Artsource - Music Center

Artsource
MUSIC
®
The Music Center’s Study Guide
to the Performing Arts
TRANSFORMATION
ENDURING
VALUES
TRADITIONAL
ARTISTIC PERCEPTION (AP)
CLASSICAL
CREATIVE EXPRESSION (CE)
CONTEMPORARY
HISTORICAL & CULTURAL CONTEXT (H/C)
EXPERIMENTAL
AESTHETIC VALUING (AV)
MULTI-MEDIA
CONNECT, RELATE & APPLY (CRA)
FREEDOM &
OPPRESSION
THE POWER
OF NATURE
THE HUMAN
FAMILY
Title of Work:
About the Artwork:
Malagueña Salerosa
Malagueña Salerosa is a standard selection in the
mariachi repertoire and is an example of the
Mexican ‘singing style’ which was influenced by
19th century Italian opera, and grew in popularity
in Mexico during the same period. The vocal soloist
in Malagueña is expected to demonstrate the ability
Creators:
Producer: Mariachi Los Camperos de Nati Cano
Musical Director: Natividad Cano b. 1933
Background Information:
It is no surprise that Natividad (Nati) Cano chose music
as a career. Born in Ahuisculco, Jalisco, Mexico, he grew
up in a family of jornaleros (day workers) who considered
music a necessity, a means for earning additional money,
as well as a joyous outlet from working the soil. His
grandfather played the guitarron, the bass instrument of
mariachi ensembles. His father, a versatile musician,
played all of the instruments of the mariachi, except the
trumpet. Cano began to play the vihuela at the age of six,
and at age eight he began six years of violin lessons at the
Academia de Musica in Guadalajara. Gradually, Cano’s
musical experiences, technical skills and knowledge broadened as he played locally with his father, with the
Academia Chamber Orchestra, and later with two
professional mariachi groups. As the youngest member
of Mariachi Chapala in Mexicali, Cano was selected to
be the group’s arranger. He later joined the Tijuana-
to sustain a beautiful high pitch in segments of the
verse and refrain. Audiences reward the successful
soloist with applause and ‘gritos.’ The song also
illustrates two distinctive characteristics often found
in mariachi music, changing and simultaneous
meters. Sometimes the meter alternates between 6/8
and 3/4 (sesquialtera), at other times the two meters
occur simultaneously (ritmo colonial).
Creative Process of the Artist or Culture:
Traditionally, musicians of the mariachi memorize
their repertoire, often strolling among patrons as
they play. They respond to requests which range
from the traditional sones to caciones rancheras
(country), musica Tejana (Texas-Mexican), musica
huasteca (north-eastern regional) and musica jarocha
(Veracruz). Los Camperos performs compositions
from different regions, however, Cano’s arrangements
based Mariachi Aguila, and after becoming its musical
adhere to the mariachi
instrumentation (violins, guitars,
vihuelas, trumpets, harp and
director, changed the name to Los Camperos. In 1969
the group became permanently based in Los Angeles
where it established a reputation for offering the best in
guitarron), while retaining the
spirit of its various origins.
mariachi music. In recognition of his outstanding musicianship,
Cano received a National Heritage fellowship from the
National Endowment for the Arts in 1990. Notable
among their recordings are two which were made with
Linda Ronstadt, Canciones de Me Padre and Mas Canciones.
Los Angeles
“Lose yourself in music
and you will find beauty.”
Natividad Cano
U.S.A.
MEXICO
Jalisco
Gulf
of
Mexico
Discussion Questions:
Sample Experiences:
Level I
After listening to the audio recording:
• There are various string instruments featured in
* • Learn Mexican folk songs which are sung on special
Malagueña Salerosa. Which string instrument
occasions, such as Las Mañanitas (a morning greeting)
sounds did you recognize?
and Mañanitas Tapatia (a birthday greeting). Sing the
• What did you hear in the vocal solo that
songs in Spanish and English on appropriate occasions.
demonstrates its 19th century Italian opera roots?
