklórico del Seguro Social) Note: a) Harp

b) requinto c) jarana d) zapateado (foot tapping)

20) El Toro Abajeño (Conjunto Hueyapan) Note: a) jarana solo b) requinto solo c) Pregón

(vocal style)

WEEK 7: March 2&4

*Continuation of lecture on the son jarocho

Lecture/demonstration session on the dance styles by Prof. Xilomen Herrera

Dance Activity

READING:

a) Lyrics of El Sabio

b) Lyrics of Quisiera Que Un León Que Un Oso

LISTENING: None.

WEEK 8: March 9&11

The son de mariachi and jarabe: point of origin and current geographical distribution; urban and rural varieties; instruments (vihuela, guitarra de golpe, guitarrón, west Mexican harp, violin, trumpet) and performance technique; social context (mariachi); vocal style; text; dance; important performers. Audio and video samples. Review for Midterm Exam.

READING:

a) The Son de Mariachi

b) El Mundo del Mariachi: The Son de Mariachi

c) The Mariachi Ensemble

d) Lyrics of Las Olas

e) Lyrics of El Gusto

f) Lyrics of Las Alazanas

LISTENING:

CD 2 Tracks

Son de Mariachi

1) (Vihuela)

2) (Guitarrón)

3) Violin

4 )(Trumpet)

5) (Zapateado)

6) Las Olas (Mariachi México) Note: Call and Response

7 )El Gusto (Mariachi Vargas de Tecalitlán) Note: a) Choral singing, b) nonsensical

rhythmic fillers c) trumpet finale.

8) Las Alazanas(Ballet Aztlan de Sylvia Lozano) Note: zapateado (foot tapping)

WEEK 9: March 16&18

Review & Midterm Exam.

WEEK 10: March 23&25

Evolution of the mariachi ensemble in Mexico City. Impact of film, radio, and recording industry. Current trends in repertoire, arrangements, and stage performance. Audio and video samples. . Mexican song genres: the canción nacionalista (nationalistic song).

READING:

a) Lyrics of Así Es Mi Tierra

b) Lyrics of Yo Soy Mexicano

c) Lyrics of Canción Mixteca

LISTENING:

CD 2, Tracks

Cancion Nacionalista/Nationalistic Song

9)Así Es Mi Tierra (Irasema Terraza & Gustavo Cuautli)-Vocalists accompanied by Sergio Vásquez on piano

10Yo soy Mexicano (Jorge Negrete)-Vocalist acompanied by mariachi ensemble

11)Canción Mixteca (Los Nacionales de Jacinto Gatica)-Jarocho ensemble

WEEK 11: March 30 &April 1

Mexican song genres: the canción tradicional (traditional song): structure, vocal style, lyrics, composers, performers. Introduction to the canción ranchera. Audio and video samples.

READING:

a) Lyrics of La Borrachita

b) Lyrics of El Sol Que Tú Eres

c) Lyrics of Xochicuicatl

d) Lyrics of La Negra Noche

e) Lyrics of La Barca de Guaymas

LISTENING:

CD 2, Tracks

Cancion Tradicional/ Traditional Song

12)La Borrachita (Ixya Herrera)-Vocalist accompanied by psaltery ensemble

13)El Sol Que Tú Eres (Linda Ronstadt)-Vocalists accompanied by single guitar

14)Xochicuicatl (Ixya Herrera)-Vocalist accompanied by harp and violin ensemble

15)La Negra Noche (Trío Culiacán)-Guitar trio

16)La Barca de Guaymas (Linda Ronstadt)-Vocalist accompanied by mariachi

WEEK 12: April 6-10

Spring Break – No Class!!!!

Week 13: April 13&15

Mexican song genres: the canción ranchera (ranchera song): structure, vocal style, lyrics, composers, performers. Introduction to the huapango song. Audio and video samples.

