The corrido has roots back to Spanish descendents in the 12th century. By the 15th century, the style was more developed; but the corrido really emerged after the Mexican-American War in 1846. This style became very popular in the late 19th and early 20th centuries in Mexico, and eventually Texas. The corrido showcased the change in the role of Mexicans in relation to Americans. Songs often spoke of events, tragedies, or conflicts. The songs were very racially focused and would often act as protest to the social prejudices that they faced. After World War II, the theme changed to cover the necessary changes in social structure. The reading “The New Chicano Heroic Corrido” by Jose Villarino discusses studies by Vicente Mendoza, the leading scholar in studies of the corrido. Mendoza finds that the subject of the corrido has constantly changed over time. He lists many topics that have been the focus of corrido music over the years: historical, revolutionaries, bravery, killings, political, robbers, jailing, rapes, persecutions, murders, evil, tragedies, horses, and a number of other categories. The reading also states, “Another category of corridos is that of focusingon women heroines instead of the traditional male heroes. One singer who made corridos popular was Lydia Mendoza. She is given credit for over 200 songs. She sang and accompanied herself by playing a 12-string guitar. Corrido used to just be sung a cappella, but she helped change this part of the culture of the corrido. * Basis was founded by Spanish descendents in 1100-1200 AD * Well developed by 15th century
* Emerged after Mex-Am War (1846-1848)
* Became very popular in late 19th, early 20th century in Mexico * Documented change in role of Mexicans in relation to Americans * Very racially focused (social protest agains prejudice) * After WWII, new theme, changes in social structure
The conjunto style of music began in the late 19th century along the Mexican-American border. It was a style of music for the working class that was made up of the accordion and the bajo sexto. The bajo sexto was originally used as a bass, but then became more commonly used as a regular guitar. In the 1930s, it spread through the southwestern United States with the help of the father of conjunto music, Narciso Martinez. He focused his music around a fast-paced accordion. Valerio Longoria added onto what Martinez began. Often referred to as the genius of conjunto, he tweaked his accordion to make it sound a bit different, and people have been trying to replicate it ever since. He also added drums and vocals to the music, which it didn’t have when the genre began. His music thrived after the Second World War. He helped raise the music to a higher level, but not to the upper class. The reading “Musica Fronteriza/Border Music” by Manuel Pena hinted at the causes of conjunto music. It states, “It is critical to an understanding of the conjunto’s significance that its complex social context be taken into account. Its emergence was a response to interethnic conflict of course, but it was, above all, a response to intra-ethnic class friction.” This was why it did not want to be seen as a song for those of the upper class. The working class took pride in their conjunto. Eventually, a man named Flacco Jimenez, advanced the genre more, by combining tejano music with country/western music from American popularity. * Emerged in the late 19th century along the border
* Bajo Sexto, first used as bass, then as guitar
* Humble, rural origins
* Working class dance music
* In 1930s, spread through Southwest US (Arizona, Cali, etc) * Narciso Martinez, father of conjunto music, focused on fast-paced...