• Learn Mexican game songs which are played in
(sustained high-pitch, and resemblance to ‘recitative’
much the same manner as game songs from other
in the verse)
countries. Examples: Al Citron and Find the Ring; La
• In most instrumental groups specific instruments
Vibora de la Mar and London Bridge.
constitute the rhythm section. Which instruments
• Put on the music and let students discover ways to
in the mariachi ensemble usually provide the basic
dance to it.
rhythm? (guitarron, vihuela, and sometimes the harp)
Level II
• Early mariachi ensembles were string ensembles.
• Two similar holidays, Día de los Muertos and
In the early thirties, when mariachi radio broadcasts
Halloween, both occur in the autumn. Compare and
emerged, groups began to add trumpets. Why do
contrast the two observances. Learn a song suitable for
you suppose this instrument was added?
both celebrations. Create movement to illuminate the
lyrics and illustrate the form.
Multidisciplinary Options:
• Play Malagueña Salerosa and listen for techniques of
• In Mexico, as in other countries, different types of
playing the violin, i.e. arco (bowing) and pizzicato
music developed in the various states and regions
(plucking). If possible, invite musicians to present
within the country. Read to discover the historical,
geographical and cultural/ethnic origins of the
following kinds of music: musica huasteca, musica
demonstrations.
* • Select several standard mariachi selections and listen
for the various playing techniques employed. Discuss
Tejana (or conjunto), musica jarocha and musica
how these techniques contribute to the unique sound
mariachi.
of mariachi music.
• Mexico’s proximity to the United States has had a
cultural impact on the southwestern states, in
particular (Arizona, California, New Mexico and
Level III
* • Practice these rhythms: a three-beat rhythm with an
accent on the first beat; a six-beat rhythm with accents
Texas). Give examples of this cultural overlap as seen
on the first and fourth beats; and a six-beat rhythm
in food, clothing, sports, celebrations, architecture,
with accents on the first, third and fifth beats. Perform
names (streets, cities, parks, etc.) and the arts.
the first two rhythms simultaneously and the first and
third rhythms alternately. Discuss, then listen for these
Audio-Visual Materials:
examples in Malagueña Salerosa. Listen to an
• Artsource® audio recording: Malagueña Salerosa,
orchestral composition which incorporates these
courtesy of Mariachi Los Camperos de Nati Cano, 1992.
different Mexican folk melodies and rhythms.
Additional References:
Example: El Salón México (Copland).
• Recordings:
• Divide the class into groups and ask each to study a
Mas Canciones (1991), Linda
Super
different style of Mexican music. Provide recorded
Mariachi, Mariachi Los Camperos de Nati Cano.
examples for study and presentation. Encourage them
Latin International, 1968.
to plan unique ways to present their work.
Ronstadt.
Electra
Entertainment;
El
*
Indicates sample lessons
2
MUSIC
LAS MAÑANITAS (Birthday Song)
THE HUMAN FAMILY
LEVEL I Sample Lesson
INTRODUCTION:
Music is a central point of celebration for many cultures.
One of the most popular occasions for celebration is a birthday.
In the American culture people sing the Happy Birthday
song on each person’s special day. In the Mexican culture,
people sing a Mariachi song entitled Las Mañanitas.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Sing a traditional Mexican song entitled Las Mañianitas.
(Historical and Cultural Context)
• Identify the 3/4 meter and clap and sing the song.
(Artistic Perception)
Mariachi Los Camperos de Nati Cano
Photo: courtesy of Natividad Cano
• Gain a greater appreciation for the traditions of the Mexican culture.
(Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® audio recording of Malagueña Salerosa and Las Mañanitas.
PROGRESSION:
• Give some background information on Mariachi music and the instruments used.
• Listen to the recording of Malagueña Salerosa and identify the instruments being used (trumpet, violin,
guitar, etc.).
