Citation (1)
Citation (3)
Cancionero
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Composer John Donald Robb (1892-1989) built an invaluable legacy in the preservation of New Mexico's rich musical traditions. His extensive field recordings, compositions, papers, and photographs now comprise the John Donald Robb Archives in the University of New Mexico Libraries' Center for Southwest Research. Cancionero presents thirteen Hispanic folk songs from Robb's renowned archive. Created for musicians and vocalists, Cancionero features arrangements for voice with piano or guitar accompaniments as well as selected concert versions for voice, oboe, harp, and piano. Introductions include information about song forms, history, and subjects, providing further insight into each song.
The Concise Garland Encyclopedia of World Music, Volume 1
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Mexican History
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The SAGE International Encyclopedia of Music and Culture
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Sounds of the Modern Nation
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The author considers how the relationships between avant-garde music and ideas of modernity in post-revolutionary Mexico shaped discourses of nationality.
Tequila, Señoritas and Teardrops
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With opinions and personal testimonies from the artists themselves, this book takes a detailed look at the huge impact that Mexican music and culture has had--and continues to have--on Country music in its various forms. This very American form of cultural expression has changed over the last few years, but Mexico--with its bordertowns, beaches, colonial architecture and ancient ruins conjuring up a range of powerful images--has remained an influential presence in Nashville, Texas, and even places like Australia and South Africa. Featuring contributions from Merle Haggard, Jimmy Buffett, Randy Travis, Dwight Yoakam, Jessi Colter, Johnny Rodriguez and Flaco Jimenez, this book reveals the unique and largely undocumented relationship between "America's Music" and Mexico.
Capital: Mexico City
Official Language: Spanish
Current Population: 128,972,439
Area: 1,964,375*
Climate: The climate varies with altitude. The tropical southern region and the coastal lowlands are hot and wet, while the highlands of the central plateau are temperate. Much of the north and west is arid desert. The overall mean monthly temperature is 21°C (70°F).
Main Religions: Christianity
Citation (2)
Ceremonial Dances
Inventiveness plays a large role in indigenous ceremonial. Virtually all Amerindian dance-dramas are supported by ceremonial organizations (some specifically dance societies) descended from colonial brotherhoods, unions and guilds (gremios). They are financially based on the mayordomia, headed by mayordomos (lay officials in a semi-religious organization) who, as part of their civic responsibility, pay for and organize certain church celebrations, dedicated at least ostensibly to a Christian saint. Dance groups within the mayordomia have a quasi military structure with caporales and capitanes.
Conquest Dances
These have always depicted the ‘pacification’ of non-Christians, their repentance for godless behaviour and subsequent vows or never to revert to their sinful ways. At a symbolic level they portray the victory of good over evil, which is viewed as inevitable. Nearly all Mexican Indian dances belong to this category; there are numerous variants although certain elements recur continually. . One Conquest dance, los concheros, is exceptional for its consistency over a relatively large geographical area in the central highlands, a result of the ‘unionization’ of the conchero brotherhoods (cofradias, sindicatos) which form its ceremonial base. This dance, however, is not strictly Amerindian, but rather a form of dance cultivated by the lower economic classes on the outskirts of large towns and in small rural communities. In the Aztec tradition it is nonetheless a dance for penitence.
Personal Music
‘Personal’ music here means all music performed by an individual member of an Amerindian society without official sanction. Ceremonial music performed out of its proper context is believed to be highly perilous, endangering crops, causing droughts, or provoking retribution against offenders and the community as a whole. Virtually all members of Amerindian communities perform music for purely personal motives. Texts are improvised – often amorous, though sometimes devotional – and sung in a high-pitched, strained voice; accompanying instruments are high-pitched, such as the harmonica, concertina, jarana or, rarely, one of the larger guitars. Melodic and/or harmonic formulae in this repertory are usually peculiar to each hamlet. Neither texts nor melodies are strictly metrical, and the number of notes in each phrase is determined by the number of syllables in the text.
Citation (4)
1899-1940
Mexican composer and violinist. At the age of eight he began violin studies in Colima, and at 12 he entered the Juárez Institute, Durango. He studied further under Tello (composition) and Rocabruna (violin) in Mexico City (1913–16), at St Edward College, Austin, Texas (1916–18), and at the Chicago Musical College under Sametini (violin) and Borowski (composition, 1918–20). After a hiatus in Mexico he returned to Chicago in 1922 to complete a four-year violin course under Kochanski and Ševčik. He was again in the USA in 1926 and 1928, playing the violin in a theatre orchestra in San Antonio, Texas, and conducting an orchestra in Mobile, Alabama. Chávez recalled him to Mexico City to take the post of assistant conductor of the Mexico SO (1929–35), and during the years 1931–4 he composed six sophisticated picture-postcard pieces for that orchestra. At the same time he taught the violin and chamber music at the conservatory and conducted a conservatory graduates’ orchestra. In 1937 he toured Spain, there allying himself with the Republican cause, and on his return he continued to teach.
