1. The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Middle Latin America, Mexico

2. Cultural Heritage  Indigenous Aztec Aztec Musical traditions well documented in comparison to those of TaínoMusical traditions well documented in comparison to those of Taíno Extensive archeological remains Extensive archeological remains Note: see Studying Latin American Music for pictures and related information on the archeological record of pre-Colombian musical traditionsNote: see Studying Latin American Music for pictures and related information on the archeological record of pre-Colombian musical traditions Written accounts (missionaries, chroniclers, etc.) Written accounts (missionaries, chroniclers, etc.) Recent scholarship Recent scholarship Music complex and important in Aztec public and ritual lifeMusic complex and important in Aztec public and ritual life Closely linked to spiritual and material life Closely linked to spiritual and material life Important pre-Hispanic musical instruments includeImportant pre-Hispanic musical instruments include Idiophones Idiophones ayacachtli; ayotl; coyolli; omichicahuaztli; teponaztli;ayacachtli; ayotl; coyolli; omichicahuaztli; teponaztli; Membranophones Membranophones huéhuetlhuéhuetl Aerophones Aerophones atecocoli, huilacapiztli, tepuzquiquiztli, and tlapitzalliatecocoli, huilacapiztli, tepuzquiquiztli, and tlapitzalli

3. Cultural Heritage  European Sacred music significant influence Sacred music significant influence Means of converting indigenous populationMeans of converting indigenous population Allowed for transfer of indigenous musical practices to Roman Catholic contextsAllowed for transfer of indigenous musical practices to Roman Catholic contexts  African Contribution until recently neglected in music scholarship Contribution until recently neglected in music scholarship Legacy evident in certain contemporary regional musical stylesLegacy evident in certain contemporary regional musical styles i.e., the son jarocho i.e., the son jarocho Current musical tastes, styles, and attitudes in Mexico influenced by African derived music in greater African diaspora Current musical tastes, styles, and attitudes in Mexico influenced by African derived music in greater African diaspora i.e., merengue, cumbia, sambai.e., merengue, cumbia, samba

4. Contemporary Mexican Music  Emergence of Mexican music Informed by broader social, historical, political, and economic developments in Mexico Informed by broader social, historical, political, and economic developments in Mexico Independence from SpainIndependence from Spain The decline of ecclesiastical influenceThe decline of ecclesiastical influence An emerging middle classAn emerging middle class Nationalist interestsNationalist interests Modern technological advancementsModern technological advancements

5. Contexts and Genres  Música Regional (regional music) Genres vary between regions Genres vary between regions Particular variation a marker of regional identityParticular variation a marker of regional identity Distinguished by several factors Distinguished by several factors RepertoireRepertoire InstrumentationInstrumentation Style of performanceStyle of performance Styles of speechStyles of speech VocabularyVocabulary Traditional dressTraditional dress Content of song textsContent of song texts

6. Contexts and Genres  Música Regional (regional music, cont.) Genres reflect European heritage Genres reflect European heritage InstrumentationInstrumentation Dance formsDance forms Use of rhymed and metered poetry (i.e., the decíma and coplas)Use of rhymed and metered poetry (i.e., the decíma and coplas) Contexts varied and diverse Contexts varied and diverse Important life-cycle eventsImportant life-cycle events Public civic-religious commemorationsPublic civic-religious commemorations Entertainment venues (i.e., bars, nightclubs, etc.)Entertainment venues (i.e., bars, nightclubs, etc.)

7. Contexts and Genres  Música Regional (regional music, cont.) Genres include Genres include The mestizo son (and its major regional variations)The mestizo son (and its major regional variations) The jarana and bambuco of the YucatánThe jarana and bambuco of the Yucatán CorridosCorridos Lullabies and children’s songsLullabies and children’s songs SerenatasSerenatas Various types of folk derived popular musicsVarious types of folk derived popular musics i.e., Canción romántica, canción ranchera, mariachi, and the orquesta típica i.e., Canción romántica, canción ranchera, mariachi, and the orquesta típica

8. Music and Identity  Mestizo son and regional identity As Daniel Sheehy emphasizes in this chapter, particular musical variations are often strong markers of regional identity As Daniel Sheehy emphasizes in this chapter, particular musical variations are often strong markers of regional identity Using the listening examples provided with the text, identify and discuss the musical aspects that distinguish one regional style from another Using the listening examples provided with the text, identify and discuss the musical aspects that distinguish one regional style from another Questions to consider Questions to consider What styles are most similar/different in sound?What styles are most similar/different in sound? Considering its common roots, how might the Mexican mestizo son with all its variations help us understand how musical genres develop over time?Considering its common roots, how might the Mexican mestizo son with all its variations help us understand how musical genres develop over time? How might the son complex compare with musical traditions from your own culture? Do variations similarly correspond to place and ethnic, or regional identity?How might the son complex compare with musical traditions from your own culture? Do variations similarly correspond to place and ethnic, or regional identity?