• Listen to the recording again and clap on the beat.
• Ask the students to give their impressions:
• What do you think the musicians are communicating through their music?
• How does the music make you feel?
3
• Give some background on Las Mañanitas and explain that it is also played in the style of Mariachi music.
Play the Artsource® audio cassette recording and see if they can recognize what is the same about both pieces.
• Read the lyrics to Las Mañanitas in both Spanish and English.
• Learn the song.
Las Mañanitas (Birthday Song)
Esta son las mañanitas
Que cantaba el rey David
A las muchachas bonitas
Se las cantamos aqui
Despierta mi bien, despierta,
Mira que ya amanecio
Ya los pajarillos cantan
La luna ya se metio
Que linda esta la mañana
En que vengo a saludarte
Venimos todos con gusto
Y placer a felicitarte
(Chorus)
El día a que tu naciste
Nacieron todas las flores
Y en la pila de bautismo
Cantaron los ruiseñores
Ya viene amaneciendo
Ya la luz del día nos vio
Levantate de mañana
Mira que ya amanecio
(Verse)
Quisiera ser un San Juan
Quisiera ser un San Pedro
Pa venir a saludarte
Con la musica del cielo
De las estrellas del cielo
Quisiera bajarte dos,
Una para saludarte
Y otra para decir adios
(Chorus)
Ya viene amaneciendo
Ya la luz del día nos dio
Levantate de mañana
Mira que ya amanecio
4
Las Mañanitas
(Birthday Song)
English Translation- Ed Barguiarena and Susan Friel
These are Las Mañanitas
As sung by David the King
To the beautiful young ladies;
Now I come to you, to sing.
Awake, my good one, awake,
Wake up and meet the day.
The morning birds are singing;
The moon has gone away
How beautiful is this morning
In which I come to greet you.
My heart is filled with happiness
And pleasure to meet you.
The day that you were born
The flowers were born too;
The Nightingales were singing
In the baptismal morning dew.
The translation is not
intended to be an English
version of the song but
a poetic representation.
It does not rhythmically
match the melody – the
song should be sung in
Spanish only.
(Chorus)
The Sun is now upon us,
Its rays are breaking through;
Wake up, this special morning,
This day is for you.
I wish I were a Saint
Like Saint Peter or Saint John;
Coming from grace to greet you
To sing this heavenly song.
From the stars up in the heavens
I’d like to bring down two:
One brings you a greeting,
The other bids adieu.
(Chorus)
The Sun is now upon us,
Its rays are breaking through;
Wake up, this special morning,
This day is for you.
5
• Learn a three beat meter (3/4). Place the first count on your lap or a desk, and clap the remaining two
counts. Be sure you can repeat it.
Example:
desk clap clap
• Use the extension questions below to extend the experience for your students.
EXTENSIONS:
• Think of other clapping combinations that you can use with this song.
e.g. 1. clap-desk-clap
2. desk-clap-clap
3. (with a partner clap own legs-clap
own hands-clap partners hands)
• Learn the names of the traditional Mariachi instruments in Spanish
trumpet
violin
guitar
bass
trompeta
violin (vio-lean)
guitarra
guitarron
• Listen to Malagueña Salerosa or another Mariachi recording and make a drawing inspired by the mood
of the music. (Drawings can include instruments, words, colors, abstract shapes and lines, etc.)
VOCABULARY: rhythm, lyric, culture, instrument, meter
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe what makes a birthday so special.
DISCUSS: Discuss things in nature that are ‘reborn’ (recreated) everyday. (sun, moon, stars, flowers, etc.)
ANALYZE: Analyze the differences and similarities between Las Mañanitas and Happy Birthday.
CONNECT: What are some of the special things your family does to celebrate a birthday?
