CHICANO/LATINO MUSIC IN THE UNITED STATES

Department of Ethnomusicology – Ethnomu M116

(cross-listed as Chicano Studies M116)

Spring 2014 – SYLLABUS

Instructor: Francisco Crespo, Ph.D.

Office hours: Fridays 12:00pm–2:00pm

Schoenberg Hall 2655

Office phone number: (310) 206-8295

Teaching Assistants: Rose Boomsma, Alexandro Hernandez, Eric Schmidt

(TAs’ office hours and contact info TBA in sections)

COURSE DESCRIPTION

This course examines, from historical and analytical perspectives, the musical expressions of

Latino peoples who have inhabited the present geographical boundaries of the United States.

This legacy can be traced to the seventeenth century, and continues to prosper in a diverse

variety of musical styles and contexts. Especially germane to this survey are the geographical

areas of California, Texas, New York, and Florida. Social factors of immigration, migration,

intercultural conflict, and the formation of bicultural expression will be essential points of

analysis in assessing the musical cultures of the Latino population, especially that of the

Mexican, Chicana/o, Puerto Rican, Cuban, and Central American heritages.

The analytical framework for the class will largely adhere to the precepts of maintenance,

change, and adaptation of traditional musical expression. Thus, factors of identity, conflict,

nationalism, reinterpretation, and innovation will provide bases for theoretical/historical analysis.

COURSE GOALS AND OBJECTIVES

This course seeks to provide students with the necessary tools to gain a greater appreciation of

the musical expressions of U.S. Latino peoples through multimedia presentations (film, video,

music recordings, PowerPoint, etc.), lectures, course readings, and music examples. Specific

objectives include: (1) introduce students to ethnomusicological terminology, methodology, and

classification; (2) introduce students to some of the varied musics of the U.S. Latino population;

(3) enable students to identify music genres and styles covered in class based on their musical

and extramusical characteristics; (4) introduce students to legendary influential artists and

individuals who have contributed significantly to the genres and styles; and (5) enable students to

critically assess the ways music relates to sociocultural processes such as immigration, social

movements, commercialization, technological change, transnationalism, and globalization.

The course will make use of a rich abundance of recorded material (78 rpm phonographs, 33

rpm LPs, 45 rpm discs, and CDs), and film/ video; guest artists and/or scholars will also be

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invited to participate. Listening CDs with assigned class examples can be accessed online;

identification of the listening examples and their significance will be subjects on the exams.

Attendance is mandatory at both lectures and sections.

Requirements for the course include midterm and final exams in addition to an eight- to ten-page

research paper.

We look forward to an exciting, enjoyable, and informative musical journey this quarter. ¡Buena

suerte!

REQUIRED TEXTS

Book: Loza, Steven Joseph. 1993. Barrio Rhythm: Mexican American Music in Los

Angeles. Urbana: University of Illinois Press (available at the ASUCLA Student

Bookstore).

Reader: (to be purchased at Westwood Copies, 1001 Gayley Avenue, Los Angeles, CA

90024 (310) 208-3233)

COURSE REQUIREMENTS

1) Class attendance: is essential, as lecture material will constitute a good portion of exams.

a) You are expected to take notes in class and do the reading and listening assignments.

b) Taping lectures is not permitted, unless you have a disability. (In such a case you

should talk first to the instructor to get permission.) 2) Section attendance: is also essential, as sections will include reviews and new material, as

well as exam preparation. Active academic participation in sections is important (reading,

listening, and discussion), and will be taken into account for part of your final grade. 3) Examinations: There will be a midterm and a final exam. They will be based on lectures,

readings, handouts, sections, and assigned listening examples. 4) Research paper: Eight to ten (8-10) pages (double-spaced). The paper must be based on

a live musical performance, music genre or style, or performer(s), and must incorporate

references to class readings in addition to other relevant literature. It is expected that some

of the theoretical and historical perspectives presented in class will constitute a portion of

the analytical structure. The paper topic should be selected no later than the sixth week, in

consultation with the TAs or the instructor, and is due at 5:00 pm on Friday of the eighth

week of class. Five points per day will be deducted for papers received after the deadline.

5) Academic integrity: Cheating on exams, plagiarism, and other forms of academic

dishonesty will not be tolerated. In case of doubt, please check the Student Guide to

Academic Integrity, Office of the Dean of Students, 1206 Murphy Hall, phone: (310) 825-

3871.

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6) Class conduct: During lectures, sections, and examinations, you are expected to:

a) Maintain a proper learning environment: this will help everyone involved in the course.

b) Arrive on time and do not chat. If you have any questions or comments, you can make

them at an appropriate time during class.

c) Please turn off cell phones, pagers, and other noisy technological devices (except

laptops), since they may distract the professor, the TAs, and other classmates.

d) For your own academic benefit, you may use laptop computers during class lectures only

to take notes (and not for social networking).

7) Students with disabilities, please follow these instructions:

a) Inform the professor or TAs at the beginning of the quarter if you have a disability

requiring special accommodation or treatment in class or for exams.

b) If you have not done so yet, register with the Office for Students with Disabilities:

htttp://www.saonet.UCLA.edu/osd/. COURSE GRADING (AND SPECIAL SITUATIONS)

1) The final evaluation (grade) will be determined from the following:

a) One midterm exam: 30%

b) One final exam: 30%

c) Attendance and participation: 10%

d) Research paper (8-10 typewritten double-spaced pages): 30%

Note: Specific guidelines for the paper will be posted online at the class website.