READING:

a) Huapangos, Corridos de la Revolución, Canciones Rancheras

b) Lyrics of Yo

c) Lyrics of Pa’ Todo el Año

d) Lyrics of Paloma Negra

e) Lyrics of Acá Entre Nos

f) Tragos Amargos

LISTENING:

CD 2, Tracks

Ranchera Song/Cancion Ranchera

17) Yo (Andrés Huesca & Los Costeños)-Jarocho ensemble

18) P)a’ Todo El Año (José Alfredo Jiménez)-Vocalist and banda sinaloense

19 )Paloma Negra (Lola Beltrán)- Vocalist accompanied by a mariachi ensemble

20) Acá Entre Nos (Vicente Fernández)- Vocalist accompanied by mariachi ensemble

21) Tragos Amargos (Ramón Ayala)-Accordion ensemble

WEEK 14: April 20& 22

Mexican song genres: the huapango song: structure, vocal style, lyrics, composers, performers. Introduction the corrido (narrative song)/ Audio and video samples.

READING:

a) Lyrics of El Pastor

b) Lyrics of El Preso Número Nueve

c) Lyrics of Rogaciano/Rogaciano El Huapanguero

d) Lyrics of La Cigarra

e) Lyrics of El Arreo

f) Lyrics of Arroyito del Trigal

LISTENING: CD 3 Tracks

Huapango Song

1) Apagón for Huapango song

2) Short Falsete (yodel): son huasteco

3) Long Falsete: Huapango song

4) El Pastor (Ixya Herrera)- Vocalist accompanied by mariachi ensemble

5) El Preso Número Nueve (Mariachi Los Camperos de Nati Cano)

6) Rogaciano (Los Hermanos Luna) Vocalists accompanied by flutes and guitars

7) La Cigarra (Linda Ronstadt)- Vocalist accompanied by mariachi ensemble

8) El Arreo (Ixya Herrera)- Vocalist accompanied by Elías Torres on guitar

9) Arroyito del Trigal (Conjunto Villa del Mar)- Jarocho ensemble

WEEK 15: April 27&29

Mexican song genres: the corrido (narrative song) and the bolero (romantic song): structure, vocal style, lyrics, composers, performers. Audio and video samples.

READING:

a) Lyrics of Juan Charrasqueado

b) Lyrics of Los Mandados

c) Lyrics of El Alazán y el Rocío/Rosillo

d) Máquina 501

LISTENING: CD 3 Tracks

Narrative Song (Corrido)

10)Juan Charrasquedo (Los Costeños)-Jarocho ensemble

11)Los Mandados (Vicente Fernández)-Vocalist accompanied by mariachi

ensemble

12)El Alazán y el Rosillo (Ezequiel Peña) Vocalist accompanied by banda sinaloense)

13)Máquina 501 (Los Alegres de Terán)-Accordion ensemble

WEEK 16: May 4&6

The bolero continued. Miscellaneous regional ensembles: the accordion ensemble of northeastern Mexico and southern Texas (conjunto norteño); the brass bands of northwestern Mexico (banda/tamborazo). The marimba ensemble of southeastern Mexico; the orquesta purépecha of Michoacán. Review for final exam.

READING:

a) Lyrics of Sin Ti

b) Lyrics of Palmeras

c) Lyrics of Solamente Una Vez

d) Lyrics of Para Olvidarte

e) Lyrics of Cerca del Mar

f) Lyrics of Sombras

g) LISTENING: CD 3, Tracks

Bolero Song

14)Sin Ti (Trío Los Panchos)-Guitar trio

15)Palmeras (Ixya Herrera)-Vocalist accompanied by marimba, psaltery, guitars,

flutes, upright bass, brass

16)Solamente Una Vez (Agustín Lara)-Vocalist accompanied by piano and violin

17)Para Olvidarte (Los Tres Ases)-Guitar trio

18) Cerca del Mar (Güicho Cisneros & Los Dandys)-Guitar trio

19) Sombras (Javier Solís)-Vocalist accompanied by mariachi ensemble

G. GRADING (Plus/Minus grading will be used.) Grades will be based on the following:

1. Two non-cumulative exams (100 pts. each) consisting of multiple choice, true/false,

identification, and discussion questions. The exams will include material from lectures, designated readings, and CD recordings. Both exams will include a listening component.