6
7
8
MUSIC
CELEBRATE RHYTHM
THE HUMAN FAMILY
LEVEL II Sample Lesson
INTRODUCTION:
Rhythm is an important aspect of Mariachi music. It is the most fundamental element of any music, even
more fundamental than melody. Rhythm is a key element in establishing the style or flavor of any music.
Many cultures have traditional rhythms that have been in use for a long time. Often these rhythms are
named after a dance (Tango, Mambo, Rhumba, Jig, Waltz, etc.) There is a big difference between a
rhythm and a beat. A beat is a primary pulse in music (the part that you dance to), and a rhythm is how
a beat gets divided (what the instruments play). A beat is implied in the music, while rhythms are literal.
Rhythm is the most defining quality of any musical style.
No Rhythm -- No Music. Wynton Marsalis
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Identify and clap the pulse in a Mariachi song.
• Clap and count the meter of a Mariachi song.
• Clap simple rhythmic patterns in 3/4 time.
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® audio recording of Malagueña Salerosa or another Mariachi CD of your choice. (See
additional references of recordings.)
PROGRESSION:
• Give some background information on Mariachi music and the instruments used. (See page 17)
• Give some background information on Malagueña Salerosa (See the Unit page)
• Listen to the recording of Malagueña Salerosa and clap to the beat.
• Review and use some of the ‘Discussion questions’ on page 2.
• Listen to the recording of Malagueña Salerosa and walk to the beat. As students are walking to the beat
have them clap to the beat so that hands and feet are in unison.
9
• Without the music, walk and clap at the same time and count to three continuously. Explain that these
groupings of three are the fundamental rhythmic foundation of Mariachi music and are called measures.
(Three beats equal one measure in 3/4 time.)
• Have the students alternate between walking and clapping (4 measures - 12 counts) and only walking
(4 measures - 12 counts).
• Explain that when they are not clapping, what they are doing is called a rest, which is a counted rhythm.
When you are resting you still have to silently feel the beat and rhythm of the music.
• Have your students learn and practice the following rhythmic patterns. Make sure they can repeat each
pattern several times.
• Divide the class into three groups and assign each group a rhythmic pattern. Have each group play their
pattern four times without a pause in the rhythm.
• Once each group has learned to play their pattern four times, put all the groups together and have them
play in sequence. Group one (4 times), group two (4 times), group three (4 times), all without a break
in the rhythm.
• Have all the patterns play at the same time.
• Change the length of the patterns, 4, 5, 8, 12 or 16 times.
• Change the volume of all the groups or an individual group.
• Play the music again and have the students clap their rhythmic patterns with the music. Use all of the
combinations you practiced earlier. As you get more familiar with the music you can have the entire group
or individual groups find places to start and stop their rhythmic pattern. This will make it more
challenging and interesting.
EXTENSIONS:
• Explore other music in 3/4 time. (Viennese waltzes, music of Huasteca, Irish folk music)
• Try the following example of walking and clapping.
10
Example:
VOCABULARY: rhythm, pulse, measure, beat, meter, rest
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the difference between a rhythm and a rest.
DISCUSS: Discuss the experience of playing the rhythmic patterns in individual groups and as a large
group with three rhythmic patterns being played at the same time.
ANALYZE: Analyze the differences and similarities between playing the rhythmic patterns in class and
how the instruments interact in a Mariachi band. (Do the instruments play all the time?)
CONNECT: What other types of rhythmic patterns occur in the world around us? Do people have
individual rhythms in the way they walk, talk, learn, play, etc.? What kind of rhythms are found in
nature? (seasons, life cycles, migrations, etc.)
11
MUSIC
MEMORIES OF MEXICO
TRANSFORMATION
LEVEL III Sample Lesson
(4th grade and above)
INTRODUCTION:
American composer Aaron Copland visited the famous Salón Mexico in Mexico City, where he heard
several different instrumental groups perform traditional Mexican music. The music he heard inspired
him to write the composition El Salón México. It was premiered in Mexico City on August 27th, 1937,
conducted by Mexico’s distinguished composer-conductor, Carlos Chavez.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Recognize the themes and rhythms in an orchestral composition as based
on traditional Mexican music. (Artistic Perception and Historical and
Cultural Context)
• Perform traditional rhythms found in Mariachi music.
