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Journal articles on the topic 'Songs, mexican'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Romero-Herrera, Claudia, and Lorena Oliva. "Mexicano Flores." Studies in Musical Theatre 18, no. 3 (2024): 319–30. https://doi.org/10.1386/smt_00176_7.

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Mexicano Flores is a musical about the real-life trial and execution of Miguel Ángel Flores, an undocumented Mexican in Texas, who murders Angela, a US citizen. Both the victim and perpetrator aspired to be singers, but ended up bloodied in a car after a deplorable femicide. The musical also reflects on the 2000 US presidential elections, which coincided with the vote that sealed Miguel’s execution. Influenced by both Brecht and Broadway, Mexicano Flores features a traditional Mexican lullaby and nine original songs by Lorena Oliva and Claudia Romero Herrera, orchestrated in the 1980s and 1990

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French, Lydia A. "Woman Hollering Creek a Través de la Música." Aztlán: A Journal of Chicano Studies 36, no. 1 (2011): 99–127. http://dx.doi.org/10.1525/azt.2011.36.1.99.

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This essay intervenes in contemporary scholarship on Sandra Cisneros’s Woman Hollering Creek (1991) by examining the canciones she uses as epigraphs and their relationship to the multiple nationalisms that Chicana/os actively negotiate. I argue that Cisneros’s decision to include powerfully nationalist Mexican canción traditions directs the reader-listener to the role that mexicanidad plays in the collection’s stories and in Chicana/o nationalism and identity more generally. This examination of the songs reveals Cisneros’s critique of a wholesale adoption of discourses of Mexico that depict me

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3

Welizarowicz, Grzegorz. "Feel Like a Gringo: Transnational Consciousness in Los Angeles Punk Rock Songs." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 55–73. http://dx.doi.org/10.7311/pjas.12/1/2018.05.

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The essay analyzes four songs from the catalogue of the Los Angeles punk rock scene of the late 1970s and early 1980s. It is argued that the songs, written in response to the reality of the life in Los Angeles and in the Mexican-American borderlands, are expressive of transnational consciousness. Interpreted in this way, the songs are revealed as embodying the processes of distancing and then readjusting of oneself in relation to the dominant narrative of the US Nation and hence embody the idea of cosmopolitanization. The first two songs are by Chicano artists and express transnational anxieti

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Stallings, Stephanie N. "Aesthetic Wit(h)nessing in Anti-lynching Songs by Silvestre Revueltas and Carlos Chávez." Journal of the American Musicological Society 76, no. 2 (2023): 463–501. http://dx.doi.org/10.1525/jams.2023.76.2.463.

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Abstract Mexican composers Silvestre Revueltas and Carlos Chávez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers’ divergent experiences in the United States—Chávez’s relative proximity to establishment structures of power a

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MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu

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Garcia, Peter J. "The New Mexican Early Ballad Tradition: Reconsidering the New Mexican Folklorists' Contribution to Songs of Intercultural Conflict." Latin American Music Review / Revista de Música Latinoamericana 17, no. 2 (1996): 150. http://dx.doi.org/10.2307/780348.

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Santiago-Ruiz, Eduardo. "History of poetry in Mexican textbooks." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 39 (January 28, 2024): 7–36. http://dx.doi.org/10.17398/1988-8430.39.7.

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This article aims to analyze the evolution of the use of poetry in Mexican primary level textbooks. The analyzed corpus consisted of the books with the most significant changes, those from 1962, 1972, and 2008, for a total of 35 books. The main results indicate that the role of poetry in textbooks has changed considerably in response to different educational, cultural, and political conceptions. The 1962 books mainly feature acclaimed Romantic and Modernist writers and have a strong interest in promoting patriotic and moral values. The 1972 books lean towards Mexican folk lyricism and have a m

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8

Rodriguez, Iliana Yamileth. "Listening to el Southside: Kap G’s Southern Mexicanidad." Labor 16, no. 3 (2019): 95–101. http://dx.doi.org/10.1215/15476715-7569878.

