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University of Houston Series in Mexican American Studies, Sponsored by the Center for Mexican American Studies: Musica Tejana : The Cultural Ecomomy of Artistic Transformation by Manuel Pena (1999, Trade Paperback)

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Number of Pages: 256. Weight: 1 lbs. Publication Date: 1999-04-01. Publisher: TEXAS A & M UNIV PR.

About this product

Product Identifiers

PublisherTexas A&M University Press

ISBN-100890968888

ISBN-139780890968888

eBay Product ID (ePID)1012420

Product Key Features

Number of Pages224 Pages

LanguageEnglish

Publication NameMusica Tejana : the Cultural Ecomomy of Artistic Transformation

Publication Year1999

SubjectEthnic Studies / Hispanic American Studies, Genres & Styles / Latin

TypeTextbook

Subject AreaMusic, Social Science

AuthorManuel Pena

SeriesUniversity of Houston Series in Mexican American Studies, Sponsored by the Center for Mexican American Studies

FormatTrade Paperback

Dimensions

Item Height0.7 in

Item Weight14.6 Oz

Item Length9.3 in

Item Width6.1 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN98-047951

Dewey Edition21

Series Volume Number1

IllustratedYes

Dewey Decimal781.64/089/68720764

SynopsisTexas-Mexican music, or música tejana , is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido , canción , and what author Manuel Peña calls the canción-corrido . Música tejana also includes two major regional ensembles and their styles--the conjunto and the Texas-Mexican version of the orquesta . A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of música tejana. Despite their diversity, these various ensembles, genres, and styles share two fundamental characteristics: they are all homegrown, and they all speak after their own fashion to fundamental social processes shaping Texas-Mexican society. As Peña persuasively argues, they represent a transforming cultural economy and its effects on Texas-Mexicans. Peña traces the history of música tejana from the fandangos and bailes of the nineteenth century through the canción ranchera and the politically informed corrido to the most recent forms of Tejano music. In the beginning, he argues, musicmaking was a function of "use-value"--its symbolic power linked to the social processes of which it was an organic part. As música tejana was swept into the commercial market, it added a second, less culturally grounded dimension--"exchange-value"--whereby it came under the culturally weakening influence of the commercial market. Since the 1940s, the music has oscillated between the extremes of use- and exchange-value, though it has never lost its power to speak to issues of identity, difference, and social change. Música Tejana thus gives not only a detailed overview of música tejana but also analyzes the social and economic implications of the music. The breadth, depth, and clarity with which Peña has treated this subject make this a most useful text for those interested in ethnomusicology, folklore, ethnic studies, and Mexican American culture., Traces the history of musica tejana from the fandangos and bailes of the nineteenth century through the cancion ranchera and the politically informed., Texas-Mexican music, or música tejana, is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido, canción, and what author Manuel Peña calls the canción-corrido. Música tejana also includes two major regional ensembles and their styles-the conjunto and the Texas-Mexican version of the orquesta. A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of música tejana. Despite their diversity, these various ensembles, genres, and styles share two fundamental characteristics: they are all homegrown, and they all speak after their own fashion to fundamental social processes shaping Texas-Mexican society. As Peña persuasively argues, they represent a transforming cultural economy and its effects on Texas-Mexicans. Peña traces the history of música tejana from the fandangos and bailes of the nineteenth century through the canción ranchera and the politically informed corrido to the most recent forms of Tejano music. In the beginning, he argues, musicmaking was a function of "use-value"-its symbolic power linked to the social processes of which it was an organic part. As música tejana was swept into the commercial market, it added a second, less culturally grounded dimension-"exchange-value"-whereby it came under the culturally weakening influence of the commercial market. Since the 1940s, the music has oscillated between the extremes of use- and exchange-value, though it has never lost its power to speak to issues of identity, difference, and social change. Música Tejana thus gives not only a detailed overview of música tejana but also analyzes the social and economic implications of the music. The breadth, depth, and clarity with which Peña has treated this subject make this a most useful text for those interested in ethnomusicology, folklore, ethnic studies, and Mexican American culture. Manuel Peña, who received his Ph.D. in ethnomusicology and folklore from the University of Texas, has been a professor of anthropology and music at the University of Texas at Austin and California State University, Fresno. He is the author of The Texas-Mexican Conjunto: History of a Working-Class Music and The Mexican American Orquesta: Music, Culture, and the Dialectic of Conflict., Texas-Mexican music, or m sica tejana , is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido , canci n , and what author Manuel Pe a calls the canci n-corrido . M sica tejana also includes two major regional ensembles and their styles--the conjunto and the Texas-Mexican version of the orquesta . A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of m sica tejana. Despite their diversity, these various ensembles, genres, and styles share two fundamental characteristics: they are all homegrown, and they all speak after their own fashion to fundamental social processes shaping Texas-Mexican society. As Pe a persuasively argues, they represent a transforming cultural economy and its effects on Texas-Mexicans. Pe a traces the history of m sica tejana from the fandangos and bailes of the nineteenth century through the canci n ranchera and the politically informed corrido to the most recent forms of Tejano music. In the beginning, he argues, musicmaking was a function of "use-value"--its symbolic power linked to the social processes of which it was an organic part. As m sica tejana was swept into the commercial market, it added a second, less culturally grounded dimension--"exchange-value"--whereby it came under the culturally weakening influence of the commercial market. Since the 1940s, the music has oscillated between the extremes of use- and exchange-value, though it has never lost its power to speak to issues of identity, difference, and social change. M sica Tejana thus gives not only a detailed overview of m sica tejana but also analyzes the social and economic implications of the music. The breadth, depth, and clarity with which Pe a has treated this subject make this a most useful text for those interested in ethnomusicology, folklore, ethnic studies, and Mexican American culture.

LC Classification NumberML3481.P45 1999