(Artistic Perception and Historical and Cultural Context)
• Demonstrate a greater appreciation for the complexity of Mariachi music.
(Historical and Cultural Context)
• Discuss how different cultures borrow musical styles from one another. (Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Recording: Copland’ Greatest Hits, El Salón México (Copland). New York Philharmonic, Leonard
Bernstein. CBS Masterworks, MS 7521, 1984, or Twentieth Century America, El Salón México”
(Copland). Bowmar Orchestral Library, BOL 74, 1967.
• Copies of the “Rhythm Patterns” and “Listening Guides.” (See the copy-ready forms at the end of this lesson.)
• Woodblock or toneblock.
PROGRESSION: (This lesson may require two sessions.)
• Part I
Using the woodblock or toneblock, tap Rhythm Pattern #1, then have the class tap with you, using
pencils on desks. Call attention to the accented first beat.
12
Rhythm Pattern #1
Tap
• Clap Rhythm Pattern #2, then ask the students to clap the pattern with you, emphasizing the accented
beats.
Rhythm Pattern #2
Clap
• Explain that in the music of Mexico and other Latin American countries, these two patterns often occur
simultaneously. This technique is called ‘ritmo colonial.’ It can be heard in the song Malagueña Salerosa.
• Divide the class into two groups and assign each a different rhythm pattern. Have the students tap and
clap the rhythms simultaneously. Start group #1, and when the rhythm is assured, start group #2 when
#1 begins a new measure.
Example A: (ritmo colonial)
Tap
Clap
• Discuss the effect of performing the two rhythms simultaneously.
• Teach Rhythm Pattern #3. Call attention to the different accented beats.
Rhythm Pattern #3
Clap
• Review Pattern #1. Have the students play Patterns #1 and #3, alternating from one to the other,
measure by measure, as indicated in Example B (below). This technique is called ‘sesquialtera.’ It
produces a pattern that is heard quite often in the dance music of many Latin American countries. Call
attention to the double meter signature.
Example B: (sesquialtera)
Clap
13
• Ask the students to compare Pattern #1 with Pattern #4. Ask them to find the one difference. (The
first quarter note has been changed to two eighth notes.)
#1
#4
• Play Pattern #4 alternately with Pattern #3. Explain that this is a slight variation of the pattern in
Example B.
Example C: (sesquialtera)
Clap
Part II
• Review Examples B and C, the sesquialtera (alternating) rhythms.
• Explain that an American composer, Aaron Copland, created a composition which became famous for
capturing the spirit of Mexico with his use of the rhythms and folk melodies of that country. (See the
Introduction to this lesson.) The title of the piece is El Salón México. Explain that it is the first of
several compositions Copland wrote which incorporate the folk rhythms of a country or culture. (See the
Artsource® Dance Unit, Eugene Loring.)
• Tell the students that the sesquialtera rhythm they learned is featured in El Salón México. Ask them to
listen for this rhythm in the introduction. Play the recording for approximately 25 seconds. Have the
students signal when they hear the rhythm pattern. (Use your own method for having the students
signal.) Play it again to be sure everyone has an opportunity to hear the pattern.
• Explain that Copland used several popular Mexican dance rhythms in El Salón México. In addition, he
also incorporated three folk melodies that he heard (La Jesuscita, El mosco and El palo verde).
• In preparation for listening to the entire composition, distribute the Listening Guides for El Salón
México. Ask the students to follow and complete as many items as possible as they listen.
• Have the students discuss their responses. Provide the answers when necessary, so that the students may
complete the Listening Guide. If time permits, play El Salón México again as the students follow their
guides, or have them do so during the next session.