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As part of the New Directions of the Latina/o South forum, this essay centers southern Latina/o cultural productions to examine practices of representation through Kap G’s rap texts. As the first popular Mexican American rapper from Atlanta, Georgia, Kap G lyrically and visually works to represent a southern Mexicanidad through his songs, music videos, and interviews. His work illustrates a second-generation identification with migrant struggles around issues of (im)migration, (il)legality, and labor.

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Cannings, Richard J. "Songs of Two Mexican Populations of the Western Flycatcher Empidonax difficilis Complex." Condor 94, no. 3 (1992): 785–87. http://dx.doi.org/10.2307/1369267.

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KIRSCHEL, ALEXANDER N. G., DENT A. EARL, YUAN YAO, et al. "USING SONGS TO IDENTIFY INDIVIDUAL MEXICAN ANTTHRUSHFORMICARIUS MONILIGER:COMPARISON OF FOUR CLASSIFICATION METHODS." Bioacoustics 19, no. 1-2 (2009): 1–20. http://dx.doi.org/10.1080/09524622.2009.9753612.

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11

Montoya, Maria E., and Patricia Preciado Martin. "Songs My Mother Sang to Me: An Oral History of Mexican American Women." Western Historical Quarterly 24, no. 3 (1993): 401. http://dx.doi.org/10.2307/970765.

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Ibarraran-Bigalondo, Amaia. "African-American and Mexican-American protest songs in the 20th century: Some examples." Journal of Popular Music Studies 29, no. 2 (2017): e12211. http://dx.doi.org/10.1111/jpms.12211.

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Cuello, Jose, and Patricia Preciado Martin. "Songs My Mother Sang to Me: An Oral History of Mexican American Women." Hispanic American Historical Review 74, no. 4 (1994): 756. http://dx.doi.org/10.2307/2517548.

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Cuello, José. "Songs My Mother Sang to Me: An Oral History of Mexican American Women." Hispanic American Historical Review 74, no. 4 (1994): 756–57. http://dx.doi.org/10.1215/00182168-74.4.756.

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Juan, Carlos Ramírez-Pimienta. "Narcocorrido y neomelódico: un esbozo comparativo de los cantos al crimen en México y en Italia." Música Oral del Sur, no. 19 (December 30, 2022): 137–58. https://doi.org/10.5281/zenodo.7560352.

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Starting in the early eighties of the last century, a type of song called neomelodico began to emerge in the south of Italy. Neomelodico included among its corpus lyrics that dealt with organized crime in Naples, that spoke of Camorra and that did so in panegyric terms. Namely, the Camorra is to Naples what Cosa Nostra is to Sicily and Ndgrangheta is to Calabria. In other words, they are, to use another Italian word, the mafias or criminal organizations of their respective regions. In a similar fashion, since the second decade of the last century, a tradition of corridos has developed on the M

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Torres Osuna, Cristian Daniel. "Discurso sobre la migración en canciones norteñas mexicanas: “Ilegal” y “La casita”, relatos de dificultades y resiliencia." RIEM. Revista internacional de estudios migratorios 14, no. 2 (2025): 95–120. https://doi.org/10.25115/riem.v14i2.9990.

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On numerous occasions, different scientific currents have discussed human mobility, highlighting its characteristics, roots, conflicts and future perspectives. As a result, the data bank obtained from extensive field studies has provided fundamental analyzes for its understanding from the social sciences. In this academic delivery, we will try to strengthen the object of study, examining its relationship with the migrants described in the speeches of two northern Mexican songs with great popularity on the YouTube platform. Musical themes transmit symbolic discursive content that generates and

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de los RÍOS, CATI V. "“Los Músicos”: Mexican Corridos, the Aural Border, and the Evocative Musical Renderings of Transnational Youth." Harvard Educational Review 89, no. 2 (2019): 177–200. http://dx.doi.org/10.17763/1943-5045-89.2.177.