You will have to identify musical selections by title and genre. I will evaluate discussion items for accuracy, completeness, and general language usage.

2. Ten (10) brief written reports in fulfillment of the 2,500 word GE requirement. Each review

will be one (1) in length, double spaced (Times New Roman font, size 12).You will receive a maximum of ten (10) points for each review for a total of one hundred (100) points. See attached guideline sheet for specific instructions.

Grading Scale:

285-300 = A 276-284 = A- 267-275 = B+ 258-266 = B 249-257 = B-

240-248 = C+ 219-239 = C 198-218 = C-

183-197 = D+ 165-182 = D 150-164 = D-

Below 150 = F

Exam Dates:

a) Mid term: Wednesday March 18, (tentative)

b) Final: Wednesday May 13 8-10AM

H. REQUIRED READING & LISTENING MATERIAL

1. CHS 310: Regional Music of Mexico (Reader)

2. Three CD’s for CHS 310 (they come with the reader)

These are available at: Sunstar Copy (Telephone: 818-718-6151)

9514 Reseda Blvd. # 3 (corner of Reseda & Plummer)

Northridge, CA 91324

The course reader contains further elaboration of material covered in class lectures. It also contains translations into English of the musical selections that you will study.

The CD’s contain samples of the musical genres covered in the course.

Both exams will include a listening component. You will have to a) identify selected pieces by title and genre and b) discuss their lyric content (see translations in course reader) .

Written Reports

You will be required to submit ten (10) brief written reports, as indicated below. Reports are due

on dates indicated; there will be no exceptions. You will not receive credit for a report submitted after the due date. NOTE: INSTRUCTIONS FOR WRITING THE REPORTS VARY FROM TRACK TO TRACK. SPECIFIC DIRECTIONS ARE LISTED AFTER EACH TRACK.

A. Length: One (1) page, double-spaced, Times New Roman, size 12 font.

B. Points: You will receive a maximum of ten (10) points for each report.

C. Grading: Your reports will be evaluated as follows:

1. Content (3 points)

a) Accuracy: Did you identify the musical genre, title and composer of the selection), instruments and performance technique (including vocal and dance styles) correctly?

b) Completeness: Did you provide all of the required information that was identified in the track instructions?

c) Supporting Detail: Did you support your statements with actual examples from the track or the readings?

2. Paragraph Construction (2 points)

a) Unity: Are your paragraphs focused? Are all the sentences in the paragraph related to the main point?

b) Coherence: Do your paragraphs flow logically? Do they make sense?

3. Conventional Academic Grammar (3 pts.)

a) Sentence Construction: Have you been careful to avoid incomplete sentences, misplaced modifiers?

b) Verbs: Do you have correct verb and subject agreement? Use of correct verb forms?

4. Vocabulary (2 pts.)

a) Usage: Have you used words with the correct meaning?

b) Spelling: Have you spelled your words correctly?

D. Instructions for Writing Reports: Instructions will vary from track to track. They are given after each track below.

1. Report 1: A summary in your own words of Article A in the course reader (“Chapter 12: Music Pre-Cuauhtemoc Era”). Your summary must include reference to: a) musical categories b) formal characteristics c) musical instruments.

DUE DATE: Wednesday, February 4.

2. Report 2: A summary in your own words of Article C in the course reader (“The Son”). Your summary must include (in your own words): a) an explanation of what a son is b) an identification of at least four features c) a brief overview of the son’s history d) three son varieties

DUE DATE: Wednesday, February 11.

3. Report 3 (Son Huasteco): CD 1. Select ONE of the following:

a) Track 10, La Huasanga (Los Hermanos Calderon)

b) Track 11, El Caballito (El Ballet Folkórico de México)

c) Track 12, El Caiman ( Trio Chicontepec)

Instructions:

Include the title, the name of the composer (if known) and of the performer. Identify the instrument or instruments that stand out and mention anything that you noticed about how they were played (mánicos, plucking, bowing). Describe the singing style. Provide a summary of the lyrics (see the translations in the course reader) and point out any significant details.