Narco Cinema
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This book provides the first comprehensive study of narco cinema, a cross-border exploitation cinema that, for over forty years, has been instrumental in shaping narco-culture in Mexico and the US borderlands. Identifying classics in its mammoth catalogue and analyzing select films at length, Rashotte outlines the genre's history and aesthetic criteria. He approaches its history as an alternative to mainstream representation of the drug war and considers how its vernacular aesthetic speaks to the anxieties and desires of Latina/o audiences by celebrating regional cultures while exploring the dynamics of global transition. Despite recent federal prohibitions, narco cinema endures as a popular folk art because it reflects distinctively the experiences of those uprooted by the forces of globalization and critiques those forces in ways mainstream cinema has failed.
Banda
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The first in-depth study of banda, a Mexican and Mexican American musical practice. Runner-up for the International Association for the Study of Popular Music (IASPM) - US Chapter Book Award. (2002) Banda music has been performed by traditional brass bands in rural northwestern Mexico for more than a century, while technobanda, a newer style that has replaced the brass instruments with synthesizers and electric instruments, has become part of a lifestyle for tens of thousands of young people in the US, particularly in Los Angeles. The young people who flock to technobanda concerts also insist on the use of the Spanish language, a particular etiquette on the dance floor and above all, a specific style of dress: cowboy/cowgirl apparel and belt buckles emblazoned with the name of their home Mexican state. In this engaging and insightful ethnography, Helena Simonett brings us inside the music and its culture. Her discussions of narco-trafficking and narco-corridos ballads reveal the interconnected roles of musical, commercial and criminal networks, and illuminate how and why musical and social issues become so interconnected for banda artists and audiences. In this richly contextualized analysis of a singularly important contemporary musical style, Simonett sheds new light on how expressive culture both generates and reflects intersecting social identities.
¡Corrido!
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The present compilation of ballads from the Mexican states of Guerrero and Oaxaca documents one of the world's great traditions of heroic song, a tradition that has thrived continuously for the last hundred years. The 107 corridos presented here, gathered during ethnographic research over a period of twenty-five years in settlements on Mexico's Costa Chica and Costa Grande, offer a window into the ethos of heroism among the cultures of Mexico's southwestern coast, a region that has been plagued by recurrent cycles of violence. John Holmes McDowell presents a richly annotated field collection of corridos, accompanied by musical scores and transcriptions and translations of lyrics. In addition to his interpretation of the corridos' depiction of violence and masculinity, McDowell situates the songs in historical and performance contexts, illuminating the Afro-mestizo influence in this distinctive population.
The Mexican Corrido
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"... well-written and well-documented landmark study... " --Choice "This book raises important ideological and esthetic questions about the interpretation of artistic and cultural manifestations in a given society."nbsp;--Hispanic American Historical Review "The present volume is provocative in direction and a refreshing addition to the extant literature on the Mexican #157;corrido genre." --American Ethnologist "[Herrera-Sobek's] refreshing approach to analyzing masculine attitudes toward the feminine as expressed in the Mexican #157;corrido is not only insightful but courageous." --Inez Cardozo-Freeman, Southern Folklore "... well-researched, insightful, clearly written, and well-illustrated study of a genre familiar in Hispanic culture." --Journal of the American Studies Association "... provides tantalizing insights into the inner workings and meanings of Mexico's favorite folk ballads..." --Journal of Third World Studies Challenging the stereotypical view of the passive Mexican/Chicana woman of the archetype, the author examines the portrayal of female figures in over three thousand #157;corridos or Mexican ballads and shows that in spite of long-dominant patriarchal ideology, the #157;corridos reveal the presence of self-confident women throughout Mexican history. Included are a discography, a detailed bibliography of #157;corrido collections, and several photographs of #157;soldaderas from the internationally famous Augustin Casasola collection.