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In this research article, Cati V. de los Ríos examines US-Mexican transnational youths' engagement with the Mexican musical genre corridos, border folk ballads, and its subgenre, narcocorridos, folk ballads that illuminate elements of the drug trade and often glamorize drug cartels. She draws from ethnographic methods to present empirical knowledge of four young musicians' critical readings of these genres and their place-making and community-binding practices across their public high school. She demonstrates how these transnational youth draw from their communicative practices to construct me

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Solís Carrillo, Luis Juan, and Alma Leticia Ferado García. "A Subverted Eden, López Velarde’s Jerez: A Past, and Present, Disaster." University of Bucharest Review Literary and Cultural Studies Series 12, no. 1 (2022): 66–78. http://dx.doi.org/10.31178/ubr.12.1.4.

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The year 1910 marks the beginning of a civil war that ravaged Mexico for the next seven years, leaving an estimated death toll of well over a million. This conflict, known to Mexicans as ‘La Revolución’, gave rise to a vast literary output encompassing both oral and written genres. The former in the countless ‘corridos’, songs whose lyrics cover the whole gamut of actions, from the heroic patriotism of the caudillos to the savagery and sacrifice endured by the population. For its part, the written genre played a pivotal role in modern Mexican letters, in the form of what critics call ‘Novela d

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Calvillo, Verónica. "Mexican Immigrants’ Perceptions and Attitudes: Evidence from Popular Songs of the Bracero Program Era." Diálogo 19, no. 2 (2016): 49–62. http://dx.doi.org/10.1353/dlg.2016.0055.

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MacGregor-Villarreal, Mary, and John O. West. "Mexican-American Folklore: Legends, Songs, Festivals, Proverbs, Crafts, Tales of Saints, of Revolutionaries, and More." Western Folklore 50, no. 4 (1991): 438. http://dx.doi.org/10.2307/1499680.

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KIRSCHEL, ALEXANDER N. G., MARTIN L. CODY, ZACHARY T. HARLOW, VASILIS J. PROMPONAS, EDGAR E. VALLEJO, and CHARLES E. TAYLOR. "Territorial dynamics of Mexican Ant-thrushes Formicarius moniliger revealed by individual recognition of their songs." Ibis 153, no. 2 (2011): 255–68. http://dx.doi.org/10.1111/j.1474-919x.2011.01102.x.

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Bieletto-Bueno, Natalia. "‘La voz del pueblo y para el pueblo’ Amparo Ochoa’s vocal trajectory: From the Mexican Revolution to the Latin American Cold War." Journal of Interdisciplinary Voice Studies 5, no. 1 (2020): 9–28. http://dx.doi.org/10.1386/jivs_00013_1.

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Amparo Ochoa (29 September 1946‐7 February 1994) is widely acclaimed as one the most outstanding and versatile performers of the Mexican Canto Nuevo movement. The sympathy that Amparo Ochoa awoke among Mexican and Latin American audiences has been tacitly attributed to a sort of natural charm. Therefore, a supposedly ‘popular’ character within her voice has been substantiated as a result of the political message of the songs she interpreted as well as of the forums where she publicly appeared. Complementing the reiterative focus on either the political context or the discursive elements of the

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Ramos Godínez, Margarita. "María Herrera-Sobek: from ballads and corridos to film studies." Verbum et Lingua, no. 4 (June 30, 2014): 123–28. http://dx.doi.org/10.32870/vel.vi4.38.

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entrevistaDr. María Herrera-Sobek is a Professor and Associate Vice- Chancellor for Diversity, Equity, and Academic Policy at the Chican@1 Studies Department in the University of California, Santa Barbara. She has written numerous articles and books related to her research area: corridos, songs and ballads as discourse that portrays Mexican-American culture. In addition, she has participated in filming documentaries. Above all, she has had a very active role in pro of the Chican@ studies worldwide. We had the opportunity to interview her when she participated in the Third Biennial Conference o

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Sánchez, José, and Arthur Soto-Vázquez. "The Rock Music scene on the US/Mexico border:." Revista Panamericana de Comunicación 4, no. 2 (2022): 75–86. http://dx.doi.org/10.21555/revistapanamericanadecomunicacin.v4i2.2707.