14
EXTENSIONS:
• Listen for the sesquialtera rhythm in Leonard Bernstein’s America from West Side Story. The entire
composition is based on this rhythm.
VOCABULARY: accented beats, alternating rhythm, ritmo colonial rhythm, sesquialtera rhythm
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the difference between traditional folk music and a piece of music that borrows
ideas from folk music.
DISCUSS: Discuss the experience of playing rhythmic patterns that have a compound time signature
(meter). (This would be one measure of 6/8 followed by a measure of 3/4.)
ANALYZE: Analyze the differences and similarities between music performed by an orchestra and a
traditional folk ensemble. (An orchestra always reads music while they play. Folk musicians are often
given the liberty to improvise and alter the music they play. What instruments do they have in common?
Why?)
CONNECT: What cultural practices or philosophies (traditional or modern) do you use in your own life?
Aaron Copland (1900-1991)
The most celebrated American classical
composer of the 20th century
Photo: Victor Kraft
15
LOS CAMPEROS DE NATI CANO
LISTENING GUIDE
EL SALÓN MÉXICO
AARON COPLAND
_________________________________________________________________________________
Review the questions before listening to the recording.
Please mark your answers with an X.
1. Name the instrument which plays a solo on the first folk theme.
___piccolo
___trumpet
___cello
2. Is the first theme primarily a chord patterns or a scale pattern?
___scale
___chord
3. Is the rhythm in the second theme even or uneven?
___uneven
___even
4. Name the instruments which introduce the third theme.
___violins
___flutes
___bassoon
Huichol musician
from Santa Catarina, Jalisco
5. The third folk theme is based upon the . . .
___ritmo colonial rhythm
Artist: Luis Covarrubias
___sesquialtera rhythm
6. The second folk theme is repeated by the . . .
___violins
___flutes
7. After the violins re-play the second folk theme the
dynamics become . . .
___louder
tempo becomes . . .
___slower
___French horns
___softer, and the
___faster
8. Listen to the remainder of the composition and be prepared to discuss the composer’s use of repetition
and variety. (repetition - themes and rhythm patterns, variety - dynamics, tempo, rhythms, tone color and
mood)
9. The introduction and coda feature which of the two rhythms?
___ritmo colonial
___sesquialtera
16
THE ORIGINS OF THE TERM “MARIACHI”
The word mariachi is a term that can be used to describe the individual musician, the ensemble or the musical
genre itself. A definitive origin has never been established. Perhaps the most common misconception is that the
term is derived from the French word for marriage (mariage). The theory is that these unnamed ensembles were
often hired by the French court in Mexico during the Maximilian epoch (1861-1867) to play at fiestas and
weddings. Soon the Mexicans began calling these groups of strolling musicians mariachis. There are many
theories which verify that the term predates the French occupation. Many Mexican scholars assure us that groups
called mariachi were already in existence by 1830.
A letter written by a cleric in 1952 makes reference to the diversions created by musical groups called mariachis. In
1840 a gentleman named Placido Rebolledo organized a musical group that he called mariachi in Tecalitlan. This
group later became Mariachi Vargas de Tecalitlan in 1898 and is still in existence.
Scholarly investigations also support possible indigenous roots. Evidence substantiates the existence of an Indian
mariachi that used a single-head skin drum. One investigation suggests that the term derives from the yutonahuatl
language group signifying a hard floor or dance area called a mariache or tarima. Another hypothesis suggests
that the term comes from celebrations honoring the Virgin known as Maria H - Maria Hache - that evolved into
mariachi. Finally, many older rural mariachi musicians in the states of Jalisco and Colima, assumed that the name
somehow derived from the woman's name Maria.
