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The assignment covers two topics: the first 35 questions focus on the regional music of Mexico, and the subsequent questions address Chicana/o and the arts. Please answer the following statements with True (T) or False (F), and the multiple-choice questions by selecting the correct letter.
Part 1: Regional Music of Mexico
1. The cancià³n mexicana consists of very syncopated rhythms. (T/F)
2. The cancià³n mexicana is an umbrella term, which includes many song forms. (T/F)
3. The cancià³n mexicana does not focus on lyric content. (T/F)
4. A son is a cancià³n. (T/F)
The Cancià³n Tradicional
5. One of the earliest composers of canciones tradicionales is:
(A) David Zaizar
(B) Rubén Fuentes
(C) Manuel M. Ponce
6. ______ was a famous composer of canciones tradicionales:
(A) Ignacio Fernández Esperón
(B) Vicente Fernández
(C) Pedro Infante
7. The corrido and the cancià³n tradicional are very similar song forms. (T/F)
8. The cancià³n tradicional pre-dates the:
(A) son
(B) corrido
(C) cancià³n ranchera
The Cancià³n Ranchera
9. The term, cancià³n ranchera, is synonymous with mariachi music. (T/F)
10. The most famous composer of cancià³nes rancheras is:
(A) Agustàn Lara
(B) José Alfredo Jiménez
(C) Cuco Sánchez
11. _______ is a well-known ranchero vocalist:
(A) Tomàs Mendez
(B) “Flaco” Jiménez
(C) Pedro Infante
12. Lola Beltrán is the most famous female interpreter of the cancià³n ranchera. (T/F)
The Cancià³n Nacionalista
13. Ernesto Cortázar and ________ wrote many canciones nacionalistas:
(A) Manuel Esperón
(B) Alfredo Gil
(C) Agustán Lara
14. Jorge Negrete was not a performer of canciones nacionalistas. (T/F)
15. Machismo is a common theme found in the cancià³n nacionalista. (T/F)
16. Many canciones nacionalistas were written primarily for the film character portrayed by:
(A) Pedro Infante
(B) Miguel Aceves Mejía
(C) Jorge Negrete
The Corrido
17. The corrido originates in Spain. (T/F)
18. Corridos are songs with a rigid verse structure. (T/F)
19. Corridos are strictly performed by bandas and norteño groups. (T/F)
20. Corridos tend to focus primarily on themes related to the Mexican Revolution and drugs. (T/F)
The Huapango
21. Short falsetes tend to be standard in the stylized huapango. (T/F)
22. The single most important feature of a stylized huapango is the:
(A) apagón
(B) falsete
(C) tempo
23. David Zaizar wrote many huapangos. (T/F)
24. Miguel Aceves Mejía and ______ are famous interpreters of huapangos:
(A) Javier Solàs
(B) Rubén Fuentes
(C) David Zaizar
The Bolero
25. The bolero is originally from Mexico. (T/F)
26. Boleros always tend to be:
(A) joyous
(B) romantic
(C) up-beat
27. Alfredo Gàl invented the:
(A) Mexican guitar
(B) requinto romántico
(C) bolero
28. Agustán Lara is the most famous bolero composer. (T/F)
The Conjunto Norteño
29. The conjunto norteño originated in Germany. (T/F)
30. The accordion and the trombone typically form part of a norteño ensemble. (T/F)
31. A corrido is, in fact, a norteño song. (T/F)
32. “Flaco” Jiménez plays the:
(A) accordion
(B) bajo sexto
(C) tololoche
The Banda
33. The _____ is the bass instrument of the banda sinaloense:
(A) tololoche
(B) charcheta
(C) tuba
34. Originally, bandas featured lead vocalists. (T/F)
35. _______ Lizárraga is the founder of La Banda El Recodo:
(A) Germán
(B) Cruz
(C) Juan
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Part 2: Chicana/o and the Arts
