MUS 337 Final Exam
"Aires Fandango" is an example of Mayapax music. - -T
- "El Son de la Negra" ("The Song of the Black Woman") is sometimes
referred to as the second national anthem of Mexico due to its traditional
and representative mariachi style. What type or style of mariachi music is
it? - -Son jalisciense
- "Himno Nacional" is important as a symbol in Mexico's construction of
nationhood. - -T
- "Últimas Variaciones para Piano" represents Mexico's: - -desire to
emulate fashionable European-style music.
ability to create music on par with other parts of the world.
stratification of social and economic classes.
- A 12-beat phrase divided into two groups of six beats with varying
accentuation sometimes felt in two, sometimes in three - -Sesquiáltera
- Adaptation of European violin and dance music, that helped rally
Mayas to rebellion - -Mayapax
- Allá en el Rancho Grande - -Jorge Negrete
- balada - -"El triste"
- Ballads narrating stories that became popular during the Mexican
Revolution - -Corridos
- banda - -Te quiero a morir"
- Bolero - -a Spanish dance characterized by sharp turns, stamping of
the feet, and sudden pauses in a position with one arm arched over the
head; also : music in 3⁄4 time for a bolero
- classical nationalistic music - -
- classical post-nationalistic music, - -
- colonial sacred music - -sang in Latin
- Conjunto and banda may be considered two major fundamental styles
in Mexican popular music. - -T
, - Contemporary topics of corridos include: - -U.S. immigration
Mexican work ethic
Drug trafficking
- Cora Ceramony song - -Nayarit, harvest, religious song
- Culture can be defined as all the things people use and create in daily
life, such as musical instruments, kitchen utensils, clothing, and written
documents. - -F
- Dance Elements - -body, effort, time, space.
- duranguense - -"El sube y baja"
- Dynamics - -Volume and articulation of sounds
- Emilio "El Indio" Fernández is regarded by many as the greatest of the
Mexican cinema directors of the golden era. - -T
- Female mariachi musicians from the film discussed what seemed to be
"unacceptable" instruments to play by those around them due to their
perception of being masculine. Two instruments deemed the most
masculine and least appropriate for women were the: - -trumpet and
guitarrón.
- Flor silvestre - -Lucha Reyes
- Form - -Underlying organizational structure of the sounds
- Genre of Mexican folk music distinguished by its strophic form and
lively choreography. Its first documented use surfaces in Veracruz in the
eighteenth century. - -Mexican son
- Guitar-like instrument with six double courses associated with
conjuntos norteños - -Bajo sexto
- Himno - -A wind band musical form used for sacred purposes,
translating to "hymn" or "anthem," which praises God in a religious
context, although is also used for nationalistic purposes in other contexts
- Hobsbawn's concept of inventing tradition refers to creating cultural
memory through selective reinterpretation. - -T
- How do the original mariachi groups of the countryside compare with
the modern mariachi groups of the city? - -The instrumentation, attire,
and methods of learning have changed noticeably.
"Aires Fandango" is an example of Mayapax music. - -T
- "El Son de la Negra" ("The Song of the Black Woman") is sometimes
referred to as the second national anthem of Mexico due to its traditional
and representative mariachi style. What type or style of mariachi music is
it? - -Son jalisciense
- "Himno Nacional" is important as a symbol in Mexico's construction of
nationhood. - -T
- "Últimas Variaciones para Piano" represents Mexico's: - -desire to
emulate fashionable European-style music.
ability to create music on par with other parts of the world.
stratification of social and economic classes.
- A 12-beat phrase divided into two groups of six beats with varying
accentuation sometimes felt in two, sometimes in three - -Sesquiáltera
- Adaptation of European violin and dance music, that helped rally
Mayas to rebellion - -Mayapax
- Allá en el Rancho Grande - -Jorge Negrete
- balada - -"El triste"
- Ballads narrating stories that became popular during the Mexican
Revolution - -Corridos
- banda - -Te quiero a morir"
- Bolero - -a Spanish dance characterized by sharp turns, stamping of
the feet, and sudden pauses in a position with one arm arched over the
head; also : music in 3⁄4 time for a bolero
- classical nationalistic music - -
- classical post-nationalistic music, - -
- colonial sacred music - -sang in Latin
- Conjunto and banda may be considered two major fundamental styles
in Mexican popular music. - -T
, - Contemporary topics of corridos include: - -U.S. immigration
Mexican work ethic
Drug trafficking
- Cora Ceramony song - -Nayarit, harvest, religious song
- Culture can be defined as all the things people use and create in daily
life, such as musical instruments, kitchen utensils, clothing, and written
documents. - -F
- Dance Elements - -body, effort, time, space.
- duranguense - -"El sube y baja"
- Dynamics - -Volume and articulation of sounds
- Emilio "El Indio" Fernández is regarded by many as the greatest of the
Mexican cinema directors of the golden era. - -T
- Female mariachi musicians from the film discussed what seemed to be
"unacceptable" instruments to play by those around them due to their
perception of being masculine. Two instruments deemed the most
masculine and least appropriate for women were the: - -trumpet and
guitarrón.
- Flor silvestre - -Lucha Reyes
- Form - -Underlying organizational structure of the sounds
- Genre of Mexican folk music distinguished by its strophic form and
lively choreography. Its first documented use surfaces in Veracruz in the
eighteenth century. - -Mexican son
- Guitar-like instrument with six double courses associated with
conjuntos norteños - -Bajo sexto
- Himno - -A wind band musical form used for sacred purposes,
translating to "hymn" or "anthem," which praises God in a religious
context, although is also used for nationalistic purposes in other contexts
- Hobsbawn's concept of inventing tradition refers to creating cultural
memory through selective reinterpretation. - -T
- How do the original mariachi groups of the countryside compare with
the modern mariachi groups of the city? - -The instrumentation, attire,
and methods of learning have changed noticeably.