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This study addresses how rock music integrated into the local culture of a region where the dominant music genres were Tejano and other Mexican-inﬂuenced forms. Using a series of in-depth, qualitative interviews with long-practicing musicians, we discuss how rock was shaped and melded into local customs and practices. Musicians discussed being ﬂexible in their live performances, playing British invasion songs right after a corrido, being pushed to the margins, and performing at ranches outside the city limits when clubs would not feature them. Nevertheless, the local rock music scene developed

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Nereida, Loera Salcedo. "Corrido de narcotráfico en México, entre la tradición y el mercado." Música Oral del Sur, no. 18 (December 31, 2021): 125–43. https://doi.org/10.5281/zenodo.6365094.

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The corrido is The corrido is a long-standing tradition in Mexico. Although its origins are uncertain, it is recognized as an element of cultural and social identity. Since its inception, the corrido has been characterized as a means of information transmission and a spokesperson for the problems, movements and social struggles that have been experienced in the different regions of the country. Therefore, it has wide social recognition and acceptance. This music particularities of narrating everyday difficulties caused the emergence of songs referring to drug trafficking, a social problem that

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Larson, Arthur. "Wheeler & Becker, Discovering The American Past - A Look At The Evidence." Teaching History: A Journal of Methods 17, no. 1 (1992): 30–31. http://dx.doi.org/10.33043/th.17.1.30-31.

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This work is offered as a supplemental book for survey courses in American history. In the preface, the authors state that they believe their "doing history" approach effective for "seminars, small classes, and large lecture classes with discussion sections." Eleven episodes are presented for analysis: early explorer-Indian contacts, the religious trial of Anne Hutchinson in Massachusetts Bay (1637), a demographic study of social trends in the Massachusetts Bay colony, eye-witness accounts of the "Boston Massacre," the 1794 congressional election in Philadelphia, debates on manhood suffrage in

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Mendoza, Vicente T. "A Treasury of Mexican Folkways. The Customs, Myths, Folklore, Traditions, Beliefs, Fiestas, Danzas and Songs, de Frances Toor." Anales del Instituto de Investigaciones Estéticas 5, no. 17 (2012): 83. http://dx.doi.org/10.22201/iie.18703062e.1949.17.480.

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Cerchio, Salvatore, Jeff K. Jacobsen, and Thomas F. Norris. "Temporal and geographical variation in songs of humpback whales, Megaptera novaeangliae: synchronous change in Hawaiian and Mexican breeding assemblages." Animal Behaviour 62, no. 2 (2001): 313–29. http://dx.doi.org/10.1006/anbe.2001.1747.

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Domínguez Núñez, Martín Cuitzeo. "A Cybercartographic Atlas of the Sky: Cybercartography, Interdisciplinary and Collaborative Work among the Pa Ipai Indigenous Families from Baja California, Mexico." ISPRS International Journal of Geo-Information 11, no. 3 (2022): 167. http://dx.doi.org/10.3390/ijgi11030167.

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In this article, I discuss how sky mapping was carried out among the Pa Ipai peoples from Baja California in Mexico. This mapping was elaborated through an interdisciplinary study that combined cybercartography, ethnography, cultural astronomy, semiotics, and collaborative work. The central argument of the article focuses on how the cybercartographic sky atlas of the Pa Ipai people responded to the situation and social problems of these communities. Some of these problems are extreme poverty, violence, and conflicts with the Mexican state and the academic world. In this context, the atlas and

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Chinn, Sarah E. "“No Heart for Human Pity”: The U.S.–Mexican War, Depersonalization, and Power in E. D. E. N. Southworth and María Amparo Ruiz de Burton." Prospects 30 (October 2005): 339–62. http://dx.doi.org/10.1017/s0361233300002076.