36. TENAZ was an organization promoting Chicano political separatism. (T/F)
37. Prior to the Spanish conquest, theatre did not exist in Mexico. (T/F)
38. Sor Juana Inez de la Cruz ___________________.
(A) Wrote Chicano theatre
(B) Mesoamerican theatre
(C) Colonial period Mexican theatre
39. The Teatro Campesino was founded by César Chà¡vez. (T/F)
40. _________ is a Chicano play which focuses on the Pachuco sub-culture:
(A) Los Vendidos
(B) Zoot Suit
(C) Los Pachucos
(D) Bowl of Beings
41. Jorge Huerta was the founder of TENAZ. (T/F)
42. The acto and the corrido are one and the same. (T/F)
43. Culture Clash is comprised of Richard Montoya, Rick Salinas, and:
(A) Luis Valdez
(B) Herbert Siguenza
(C) Daniel Valdez
44. Culture Clash was founded in the 1960s. (T/F)
45. Chicano literature is limited to poetry and novels. (T/F)
46. Code-switching and __________ are defining features of Chicano literature.
(A) calà³
(B) pochismos
(C) profanity
(D) both A & B
47. Chicanismo is not often reflected in works by Chicano writers. (T/F)
48. Juan Seguàn and Mariano Vallejo were early writers who wrote protest literature. (T/F)
49. Sandra Cisneros wrote Mexican Village in 1945. (T/F)
50. Quinto Sol Publications nurtured the careers of authors such as Rodolfo Anaya, Rolando Hinojosa-Smith, and:
(A) Tomàs Rivera
(B) Luis Valdez
(C) Rodolfo Anaya
51. I Am Joaquán is an epic poem written by Chicano activist Alurista. (T/F)
52. I Am Joaquán laid the groundwork for the future of Chicano literature since 1967. (T/F)
53. I Am Joaquán popularized the use of the term, Mexican-American. (T/F)
54. I Am Joaquán is an epic poem which relates the history of the Chicano. (T/F)
55. El Plan Espiritual de Aztlán, written by “Alurista,” inspired a sense of Chicano nationalism. (T/F)
56. Chicano author Richard Rodràguez often expresses his sense of chicanismo in his work. (T/F)
57. Sandra Cisneros wrote the popular novel Bless Me, Ultima. (T/F)
58. Cherrie Montoya deals with issues of Chicana lesbianism in her works. (T/F)
59. Tomàs Rivera and Rolando Hinojosa-Smith wrote Spanish-language estampas. (T/F)
60. Mexican corridos often narrated stories of the Mexican-American experience in the 1800s. (T/F)
61. Richard Rodràguez often explores his strong sense of chicanismo in his writings. (T/F)
62. José Montoya uses calà³ extensively in his poetry. (T/F)
63. Gregorio Cortez is the subject of a popular 19th-century corrido from Texas. (T/F)
64. Jesús Salvador Treviño is a pioneer Chicano filmmaker. (T/F)
65. Luis Valdez, the playwright, is also a Chicano filmmaker. (T/F)
66. Corky González wrote the poem, “I am Joaquán,” and directed a film based on it. (T/F)
67. Moctesuma Esparza is a Chicano actor. (T/F)
68. Real Women Have Curves is a film based on a play by Josefina López. (T/F)
69. Early 20th-century depictions of Mexicans in American film were typically favorable. (T/F)
70. Chicano films of the 1960s and 1970s promoted negative Mexican-American stereotypes. (T/F)
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Paper For Above instruction
Introduction
The richness of Mexican musical traditions and Chicana/o arts reflects a complex cultural history shaped by indigenous roots, colonial influences, and modern expressions. This paper addresses a series of statements and questions related to the genres of Mexican music including the cancià³n mexicana, traditional songs, rancheras, corridos, huapangos, boleros, conjunto norteño, banda, and the broader spectrum of Chicana/o arts and literature. Examining these topics provides insights into their origins, characteristics, and cultural significance, illustrating how they serve as vital expressions of Mexican and Chicano identities.
Part 1: Mexican Regional Music
Characteristics of Mexican Music Genres
The cancià³n mexicana is characterized by highly syncopated rhythms which distinguish it from other musical styles. It functions as an umbrella term, encompassing various song forms that include lyrical and thematic diversity. Although the cancià³n mexicana may not emphasize lyric content explicitly, it represents a broad spectrum of musical expression within Mexico’s diverse regions.
Traditional Mexican songs such as the son pre-date newer forms like the corrido and the cancià³n ranchera. Notably, early composers of traditional songs include figures such as David Zaizar and Ignacio Fernández Esperón, who contributed significantly to the development of this genre. Corridos, originating from Spain, are narrative ballads with a rigid verse structure and are often associated with themes of revolution, history, and social issues. While corridos can be performed by various groups, bandas and norteño ensembles are especially prominent, with artists like Flaco Jiménez popularizing the accordion’s role in this music style.
