Banda. Mexican Musical Life across Borders

The AndeanConjunto, BolivianSikureadaand the Folkloric Musical Representation Continuum

“…In recent decades, Latin Americanists and Caribbeanists have produced numerous case studies examining how popular music artists and the recording industry transform subaltern expressions into mainstream forms (e.g., Austerlitz 1997: 83Á 134;Ferrier 2010;González 2005;Leó n 2006;Manuel 2009;Moore 1997: 87Á113, 166Á 90;Pacini Hernández 1995: 185Á224;Pedelty 1999;Romero 2002;Rommen 2009;Simonett 2001;Tucker 2010;Wade 2000). The body of ethnomusicological and anthropological scholarship exploring the varied effects of musical folklorization processes in these regions has likewise expanded considerably since the 1990s (e.g., Bigenho 2002: 61Á96;Briggs 1996;Feldman 2006: 125Á70;Guss 2000;Hagedorn 2001;Hellier-Tinoco 2005;Mendoza 2000Mendoza , 2008Pérez Bugallo 1999;Rios 2008Rios , 2010Ritter 2002;Rockefeller 1999;Scruggs 1998, Scruggs 1999Sheehy 1997;Solomon 1997: 199Á 235, 508Á54;Turino 1993: 117Á66;Wilcken 1992).…”

Sonic Transculturation, Epistemologies of Purification and the Aural Public Sphere in Latin America

“…Musics that are neither 'youth music' nor 'folk', nor easily tied to either a social movement or a revolutionary aesthetic, but whose technological mediations, forms of constructing identification and regional localizations defy, at least in their initial stages of consolidation, easy musical typologies or associations*such is the case with genres such as Brazilian technobrega, Argentinean Social Identities 805 cumbia villera, nacrocorridos, Peruvian chicha, or Brazilian brega (Araujo, 1998;Cragnolini, 2005;Vianna, 2006;Simonnet, 2001). These types of music often lie outside the parameters of canonic validation*neither heritage nor youth nor revolutionary aesthetics*and are often likened to ideologies of bad taste and, by association, to that which is socially considered low class and vulgar.…”

La chilena mexicana es peruana

“…Evolving from capillas de viento, or wind chapels, which were formed in towns and villages all over Oaxaca in response to the anticlerical laws of the mid-nineteenth century (Navarrete Pellicer 2001), banda instrumentation has become more standardized in recent decades, probably because of the influence of banda sinaloense. Since the 1990s, this northern Mexican genre has become a popular national and transnational music (see Simonett 2001). Typically, these groups comprise fifteen instruments grouped in threes: three trumpets, three trombones, and three woodwinds (often doubling on clarinet and saxophone), supported by three lower brass, consisting of two E-fiat alto horns and tuba.…”