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Música Tejana
Manuel H. Peña
其他書名
The Cultural Economy of Artistic Transformation
出版
Texas A&M University Press
, 1999
主題
Music / Genres & Styles / Folk & Traditional
Music / Genres & Styles / Pop Vocal
Music / Genres & Styles / Latin
Social Science / Folklore & Mythology
Social Science / Ethnic Studies / American / Hispanic American Studies
ISBN
0890968772
9780890968772
URL
http://books.google.com.hk/books?id=0F5aAAAAMAAJ&hl=&source=gbs_api
註釋
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.