Mariachi Music in America
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Mariachi Music in America is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around theworld. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visitwww.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.This unique volume provides an accessible introduction to the social, cultural, and economic conditions surrounding mariachi music in the United States. Large immigrations of Mexicans to the U.S., the power of the international recording industry, and the fluid travel of mariachi musicians betweenthe two countries have resulted in a strong base of musical continuity across the political border. Drawing on thirty-five years of personal performance experience and on interviews with leading mariachi musicians, author Daniel Sheehy offers first-hand perspectives on the music's stylisticcornerstones, aesthetic standards, social standing, and economic life. He explains how mariachi music is simultaneously a folk music rooted in more than 150 years of tradition, a commodity governed by market considerations, and a dynamic course of activity that has been shaped and expanded bymusical innovation and social meaning. The book focuses on the rising popularity of mariachi music amongst Mexican Americans--over the last twenty-five years, numerous mariachi festivals have become annual events in the U.S., a multitude of workshops and school programs have been developed, and morewomen have become involved in public mariachi performances. Mariachi Music in America is a captivating study that will interest students, aspiring performers, teachers, and aficionados alike.Enhanced by vivid photos and illustrations and first-hand accounts of musicians, organizers, and audiences, Mariachi Music in America is packaged with a 50-minute CD containing examples of the music discussed in the book. It also features guided listening and hands-on activities that encouragereaders to engage actively and critically with the music.
Esquivel! Space-Age Sound Artist
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Juan Garcia Esquivel was born in Mexico and grew up to the sounds of mariachi bands. He loved music and became a musical explorer. Defying convention, he created music that made people laugh and planted images in their minds. Juan's space-age lounge music-popular in the fifties and sixties-has found a new generation of listeners. And Duncan Tonatiuh's fresh and quirky illustrations bring Esquivel's spirit to life.
Feuille d'album : for guitar solo
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Música para charlar
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Estrellita: Mexican serenade for violin and piano
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Crossing Borders
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Max Baca is one of the foremost artists of Tex-Mex music, the infectious dance music sweeping through the Texas-Mexico borderlands since the 1940s. His Grammy-winning group, Los Texmaniacs, and his extensive work with the accordionist Flaco Jimmenez established the Albuquerque-born and San Antonio-based bajo sexto player/bandleader as a spokesperson for a too-often-maligned culture. The list of artists who have contributed to Los Texmaniacs' albums include Alejandro Escovedo, Joe Ely, Rick Trevino, Ray Benson of Asleep at the Wheel, David Hidalgo, Cesar Rosas, Steve Berlin of Los Lobos, and Lyle Lovett.Max Baca was born to play music. By his eighth birthday, he was already playing in his father's band. Polkas, redovas, corridos, boleros, chotises, huapangos, and waltzes were in his blood. Baca's music grew out of the harsh life of the borderland, and the duality of borderland music--its keening beauty--remains a recurring theme in everything he does.
Queen of Tejano Music: Selena
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"There's a lot of text in the book, but it's smartly framed within two-page spreads, and very little of it feels extraneous. ...A worthy picture-book primer on the Queen of Tejano music."-Kirkus Reviews This is a moving and impassioned picture book about the iconic Queen of Tejano music, Selena Quintanilla, that will embolden young readers to find their passion and make the impossible, possible! Selena Quintanilla's music career began at the age of nine when she started singing in her family's band. She went from using a hairbrush as a microphone to traveling from town to town to play gigs. But Selena faced a challenge: People said that she would never make it in Tejano music, which was dominated by male performers. Selena was determined to prove them wrong. Born and raised in Texas, Selena didn't know how to speak Spanish, but with the help of her dad, she learned to sing it. With songs written and composed by her older brother and the fun dance steps Selena created, her band, Selena Y Los Dinos, rose to stardom! A true trailblazer, her success in Tejano music and her crossover into mainstream American music opened the door for other Latinx entertainers, and she became an inspiration for Latina girls everywhere.
Selenidad
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An outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Pérez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels "Selenidad." She considers the performer's career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a "Latin explosion" in culture and commerce alongside a resurgence of anti-immigrant discourse and policy. Paredez argues that Selena's death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star's death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena's final concert, the controversy surrounding the memorial erected in the star's hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what "becoming" Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star's death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.
Interdisciplinary Subject Headings:
Music in Mexico
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The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances, and vivid illustrations to guide students throughmodern-day music practices. Applying three themes - ethnic identity, migration, and media influences - the text explores the music that Mexicans grow up listening to and shows how these traditions are the result of long-standing transnational dialogues. Packaged with a 40-minute audio CD containingmusical examples, the text features numerous listening activities that engage students with the music.Music in Mexico is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It setsthe stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present.Visit a href="http://www.us.oup.com/us/companion.websites/umbrella/globalmusic/?view=usa"www.oup.com/us/globalmusic/a for a list of case studies in the Global Music Series. The website also includes instructional material to accompany each study.
