Dissonant divas in chicana music : the limits of la onda /

Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexua...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Vargas, Deborah R.
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Minneapolis : University of Minnesota Press, 2012.
Temas:
1900-1999
Music > Mexico > 20th century > History and criticism.
Mexican Americans > Music.
Tejano music > History and criticism.
Gender identity in music.
Mexican American women.
Women musicians > United States.
Music > Social aspects.
Américains d'origine mexicaine > Musique.
Tejano (Musique) > Histoire et critique.
Identité de genre dans la musique.
Américaines d'origine mexicaine.
Musiciennes > États-Unis.
Musique > Aspect social.
MUSIC > Genres & Styles > Pop Vocal.
Gender identity in music
Mexican American women
Mexican Americans
Music
Music > Social aspects
Tejano music
Women musicians
Geschlechterrolle
Mexikanische Einwanderin
Musik
Volksmusik
Mexico
United States
Texas
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Introduction : music, mejicanas, and the Chicano wave
  • Forgetting the Alamo, remembering Rosita Fernandez
  • Borders, bullets, besos : the boleros of Chelo Silva
  • TexMex conjunto accordion masculinity : the queer discord of Eva Ybarra and Ventura Alonzo
  • Sonido de Las Am'ricas : crossing south/south borders with Eva Garza
  • Giving us that brown soul : Selena's departures and arrivals
  • Epilogue : the borderlands rock reverb of Gloria Rios and Girl in a Coma.

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