2) The final grade will be calculated (by percentage) according to the following grading scale:

A+ = 100% A = 93% A- = 90%

B+ = 87% B = 83% B- = 80%

C+ = 77% C = 73% C- = 70%,

D+ = 67% D = 63% D- = 60% 3) Special situations will be considered only in exceptional cases, as follows:

a) The only way to reschedule an exam is due to very special circumstances, such as:

religious holidays, sickness, or family emergency. In such cases, please inform the

professor or the TAs by e-mail or by phone immediately (preferably in advance or

within 24 hours).

b) In any case, a document will be required to prove every special situation: a doctor’s

note, a family letter, an official or religious report, etc.

c) It is essential to communicate immediately when there is a factor or circumstance. If you

fail to do so, we cannot guarantee to find a solution for any special problem or situation

you may have.

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Tentative Course Calendar Schedule Course schedule topics and assignments may be changed or omitted at the instructor’s discretion.

Additionally, some articles may be added to the required assignment list.

Week 1: Overview of course; historical issues; some theoretical considerations; música tejana

– the Texas-Mexican border experience, intercultural conflict, and class structure as expressed in

border corridos; the conjunto/orquesta nexus; Lydia Mendoza.

Read Gruzinski, Alba and Nee (in reader) for first week; read all of Manuel Peña and

pages 55-69 of Loza (in reader) by Week 3.

Week 2: Continue with música tejana, Tex-Mex, polka, accordion stylists, e.g., Narciso

Martínez, Flaco Jiménez, Steve Jordan; Little Joe; Sunny Osuna; the impact of Selena; the

Tejano record industry; other contemporary artists.

Documentary screenings: Chulas Fronteras; Songs of the Homeland.

Week 3: Musical styles and history in California: The pastorela of the nineteenth century;

corridos of the early twentieth century; earlier expressions of intercultural conflict; the early

radio industry in Los Angeles, Pedro J. González y Los Madrugadores.

Documentary screenings: The Ballad of an Unsung Hero; Excerpts from The Bracero

Program: Harvest of Loneliness and Barrio Rhythm video footage.

Read all of Loza (required text, Barrio Rhythm) by Week 6.

Week 4: Mexican/Chicano musical culture in Los Angeles; musical examples of multiple

stylistic developments; 1940-50s: Lalo Guerrero, Don Tosti, Pachuco Boogie Boys, Andy

Russell, Eddie Cano; the Eastside Sound of the 1960-70s: Thee Midniters, El Chicano, Tierra,

among many others; the Chicano Renaissance; Los Lobos, The Brat, Los Illegals, and others

representing the 1970-90s.

Read Loza (in reader) pp. 69-81; 179-194; and Rafael Pérez-Torres in the class reader.

Week 5: Chicano/Latino rock in San Francisco: Carlos Santana, Malo, Azteca, Tower of

Power, Cold Blood; music of the farm workers and Chicano Movement; the Mariachi

Renaissance.

Video screenings: Santana at Woodstock; Linda Ronstadt – Canciones de mi Padre;

Pasajero: A Journey of Time and Memory.

**MIDTERM EXAM**

(Wednesday, April 30)

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Week 6: Rap and Hip Hop among Chicano/Latino musicians: DJ Disco Wiz, Prince Whipper

Whip, Kid Frost, Mellow Man Ace, Aztlán Underground, Tres Delinquentes, Cypress Hill,

among others. Contemporary groups with multistylistic formats: Ozomatli, Quetzal, Cumbia

Kings.

Documentary screening: From Mambo to Hip-Hop

Week 7: Early jazz and its Caribbean and Mexican influences; Cuban and Puerto Rican music

in New York, 1930-50s; Mario Bauzá, Juan Tizol, Dizzy Gillespie, Chano Pozo, and Cubop; the

Palladium Dance Hall years: Machito, Tito Puente, Tito Rodríguez, among others.

Documentary screening: Machito and the Development of Latin Jazz; Tito Puente:

ethnographic footage; excerpts from Routes of Rhythm.

Read Loza (in reader) pp. 81-89, both of Max Salazar’s articles; Raúl A. Fernández; and

Leonardo Acosta (all in the class reader).

Week 8: Salsa since the 1960s: New York based artists Ruben Blades, Eddie Palmieri, Charlie

Palmieri, Ray Barretto, Willie Colón, La Lupe, Larry Harlow, Fania All Stars, among others;

Latin jazz in California: Cal Tjader, Mongo Santamaría, Willie Bobo, Poncho Sánchez; Puerto

Rican musical culture in New York City; contemporary Latin jazz: Dave Valentin, Michel

Camilo, Jerry González, Alain Pérez, Daniel Sánchez, Omar Sosa.

Documentary screenings: Plena Is to Work, Plena Is to Play; Our Latin Thing; Calle 54.

Read Juan Flores and Loza (pp. 89-94) in the class reader.

**FINAL PAPERS ARE DUE**

(to discussion section leaders)

on Friday, May 23, no later than 5:00 pm.

Week 9: Colombian cumbia’s influence and incorporation in the U.S. Latino music scene;

Chicanos and Latinos in classical and chamber music; film scoring; the Hollywood industry;

the music industry and the Latin market; the Grammys; the Latin Grammys.

Read remaining pages of Loza (in reader); Mark Brill pp. 262-269; 107-108 (in reader).

Week 10: The U.S. versus the Latin American market; aesthetic issues, musical value, socio-

political and musical context; rock en español.

**FINAL EXAM**

Exam at scheduled time (Monday, June 9, 2014, 3:00pm-6:00pm).

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