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Despite its Current Obscurity today, overshadowed by higher-voltage conflicts such as the Civil War and World War II, the U.S.–Mexican War was an almost unqualified triumph for the United States. In terms of military and geopolitical goals, the United States far exceeded even its own expectations. As well as scoring some pretty impressive victories, up to and including storming Mexico City, the United States succeeded in the treaty of Guadalupe Hidalgo, which concluded the war, to annex huge tracts of land from Mexico for what was even then a bargain-basement price: more than half of Mexico's

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Diaz-Mendoza, María Antonia, Emiro De-La-Hoz-Franco, Jorge Eliecer Gómez Gómez, and Raúl Ramírez-Velarde. "An Ontological Model for the Representation of Vallenato as Cultural Heritage in a Context-Aware System." Heritage 6, no. 8 (2023): 5648–71. http://dx.doi.org/10.3390/heritage6080297.

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The traditional Colombian vallenato was declared Intangible Cultural Heritage of Humanity by UNESCO on 1 December 2015 with urgency for it to be safeguarded, which led the government of Colombia in the head of the Ministry of Culture and the vallenato music cluster to develop a safeguarding plan that contains different activities, among which stands out a platform for the management of vallenato through educational processes. In this sense, this document proposes an ontological model for the representation of vallenato as cultural heritage in a context-aware system called Vallenatic. The ontol

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Martinez-Cruz, Paloma. "Mapping the Burrito Circuit." Aztlán: A Journal of Chicano Studies 43, no. 2 (2018): 77–101. http://dx.doi.org/10.1525/azt.2018.43.2.77.

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Formed in 2002 in Los Angeles, the Aggrolites contribute to the Chicano reggae and ska revival scene while maintaining fi delity to the Chicano power soundscapes that gained cohesion along the “Burrito Circuit.” This essay defi nes the Burrito Circuit based on interviews, an analysis of three representative Aggrolites songs, and album cover art that reflects the early Chicano movement’s visual representations of cultural affirmation. Featuring bands such as Thee Midniters, the Premiers, Tierra, and Los Lobos, the Burrito Circuit helped develop a nonrepresentational stylistic influence that exp

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Héau Lambert, Catherine. "Los narcocorridos: ¿incitación a la violencia o despertar de viejos demonios? (Una reflexión acerca de los comentarios de narco-corridos en Youtube)." Revista Trace, no. 57 (July 9, 2018): 99. http://dx.doi.org/10.22134/trace.57.2010.387.

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No se estudian aquí las letras violentas de las canciones, sino el espacio “detonador” o “liberador” de agresividad y violencia constituido por los espacios de intercomunicación en internet. Queda claro que la violencia/agresividad no se origina en las canciones, sino que las canciones puestas en un espacio de expresión libre en internet provocan una catarsis social que revela mucha miseria humana: sentimiento de inferioridad, soledad y rabia que se expresan en un seudonacionalismo y un machismo exacerbados, en la idealización y sobrevaloración del lugar de origen, en la homofobia (como insult

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Anderson, Richard L. "Art in Flux: Songs, Poems, and Pots: In Township Tonight: South Africa's Black City Music and Theater ; Cleaned the Crocodile's Teeth: Nuer Song ; The Pottery of Acatlan: A Changing Mexican Tradition." Anthropology Humanism Quarterly 11, no. 4 (1986): 106–8. http://dx.doi.org/10.1525/ahu.1986.11.4.106.

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Voisine, Alex. "Cogiendo en luto." Resonance: The Journal of Sound and Culture 4, no. 3 (2023): 275–99. http://dx.doi.org/10.1525/res.2023.4.3.275.

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Chavela Vargas is widely known for her unique approach to some of México’s most celebrated musical genres. Though undoubtedly a queer icon within and outside of México, critical scholarship has only recently begun to focus on the way her queer migrant subjectivity and marimacho voice, persona, and performances reinvent Mexican sonic history and interpellate listeners queerly. Importantly, her aching vocals and tragic life story coexist with pulsating sexual energy. In this essay I argue that Chavela inaugurates a postmortem politics in which grief and the erotic are held together, instead of s

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Freire-Soria, Carlos, Carlos Andrade-Bayona, and Jannet Alvarado-Delgado. "Análisis literario y formal estructural de cuatro canciones populares de Cuenca-Ecuador, representativas de los años sesenta del siglo XX." South American Research Journal 1, no. 1 (2021): 41–55. https://doi.org/10.5281/zenodo.5034830.