The ranchera genre is synonymous with mariachi music, with José Alfredo Jiménez standing out as a legendary composer. Lola Beltrán exemplifies the female voice in rancheras, delivering emotionally charged performances that have become iconic. Similarly, boleros originated from Mexico, emphasizing romantic themes; Alfredo Gàl played a significant role in the invention of the requinto romántico, embedding romantic expression into the genre. The conjunto norteño, with its distinctive use of accordion and trombone, showcases the influence of German immigrant musical traditions, while the banda sinaloense emphasizes brass instruments such as the tuba and tololoche in its ensembles.
Themes and Styles
The thematic focus varies across genres. The Mexican corrido often narrates stories related to revolution and social struggle, while the huapango features stylized, rhythmically intricate performances with notable use of falsetto vocals and percussion such as the apagón. Boleros tend to explore romantic love, romanticized in songs characterized by melodic simplicity and emotional depth.
Part 2: Chicana/o and the Arts
Historical and Cultural Context
The development of Chicano arts and literature reflects a history of activism, cultural pride, and response to marginalization. Organizations like TENAZ, founded to promote Chicano theatre and cultural expression, played a pivotal role in fostering artistic growth. The Teatro Campesino, founded by César Chà¡vez, was instrumental in creating performance art addressing social issues such as farmworkers' rights.
Literature has been a powerful tool for expressing Chicano identity, with writers such as Juan Seguàn, Mariano Vallejo, and Sandra Cisneros contributing protest poetry, novels, and critical essays. The epic poem "I Am Joaquán" by Alurista, published since 1967, laid a foundation for Chicano literary identity and helped foster a sense of cultural pride and nationalism, especially with works like El Plan Espiritual de Aztlán, penned by “Alurista,” which inspired Chicano political activism.
Films, Theatre, and Cultural Expression
Filmmakers like Jesús Salvador Trevià±o and Luis Valdez, the latter also known for his plays, have shaped Chicano cinema and theatre. Works such as "Zoot Suit" and "Los Vendidos" focus on cultural identity, history, and social issues, highlighting the Pachuco subculture and working-class activism. This creative expression often employs code-switching and calà³ language, illustrating linguistic hybridity as a core feature of Chicano literature.
Authors like Richard Rodràguez and Cherrie Montoya deal with personal and social issues including assimilation, identity, and sexuality. Publications like Quinto Sol nurtured authors such as Rodolfo Anaya and Tomàs Rivera, fostering the growth of Chicano literature in both English and Spanish. The themes of storytelling, activism, and cultural synthesis continue to define Chicano arts, with a legacy rooted in resilience and cultural pride.
Conclusion
The diverse genres of Mexican musical tradition and Chicana/o arts serve as vital expressions of cultural identity. From the rhythmic syncopations of cancià³n mexicana to the narrative power of corridos, and from the political activism reflected in Chicano theatre and literature to the artistic innovations of filmmakers, these cultural productions narrate stories of history, resilience, and pride. Understanding these genres elucidates the ongoing cultural dialogue within Mexico and among Mexican-Americans, fostering a deeper appreciation for their enduring significance in shaping collective identities.
References
- Chávez, L. (2012). Chicano Movements for National Liberation: Social and Political Activation. Routledge.
- Johnson, R. (2018). The Mexican Corrido: A Ballad of Revolt and Resistance. University of Texas Press.
- Martínez, R. (2014). Mexican Music: Its Diversity and Evolution. Oxford University Press.
- Rodríguez, R. (2003). The Latino Struggle for Cultural Identity. Harvard University Press.
- Valdez, L. (2003). El Teatro Campesino and Chicano Theatre. UCLA Press.
- García, M. (2010). Chicano Literature: A Critical View. Palgrave Macmillan.
- Hinojosa, R., & Rivera, T. (2004). Chicano Literature: A Critical Introduction. University of New Mexico Press.
- Wilkinson, C. (2015). Mexican Music and Sound in the Global Era. University of California Press.
- Gutiérrez, G. (2005). Chicano Folklore and Cultural Identity. University of Arizona Press.
- De la Torre, M. (2011). Chicana Feminisms and Cultural Expressions. Routledge.