Narcocorrido
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In the first full-length exploration of the contemporary Mexican corrido, award-winning author Elijah Wald blends a travel narrative with his search for the roots of this unusual and controversial genre -- a modern outlaw music that blends the sensibilities of medieval ballads with the edgy grit of gangsta rap. While opening up a rich musical world, this book paints a picture of modern Mexican culture as it is seen by the people in the streets: raw and romantic, old fashioned and revolutionary, violent and poetic. Wald traveled through much of Mexico and the southwestern United States (mostly hitchhiking, with a guitar on his back) in order to find notorious corridistas. From international superstars sell millions of albums to rural singers documenting current events for their neighbors in the regions dominated by guerrilla war, Wald was able to visit these songwriters in their homes, trek up to mountain villages, explore the heartland of the Mexican drug traffic, and check out the scene in urban centers such as Los Angeles and Mexico City. The corrido genre is famous for its hard-bitten songs of drug traffickers and gunfights, and also functions as a sort of musical newspaper, singing of government corruption, the lives of immigrants in the United States, and the battles of the Zapatista rebellion in Chiapas. Since the days of the Mexican Revolution, corridos have been the musical voice of the poor and oppressed, but also a sensational actiongenre that has spawned dozens of his movies and has been attacked by conservative politiciana and anti-drug crusaders. Through largely unknown to English speakers, corridos top the Latin charts and dominate radio playlists both in the United States and points south. Wald illustrates the power of this music and the subculture it has created. He provides in-depth looks at the songwriters who have transformed groups like the awesomely popular Tigres del Norte into enduring superstars, as well as the younger artists who are carrying the corrido into the twentyfirst century. In searching for the poetry and social protest behind the gaudy lyrics of powerful drug lords, Wald shows how popular music can remain the voice and "newspaper" of a people, even in a modern world ripe with globalization, electronic media, and gangsters who ship cocaine in 747s.
Dissonant Divas in Chicana Music
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Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as "la onda"? These are the "dissonant divas" Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of "la onda." Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena's integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures' contributions by advancing a notion of musical dissonance--a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture. Incorporating ethnographic fieldwork, oral history, and archival research, Vargas's study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.
Between Norteño and Tejano Conjunto
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Between Norteño and Tejano Conjunto analyzes the origin, evolution, and dissemination of the norteño and tejano conjunto. This group represents a marginalized local identity that was transformed primarily into an identity of the northeast. It then gave way to the whole of northern México and the American Southwest, and was later assimilated internationally as a mainstream genre. This book provides a long-term historic vision of conjunto and the various musical forms it uses, such as polka, corrido, or canción (song), and, more recently, bolero and cumbia, as well as its transformations and contributions to other musical cultures.
Carlos Chávez and His World
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Carlos Chávez (1899-1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chávez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style--diatonic, dissonant, contrapuntal--addressed both modernity and Mexico's indigenous past. Chávez was also a governmental arts administrator, founder of major Mexican cultural institutions, and conductor and founder of the Orquesta Sinfónica de México. Carlos Chávez and His World brings together an international roster of leading scholars to delve into not only Chávez's music but also the history, art, and politics surrounding his life and work. Contributors explore Chávez's vast body of compositions, including his piano music, symphonies, violin concerto, late compositions, and Indianist music. They look at his connections with such artistic greats as Aaron Copland, Miguel Covarrubias, Henry Cowell, Silvestre Revueltas, and Paul Strand. The essays examine New York's modernist scene, Mexican symphonic music, portraits of Chávez by major Mexican artists of the period, including Diego Rivera and Rufino Tamayo, and Chávez's impact on El Colegio Nacional. A quantum leap in understanding Carlos Chávez and his milieu, this collection will stimulate further work in Latin American music and culture. The contributors are Ana R. Alonso-Minutti, Amy Bauer, Leon Botstein, David Brodbeck, Helen Delpar, Christina Taylor Gibson, Susana González Aktories, Anna Indych-López, Roberto Kolb-Neuhaus, James Krippner, Rebecca Levi, Ricardo Miranda, Julián Orbón, Howard Pollack, Leonora Saavedra, Antonio Saborit, Stephanie Stallings, and Luisa Vilar Payá. Bard Music Festival 2015: Carlos Chávez and His World Bard College August 7-9 and August 14-16, 2015
Agustin Lara
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Few Mexican musicians in the twentieth century achieved as much notoriety or had such an international impact as the popular singer and songwriter Agustin Lara (1897-1970). Widely known as "el flaco de oro" ("the Golden Skinny"), this remarkably thin fellow was prolific across the genres ofbolero, ballad, and folk. His most beloved "Granada", a song so enduring that it has been covered by the likes of Mario Lanza, Frank Sinatra, and Placido Domingo, is today a standard in the vocal repertory. However, there exists very little biographical literature on Lara in English.In Agustin Lara: A Cultural Biography, author Andrew Wood's informed and informative placement of Lara's work in a broader cultural context presents a rich and comprehensive reading of the life of this significant musical figure. Lara's career as a media celebrity as well as musician provides anexcellent window on Mexican society in the mid-twentieth century and on popular culture in Latin America. Wood also delves into Lara's music itself, bringing to light how the composer's work unites a number of important currents in Latin music of his day, particularly the bolero. With closemusicological focus and in-depth cultural analysis riding alongside the biographical narrative, Agustin Lara: A Cultural Biography is a welcome read to aficionados and performers of Latin American musics, as well as a valuable addition to the study of modern Mexican music and Latin American popularculture as a whole.