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<strong>RESUMEN</strong> Se realiza un análisis literario y formal estructural de cuatro canciones populares de Cuenca-Ecuador, representativas de los años sesenta del siglo XX, que tuvieron gran difusión en las radios cuencanas de la época. Para el efecto, se aplica una propuesta metodológica que aborda el objeto de estudio desde los niveles poético, semiótico, temático e ideológico. A su vez, se aplica un análisis formal estructural a aspectos como la melodía, armonía y ritmo. Se concluye que las baladas <em>

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Raquel, Paraíso. "Re-contextualizing Traditions and the Construction of Social Identities through Music and Dance: A Fandango in Huetamo, Michoacán Re-contextualizar Tradiciones y la construcción de identidades sociales a través de Música y Danza: Un fandango en Huetamo, Michoacán." Música Oral del Sur, no. 12 (November 24, 2015): 445–62. https://doi.org/10.5281/zenodo.4638595.

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Resumen: Desde la década de 1920, el gobierno postrevolucionario mexicano apoyó a intelectuales y artistas para que llevaran a cabo la tarea de encontrar, describir y catalogar distintas expresiones de la cultura popular. Música, baile y poesía fueron algunas de las expresiones que sufrieron un proceso de selección y descontextualización en ese afán gubernamental de crear expresiones regionales típicas que representaran un México y una identidad mexicana determinada, lo cual dio como resultado una invisibilización de la dive

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Martinson, Karen Jean, and Julia E. Chacón. "Crossing Collaborative Borders: The Making and Becoming of ÓRALE! by David Herrera Performance Company and El Vez, the Mexican Elvis." Theatre Survey 65, no. 3 (2024): 158–84. http://dx.doi.org/10.1017/s0040557424000292.

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Your time has come to flyYou have no borders—El Vez, “Órale,” sung to the tune of “Bridge over Troubled Waters”With brightly colored papel picado (cut paper banners), tissue flowers, and Latin American flags festooning the performance area at San Francisco's Z Space, David Herrera Performance Company's September 2023 event, ÓRALE!, promised fun and festivity. On its surface, the performance resembled a typical dance program, with an ensemble of ten dancers performing eleven separate pieces choreographed to songs from the catalog of El Vez, the Mexican Elvis, but an exciting hybrid form of move

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Korsunovskaya, Olga S., and Rustem D. Zhantiev. "Acoustic and vibrational signaling in true katydid Nesoecia nigrispina: three means of sound production in one species." PeerJ 10 (July 14, 2022): e13749. http://dx.doi.org/10.7717/peerj.13749.

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The males of Mexican katydids Nesoecia nigrispina (Stal, 1873) produce calling songs and protest sounds using the typical stridulatory apparatus, situated, as in most of the other Ensifera, at the bases of the tegmina. It includes a stridulatory file on the upper tegmen and a plectrum on the lower one. The calling sounds, which are of two types (fast and slow), are two-syllabic series, with a repetition rate fluctuate within 3–4.5 s−1 (fast) and 1.2–2 s−1 (slow). After tactile stimulation, males produce protest signals in the form of short trills of uniform syllable duration. The syllable repe

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Candelaria, Lorenzo. "Bernardino de Sahagún's Psalmodia Christiana:." Journal of the American Musicological Society 67, no. 3 (2014): 619–84. http://dx.doi.org/10.1525/jams.2014.67.3.619.

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In Mexico City, 1583, Pedro Ocharte published the first book of vernacular sacred song in the Americas—the Psalmodia Christiana (Christian Psalmody) by Bernardino de Sahagún, a Spanish missionary of the Franciscan Order. Sahagún composed his book of 333 songs in the Nahuatl language during the second half of the sixteenth century to promote the formation of Catholic Mexica (better known as “Aztec”) communities in the central valley of Mexico. Well-received in its day as a primer on tenets of the Catholic faith, the life of Christ, and the virtues of the saints, it was denounced before the Inqu

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Taggart, James M., and John Bierhorst. "Cantares Mexicanos: Songs of the Aztecs." Journal of American Folklore 99, no. 394 (1986): 483. http://dx.doi.org/10.2307/540060.

