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Many are unaware that in the United States today, people are blessed with a variety of Spanish-language and other Latin American cultures that are in the midst -- which were brought to the country by individuals from numerous different parts of the hemisphere. In attempting to understand and appreciate these cultures, we can learn much from their music Mexican-American music is something that has high regards in their culture. Over the years it has been expanded crossing over into many cultures With that said, this essay is intended to analyze the many methods and styles of music and musical cultures that have been able to make their way into the United States from Latin American nations.
Surprisingly, Latin American music is a subject where there has not been a lot written about it. There is very little research on Latin music perhaps because many are not interested. Many find that Latin American music is not as popular as other music in the United States but experts argue that it is an area that is untapped. However, some scholars believe that Latin American music does not appeal to most Americans but there are other experts that beg to differ. These specialists believe that over the years, Latin American music has been able assimilate its ways into the American culture.
Experts argue that many people are unfamiliar with the massive collection of musical languages present in the mainly Spanish-speaking nations of Latin America; the first supposition is that they are identical or similar. True, there are fascinating similarities, parallels, and likenesses in the haunting tensions of Andean music, the Spanish-touched music of Chile and Argentina and, the African-swayed musical practices of the Antilles, and the complex of methods discovered in Venezuela, Colombia, and Mexico in and other nations of Central America. Up till now the musical language of each area is distinctive, and within each people encounters a huge collection of musical genres with clear differences of style and form. When taken together, these methods are again fairly dissimilar from, although connected generally to, the music caught in Spain today.
Inside this unique American (U.S.) musical language, the effect of Latin music has been durable. Many experts argue that rhythm plays a huge part in the Latin American music. Some specialist believes that in the oldest instances of the blues tradition, established in the arrangements of W.C. Handy, tango rhythm is utilized often. Other experts believe that rhythm in Latin American music is not very good and that it lacks uniqueness. It seems that those that have been raised with Latin American music would say the opposite (Moehn). They argue that the music is very unique and that their rhythm is something that was passed down from generations that go all the way back to their Native American Ancestors.
The Mexican Tradition
The Mexican tradition has been a culture that has been criticized the most when it came to Latin American music. For a lot of Americans (U.S.), Mexico and Latin America and are almost equal. Some experts make the point that Mexican-American Music has showed very little relevance to the American culture. These experts believe that Mexican music is not unique enough because they have not been in America long enough. However, others would argue against that and suggest that what little they might recognize of Latin America is in regards to Mexico, and anything Latin American is believed to be Mexican. A lot of times there is a surprise to travelers who go far beyond Mexico to other places of Latin America, further than the now nearly worldwide Taco Bells, for they discover that other Latin Americans are not out there eating tacos and also that the Latin rhythm which "South of the Border" summons up for a lot of Americans (U.S.) is actually of Caribbean basis.
Some scholars argue that Mexican music is a mixture of different subcultures and that alone makes them very unique. For instance, there are, in reality, numerous Mexico's. Many are unaware that Mexico has many different regions that have their own style of music. In some of these places, the music is a mixture of European and Native Americans flavor. However, there are also some regions that have a deep rich African background and therefore a lot of their music has a mixture of the African element along with some of the Native American flair to it. There are many however that does not believe that Latin American music does not have much African flair to it but research does show that quite a bit of Latin American music have many characteristics that actually derived from Africa. A lot of these regions' cultural influences likewise continue in the big cities, brought there by ever-growing statistics of removed villagers and citizens from all over the nation.
When the Mexican Revolution began around 1910, the various regions of Mexico were rather isolated and the music started to change. Many Mexicans were against this because they felt the music was losing its purity. However, there are some scholars that believe that when they lost some of their elements from moving to various regions in the country, they actually picked up better ones that would actually replace those. At this point, is become clear that Mexican music was never going to be the same. It did get to the point as years passed by that citizens did start to embrace this change and the accept Mexican music as something that was now unique. The Travel from one region to another was by far not easy nor frequent, and each region was then able to preserve strong local features that are demonstrated in its music. Every one of these musical forms and styles had their roots in Spain and to varying degrees replicated admixtures of native Mexican origins and, in a few occasional circumstances, African cultural admixtures.
By the time the music hit America, it was not favored and many critics did not agree or like its style. They became very critical over the music and started to believe that it had to contribution to the American culture. As mentioned earlier, the Mexican-American's were able to prove everyone false because they were able to bring a lot to the table. However, it did not happen overnight. Things like the hit movie La Bamba which was based on the life of Richie Valens, the adaptable vocalist Linda Ronstadt, and the famous rock group called the Los Lobos totally have origins in the lively music of the Mexican-American community, particularly in places like East Los Angeles.
However, with the current "Eastside Renaissance" in the district, barrio music is looked at being something that has taken on some kind symbolic power throughout the Southwest, however its story has continued to be undocumented and nearly untold. For instance, in Barrio Rhythm, Steven Loza manages to bring this concealed history to existence, representing the music's important role in the cultural expansion of East Los Angeles and its effect on normal popular culture (Loza, p. 45). It is clear that today in Los Angeles that Mexican-American Music has done more of it share with bringing diversity to the city.
Many come from all just to hear their sounds. Today, in Los Angeles there is some vibrant arras of L.A.'s Latin music is too often viewed as sheer remainder, a faded mural portraying merely uncertain particulars of immigrant musician lives that no longer inhabit the present-day. Rescuing these lives from storage, Steven Loza's book "Barrio Rhythm: Mexican-American Music in Los Angeles" discovers the music on the streets as the melody that changes the streets; a music that is continuing, ever developing. He offers a continuing, essentially indescribable music form -- electric in its nearness -- as the warp and woof of the town's fabric (Loza).
A lot of scholars that defend Mexican-American Music believe that Loza's meticulous study is solid; as spread-out as it is comprehensive (and at times draining) in its possibility (Loza). His motivation is great: to be able trace the history of a person through dates and other numerical indicators (record sales, for instance), migration immigration, and social turmoil while paralleling it with the subtle procedure of acculturation and assimilation --and to display how every part of it aids in feeding a song.
However, some critics believe that the Mexican-American music does not have its soul into numerous forms, they believe that even though the music has managed to find its way into the American culture today that it still lacks form. They believe Mexican-American music lost sight of its drive neither as a tool of education and communication nor as a living object of "cultural survival." They believe the Mexican-American music has not been able to assimilate correctly in the American culture. Like African-American field songs rich that are rich in euphemism and metaphor scholars believe that Mexican-American music lacks this. The believe that the music of the L.A. (Moehn)Chicano has not been able to serve well as…[continue]
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