Maria Grever
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A comprehensive, interdisciplinary study of this prolific Mexican poet-composer of the early twentieth century. It analyzes in depth the relation of literature to music in twenty-five compositions. Also examined is Grever's development of a feminine voice and international career in the male-dominated music publishing world of New York and Mexico.
Streaming audio collection of sounds from around the world. Genres include reggae, Balkanic jazz, Bollywood, Arab swing and jazz, and other genres such as traditional music - fado, flamenco, klezmer, gagaku, and more.
This streaming audio database produced in partnership with Smithsonian Folkways Recordings, is a virtual encyclopedia of the world's musical and aural traditions.
A streaming audio database featuring a comprehensive collection of classical music. Search by composer, artist, label, and more. Includes guides on musical eras and other topical resources as well as videos of operas, interviews, masterclasses, lessons, performances, and ballets.
Bibliography on writings about music with some full-text articles. Covers traditional music, popular music, classical music, and more. Coverage from the early 19th century to present.
An encyclopedia about music all over the world.
Covers popular music of all genres and periods from 1900 to the present day, including jazz, country, folk, rap, reggae, techno, musicals, and world music.
Comprehensive coverage of music, musicians, music-making, and music scholarship. Search by instrument, era, region, and more.
An online language learning resource that covers over 70 languages. Courses are accessible from a web browser or app.
With more than 2 million images* (and growing), Artstor is a cross-disciplinary collection of rights-cleared images from around the world.
*Note: The number of images available varies by country due to copyright restrictions.
A multidisciplinary streaming video collection containing documentaries, films, interviews, music, news programs, and performances.
Find videos from specific series more easily with OneSearch.
Historical Latin American Newspapers published between 1805-1922.
A collection of government documents produced by the British Foreign and Colonial Offices (c1833-1969). Covers the whole of South and Central America, plus the non-British islands of the Caribbean, from just after the final Spanish withdrawal from mainland America in the 1820s to the height of the Cold War in the 1960s.
(1): "Toluca" by "Michael Mees"
(2): Location, Climate, Language, Religion, Flag, Capital (Mexico), in Europa World online. London, Routledge. University of Tennessee, Knoxville. Retrieved 11 January 2022 from http://www.europaworld.com/entry/mx.is.2
(3): Country Map (Mexico), in Europa World online. London, Routledge. University of Tennessee, Knoxville. Retrieved 11 January 2022 from http://www.europaworld.com/entry/mx.MAP
(4): Béhague, G., Stanford, E., & Chamorro, A. Mexico, United States of. Grove Music Online. Retrieved 12 Jan. 2022, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000018539.
Avila, Jacqueline. "Corrido." Grove Music Online. 16 Oct. 2013; Accessed 18 Oct. 2022. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002249156.
Britannica Academic, s.v. "Mexico," accessed October 19, 2022, https://academic.eb.com/levels/collegiate/article/Mexico/108719.
Clements-Cortés, Amy. (2019). Banda. In J. Sturman (Ed.), The SAGE international encyclopedia of music and culture (Vol. 1, pp. 324-325). SAGE Publications, Inc., https://dx.
Cortés, Carlos E. (2013). Tejanos. In Multicultural America: A multimedia encyclopedia (Vol. 1, pp. 2054-2055). SAGE Publications, Inc., https://dx.
Europa World Plus. "Mexico," accessed October 19, 2022, https://www.europaworld.com/country/Mexico?id=mx.
Salazar, Lauryn. (2019). Mariachi. In J. Sturman (Ed.), The SAGE international encyclopedia of music and culture (Vol. 1, pp. 1394-1395). SAGE Publications, Inc., https://dx.
Vidal, Mariana Mevans. (2019). Mexico: modern and contemporary performance practice. In J. Sturman (Ed.), The SAGE international encyclopedia of music and culture (Vol. 1, pp. 1443-1448). SAGE Publications, Inc., https://dx.