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Karttunen, Frances, and John Bierhorst. "Cantares mexicanos: Songs of the Aztecs." Language 63, no. 2 (1987): 442. http://dx.doi.org/10.2307/415694.

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Cline, S. L., and John Bierhorst. "Cantares mexicanos: Songs of the Aztecs." Hispanic American Historical Review 66, no. 4 (1986): 786. http://dx.doi.org/10.2307/2515089.

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Evers, Larry. "Cantares Mexicanos: Songs of the Aztecs." Western American Literature 22, no. 1 (1987): 62–63. http://dx.doi.org/10.1353/wal.1987.0022.

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Maurer, Joseph. "“Now We're Actually Playing Music”: Sones and Parental Transformation in Mexican Chicago." Ethnomusicology 67, no. 2 (2023): 243–74. http://dx.doi.org/10.5406/21567417.67.2.07.

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Abstract The US-based revival of Mexican sones has received increased scholarly attention in the past two decades, primarily focused on the music's capacity for community formation and political activism among young adults. This article examines a different side of the son revival: parents and young children at a recently established Mexican Music School in Chicago. This type of institution—nongovernmental, but more formalized than traditional community transmission—is proliferating across many ethnic communities and musical traditions in US cities. This article shows how such programs can hav

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Lawrence, Elizabeth, Stefanie Mollborn, and Fernando Riosmena. "Early Childhood Disadvantage for Sons of Mexican Immigrants." American Journal of Health Promotion 30, no. 7 (2015): 545–53. http://dx.doi.org/10.4278/ajhp.140725-quan-366.

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Miranda, M. L. "The Bear and His Sons: Masculinity in Spanish and Mexican Folktales:The Bear and His Sons: Masculinity in Spanish and Mexican Folktales." American Anthropologist 100, no. 1 (1998): 227–28. http://dx.doi.org/10.1525/aa.1998.100.1.227.

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Booth, William A. "Sons of the Mexican Revolution - by Alexander, Ryan M." Bulletin of Latin American Research 37, no. 4 (2018): 523–24. http://dx.doi.org/10.1111/blar.12873.

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Mercado Villalobos, Alejandro. "La modernización de la banda de alientos mexicana y su incursión en los inicios de la industria del fonógrafo." Estudios de Historia Moderna y Contemporánea de México, no. 66 (June 22, 2023): 123–51. http://dx.doi.org/10.22201/iih.24485004e.2023.66.77822.

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En el artículo se analiza el surgimiento y consolidación de las bandas de alientos mexicanas, haciendo evidente el tránsito de las músicas de armonía de antecedentes virreinales, a las modernas músicas conformadas por instrumentos técnicamente perfeccionados. Se parte de la idea de que ese particular conjunto musical fue fundamental en el propio desarrollo cultural de la sociedad mexicana decimonónica, ya sea por la ejecución de repertorio europeo siguiendo la herencia hispana o incorporando himnos y marchas, sones y canciones, que favorecían la construcción del nacionalismo musical y, con ell

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Blanco-García, Arturo. "Metáforas conceptuales en canciones de desamor: los casos de Music Sessions #53 de Shakira y Rata de dos patas de Paquita la del barrio." Argos 10, no. 26 (2023): 114–31. http://dx.doi.org/10.32870/argos.v10.n26.7.23b.

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Este artículo utiliza la visión sobre la metáfora conceptual de George Lakoff y Mark Johnson en su obra Metaphors we live by(1980) para realizar un rastreo en las metáforas cognitivas acuñadas por dos canciones de desamor, una de ellas de la cantante colombiana Shakira y la otra de la mexicana Paquita la del barrio. Se utiliza el dispositivo metodológico de Kövecses & Szabó (1996) de la forma en que lo ejecuta Cristián Santibáñez (2009). Esto con la intención de esbozar cuáles de los conceptos metafóricos se encuentran presentes en una delas temáticas más populares en el arte musical.

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