THE INSTRUMENTS OF THE MARIACHI
The mariachi originated in the rural areas of Western Mexico particularly from the states
of Jalisco, Colima, Michoacan, Nayarit and Sinaloa. The original groups were string-based
ensembles, therefore the term “mariachi band” is inappropriate since bands, by definition,
emphasize instruments of the brass and woodwind families. The mariachi instrumentation
consisted primarily of violins and the diatonic harp. The harp provided rhythmic and
harmonic support. The violins provided melodic lines.
A small, generally five-string, flat-back guitar - known as the quinta or guitarra de golpe - supported the rhythm.
In the area around Cocula, where for reasons not completely understood, a rounded-back set of instruments
developed. The five string vihuela, a rounded-back instrument, along with the more recent addition of the guitar,
provide the harmonic rhythm essential for the musical sound of every mariachi.
The guitarron, a large rounded-back instrument, provided the bass line. The original guitarron used four or five
gut strings and eventually the instrument became standardized with six nylon strings that allowed for doubling the
bass line for greater volume. For reasons of portability and key restrictions the guitarron eventually replaced the
harp in most ensembles.
In the early 1930s the ensembles added a trumpet when they began to think in terms of arrangements and
commercial possibilities. The rationale was that their addition would provide a better sound for radio broadcast.
Throughout the years, mariachis have become standardized with two trumpets, although it is not uncommon to
find three or more in today's groups.
Contemporary mariachis use highly professional arrangements, trained musicians and a refined sense of showmanship.
It is a musical form that continues to evolve.
Articles by José Delgado.
17
ADDITIONAL RESOURCES
POPULAR MARIACHI SONGS
Jalisco
Yo Soy Mexicano
Ojos Tapatillos
ADDITIONAL INSTRUMENTS USED IN OTHER REGIONAL MUSIC OF MEXICO
Vera Cruz
Guitarra de Golpe
Arpa
Huapanguera
Huasteca
Huapanguera
Violin
Nortena
Contrabajo
Accordion
ADDITIONAL RECORDINGS:
Viva el Mariachi!
Nati Cano’s Mariachi Los Camperos
Smithsonian Folkways, 2002.
La Mas Completa Coleccion
Mariachi Vargas De Tecalitlan
Universal Music Mexicao, 2005.
WEB SITES
International Folk Culture Center at San Antonio
www. n-link.com/ifccsa/index.htm
18
rtsource
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Introduction
A RTSOURCE ®: T HE M USIC C ENTER’ S S TUDY G UIDE
TO THE
P ERFORMING A RTS
Artsource® highlights works of art and artists of stature from diverse cultures.
It represents early to contemporary art forms in the disciplines of
dance, music and theatre
and complements the programs and performances
of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication.
Artists present their perceptions, reflections, and points of view which
influence, and are influenced by, the culture and period of time in which they exist.
Artsource Contributors
®
Project Director
Melinda Williams
Project Coordinator
Susan Cambigue-Tracey
Writers:
Dance
Susan Cambigue-Tracey
Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,
Barbara Leonard, Melinda Williams
Music
Rosemarie Cook-Glover
Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,
Connie Hood, Annette Simons, Marilyn Wulliger,
Diana Zaslove, John Zeretzke
Theatre
Barbara Leonard
Kathryn Johnson
Technical Production donated by
Layout and Logo* Design
Paul Tracey
Maureen Erbe Design
*Received the LULU AWARD for excellence in graphic design and advertising,
sponsored by the Los Angeles Advertising Women (LAAW)
Additional Artwork & Artsource® Logo Graphic
H. P. Law & Partners
The Music Center of Los Angeles County wishes to thank
the artists featured in this publication for their outstanding artistry and
their generosity in allowing us to share their creative spirit
in the classroom.
Sincere appreciation is also extended to the members of the Center’s
Board of Directors and Education Council for their guidance in developing
these resource materials,
Music Center volunteers for their help in organizing, proofing and editing
Artsource® units; the professionals who provided field review;
and the dedicated teachers who tested the
Artsource® units in their classrooms.
Mark Slavkin
Vice President for Education
Melinda Williams
Director of Education