DUE DATE: Monday, February 23.

4. Report 4 (Son Jarocho): CD 1. Select ONE of the following:

a) Track 18, El Siquisirí ( Los Pregoneros del Puerto)

b) Track 19, El Zapateado ( El Ballet Folklorico del Seguro Social)

c) Track 20, El Toro Abajeño (Conjunto Hueyapan)

Instructions:

DUE DATE: Wednesday, March 4.

5. Report 5 (Son de Mariachi): CD 2. Select ONE of the following:

a) Track 6, Las Olas (Mariachi Mexico)

b) Track 7, El Gusto (Mariachi Vargas de Tecalitlán)

c) Track 8, Las Alazanas (Ballet Folklórico de México)

Instructions:

DUE DATE: Monday, March 16.

6. Report 6 (Nationalistic Song): CD 2. Select ONE of the following:

a) Track 9, Así Es Mi Tierra (Irasema Terraza & Gustavo Cuautli)

b) Track 10, Yo Soy Mexicano (Jorge Negrete)

c) Track 11, Canción Mixteca (Los Nacionales de Jacinto Gatica)

Instructions:

Include the title, the name of the composer (if known) and of the performer. Describe the singing style. Comment on the vocalist’s breath control and vowel placement. Was there use of chest voice or falsete? Comment on the lyrics (see translations in course reader) . Is the song defiant, tender, passionate, remorseful, detached? Is there any imagery used? Is there any message? Identify the type of instrumental accompaniment.

DUE DATE:Monday, March 30.

7. Report 7 (Traditional Song): CD 2. Select ONE of the following:

a) Track 12, La Borrachita (Ixya Herrera)

b) Track 13, El Sol Que Tú Eres (Linda Ronstadt)

c) Track 14, Xochicuicatl (Ixya Herrera)

d) Track 15, La Negra Noche (Trio Culiacán)

e) Track 16, La Barca de Guaymas (Linda Ronstadt)

Instructions:

DUE DATE: Monday, April 13.

8. Report 8 (Ranchera Song): CD 2. Select ONE of the following:

a) Track 17, Yo (Andrés Huesca & Los Costeños)

b) Track 18, Pa’ Todo El Año (José Alfredo Jiménez)

c) Track 19, Paloma Negra (Lola Beltrán)

d) Track 20, Acá Entre Nos (Vicente Fernández)

e) Track 21, Tragos Amragos (Ramon Ayala)

Instructions:

DUE DATE: Monday, April 20.

9. Report 9 (Huapango Song): CD 3. Select ONE of the following:

a) Track 4, El Pastor (Ixya Herrera)

b) Track 5, El Preso Número Nueve (Mariachi Los Camperos de Nati Cano)

c) Track 6, Rogaciano/Rogaciano El Huapanguero (Los Hermanos Luna)

d) Track 7, La Cigarra (Linda Ronstadt)

e) Track 8, El Arreo (Ixya Herrera)

f) Track 9, Arroyito del Trigal (Conjunto Villa del Mar)

Instructions:

DUE DATE: Wednesday, April 29.

10. Report 10 (Narrative Song & Bolero): CD 3. Select ONE of the following:

Narrative Song (Corrido)

a) Track 10, Juan Charrasqueado (Los Costeños)

b) Track 11, Los Mandados (Vicenete Fernandez)

c) Track 12, El Alazán y el Rocío/Rosillo (Ezequiel Peña)

d) Track 13, Máquina 501 (Los Alegres de Terán)

Bolero

e) Track 14, Sin Ti (Trío Los Panchos)

f) Track 15, Palmera/Palmeras (Ixya Herrera)

g) Track 16, Solamente Una Vez (Agustín Lara)

h) Track 17, Para Olvidarte (Los Tres Ases)

i) Track 18, Cerca del Mar (Güicho Cisneros & Los Dandys)

j) Track 19, Sombras (Javier Solis)

Instructions:

DUE DATE: Monday, May 4.

B. LEARNING OBJECTIVES (To be measured through exams, reports, and classroom

discussion)

1. Identify the defining features of the musical genre known as the Mexican son: origin,

historical and socio-cultural context, artistic expression.

