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Cipriano Frederico Vigil is the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries. This bilingual panoramic book presents the songs that are his life’s work, spanning half a century of listening, playing, composing, and singing ritual, social, and dance music. New Mexican Folk Music includes much traditional material that has never been seen before or studied by scholars or students. Renowned as a composer, Vigil works in traditional genres such as the romance, the décima, the cuando, and corrido. Like the Mexican group Los Folkloristas with which he apprenticed in the late 1970s, his goal has been to research and master local styles, to introduce new listeners to traditional music, and to build on tradition by creating new compositions that address contemporary social themes. An audio CD accompanies this comprehensive study on the work and music of Cipriano Frederico Vigil.
¡Cantemos! Ha sido creado por la pasión del canto congregacional de Keith y Kristyn Getty y ha sido formado a través de viajes y presentaciones al escuchar, discutir, aprender y enseñar a través de todo el mundo. Con la creación de este material ellos tienen cinco objetivos clave: Descubrir por qué cantamos y la abrumadora dicha y el santo privilegio que proviene de cantar. Considerar que cantar impacta nuestras vidas, corazones y mentes. Cultivar una cultura de familia que canta, en nuestra vida familiar diaria. Equipar a nuestras iglesias para cantar con sinceridad al Señor y a los demás en una expresión de unidad. Inspirarnos para ver el canto congregacional como un testigo radical para el mundo. También se han incluido «pistas adicionales» al final, con sugerencias prácticas para usarlas con grupos que están más profundamente relacionados con el canto en la iglesia. El propósito de Dios a través de esta irresistible visión de ver a Su pueblo cantando (personas que alegremente se unen a cantar, hermanos y hermanas alrededor del mundo y alrededor de Su trono) es incluirte. Él quiere que todos nosotros cantemos. Sing! has grown from Keith and Kristyn Getty’s passion for congregational singing; it’s been formed by their traveling and playing and listening and discussing and learning and teaching all over the world. And in writing it, they have five key aims: • to discover why we sing and the overwhelming joy and holy privilege that comes with singing • to consider how singing impacts our hearts and minds and all of our lives • to cultivate a culture of family singing in our daily home life • to equip our churches for wholeheartedly singing to the Lord and one another as an expression of unity • to inspire us to see congregational singing as a radical witness to the world They have also added a few “bonus tracks” at the end with some more practical suggestions for different groups who are more deeply involved with church singing. God intends for this compelling vision of His people singing—a people joyfully joining together in song with brothers and sisters around the world and around His heavenly throne—to include you. He wants you, He wants us, to sing.
This bilingual panoramic book presents the songs that are the life's work of Cipriano Frederico Vigil, the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries.
Este estudio es un replanteamiento de la relación entre canciones y literatura en África oriental. Se examinan, en términos comparativos, las obras literarias y musicales de esta parte del continente con el fin de determinar y describir los caminos a partir de los cuales tales formas de la expresión creativa reflejan y transforman caminos prevalecientes y medios de formación de identidad de las personas cuyas vidas se extienden a través de varias "fronteras" y que desarrollan sentidos "superculturales" de sí mismos. El autor se basa en una extensa investigación de campo, así como en una multitud de entrevistas. La lectura atenta de las canciones y la literatura hace de este libro un estudio convincente para estudiantes de música y literatura africanas, y el análisis de las identidades africanas puede ser realmente para los estudiosos del nacionalismo tanto en África como en el mundo.
Through this book, a man born in a middle-class family goes through his physics degree and chooses music, his hardships, struggles and the success he is going to see. It's about seeing and highlighting the lessons he's learned in life and how they make him the person he is.How his song reached people, how people liked it and the revolution it caused will also be covered. It is about the journey towards his dream that he never gives up despite many indescribable hardships. Lots of tutorials are included.
Javier F. León and Helena Simonett curate a collection of essential writings from the last twenty-five years of Latin American music studies. Chosen as representative, outstanding, and influential in the field, each article appears in English translation. A detailed new introduction by León and Simonett both surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America. Contributors include Marina Alonso Bolaños, Gonzalo Camacho Díaz, José Jorge de Carvalho, Claudio F. Díaz, Rodrigo Cantos Savelli Gomes, Juan Pablo González, Rubén López-Cano, Angela Lühning, Jorge Martínez Ulloa, Maria Ignêz Cruz Mello, Julio Mendívil, Carlos Miñana Blasco, Raúl R. Romero, Iñigo Sánchez Fuarros, Carlos Sandroni, Carolina Santamaría-Delgado, Rodrigo Torres Alvarado, and Alejandro Vera.
Lydia Mendoza began her legendary musical career as a child in the 1920s, singing for pennies and nickels on the streets of downtown San Antonio. She lived most of her adult life in Houston, Texas, where she was born. The life story of this Chicana icon encompasses a 60-year singing career that began with the dawn of the recording industry in the 1920s and continued well into the 1980s, ceasing only after she suffered a devastating stroke. Her status as a working-class idol continues to this day, making her one of the most prominent and long-standing performers in the history of the recording industry and a champion of Chicana/o music. This bilingual edition presents Lydia Mendoza's historia in an interview between the artist and Yolanda Broyles-González: first is the English translation, then the Spanish original, as told by Mendoza herself. Broyles-González concludes the volume with an extended essay on the significance of Mendoza's career and her place in Tejana music and Chicana studies. Known as a lone artist and performer, Lydia Mendoza's voice and twelve-string guitar-playing figure prominently in her ability to both nurture and transmit the vast oral tradition of popular Mexican song with beauty and integrity. She sang the songs of the people across generations in the old tradition; all are indigenous to the Americas, and many of them to Texas. It is the music that emerged from the experiences of native peoples (on both sides of the U.S.-Mexico border) within the colonial context of the nineteenth century. Mendoza's prominence and stature as a Chicana idol stems from her sustained presence and perpetual visibility within a complex network of social and cultural relations in the twentieth century. Along with being one of the earliest female recording and touring artists, she is loved as a voice of working-class sentimiento, sentiment and sentience, through song, which is one of the most cherished of Chicana/o cultural art forms. Through her vast repertoire and unmistakable interpretive skill in the shaping of songs she is a living embodiment of U.S.-Mexican culture and a participant in raza people's protracted struggles for survival.