2. Identify three Mexican son traditions: the son jarocho, son huasteco, and son de mariachi with

regard to point of origin, historical and socio-cultural context, structure, musical instruments,

vocal and instrumental performance technique, text, performers, and social context.

3. Identify the defining features of Mexican song: origin, historical and socio-cultural context,

artistic expression.

4. Identify the specific co-traditions of Mexican song (the canción ranchera, nationalistic song,

corrido, huapango, bolero) with regard to origin, structure, accompaniment, vocal and

instrumental performance technique, lyrics, composers, vocalists, and social context, artistic

expression.

5. Identify specific ensembles and soloists discussed in class with regard to origin, historical and

socio-cultural context, instrumentation, vocal and instrumental performance technique,

stylistic interpretation, and repertoire.

C. THIS COURSE MEETS THE FOLLOWING THE UNIVERSITY GE STUDENT

LEARNING OUTCOMES (SLOS):

1. Explain and reflect critically upon the human search for meaning, values, discourse and

expression in one or more eras/stylistic periods or cultures.

2. Analyze, interpret, and reflect critically upon ideas of value, meaning, discourse and

expression from a variety of perspectives from the arts and/or humanities.

3. Demonstrate ability to engage and reflect upon their intellectual and creative development

within the arts and humanities.

4. Use appropriate critical vocabulary to describe and analyze works of artistic expression,

literature, philosophy, or religion and a comprehension of the historical context within which a body of work was created or a tradition emerged.

5. Describe and explain the historical and/or cultural context within which a body of work was

created or a tradition emerged.

D. THIS COURSE MEETS THE FOLLOWING DEPARTMENT SLOS:

1. Demonstrate an ability to think critically, analytically, and creatively about the Chicana/o

experience in the local and global society.

2. Demonstrate competency in oral, written, and research skills.

3. Demonstrate an understanding of creative and performance arts.

4. Acquire an understanding of Chicana/o Studies history, culture, arts, language, and socio-

political issues.

OTHER

Attendance

CSUN has a two-paragraph policy governing attendance:

1. Students are expected to attend all class meetings. Students who are absent from the first 2 meetings of a class that meets more than once a week or from the first meeting of a class that meets once a week lose the right to remain on the class roll and must formally withdraw from the class, following University procedures and deadlines. Failure to formally withdraw from a class will result in the instructor assigning to the student a grade of “WU” (Unauthorized Withdrawal), which, in computing a student’s GPA, counts as a grade of “F.”

2. In a compressed term or session of fewer than 15 weeks, the rule applies if the first class meeting is missed. An instructor may allow a student to continue in the class if the student notified the instructor that the absence would be temporary. If no instructor was assigned to the course in advance, students must notify the Department Chair that their absence from the class will be temporary.

I assign grades based on your exam scores. I do not penalize absences but please consider that absences will probably lower your chances of doing well on the exams. At my discretion, I may give extra points for consistent attendance and participation.

Academic Dishonesty

From CSUN Catalog: “ACADEMIC DISHONESTY: Cheating or plagiarism in connection with an academic program at a campus is listed in Section 41301, Title 5, California Code of Regulations, as an offense for which a student may be expelled, suspended, or given a less severe disciplinary sanction. Academic dishonesty is an especially serious offense and diminishes the quality of scholarship and defrauds those who depend upon the integrity of the campus programs. The source of quotations, paraphrased information, and borrowed facts must be cited.

Classmate Contact Information

I would suggest that you to get basic contact information from two classmates (such as email address or phone number) so they can call on these classmates for help in case they miss a meeting or have a simple question. I have left two blank lines on the first pages of thiis syllabus.

DRES

If you have a disability and need accommodations, please register with the Disability Resources and Educational Services (DRES) office or the National Center on Deafness (NCOD). The DRES office is located in Bayramian Hall, room 110 and can be reached at 818.677.2684. NCOD is located on Bertrand Street in Jeanne Chisholm Hall and can be reached at 818.677.2611