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Flaco's Legacy The Globalization of Conjunto.
"A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Ji...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Bielefeld :
University of Illinois Press,
2023.
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| Colección: | Music in American Life Series.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 049 | |a UAMI | ||
| 100 | 1 | |a Bauer, Erin E. | |
| 245 | 1 | 0 | |a Flaco's Legacy |h [electronic resource] : |b The Globalization of Conjunto. |
| 260 | |a Bielefeld : |b University of Illinois Press, |c 2023. | ||
| 300 | |a 1 online resource (345 p.). | ||
| 490 | 1 | |a Music in American Life Series | |
| 500 | |a Description based upon print version of record. | ||
| 505 | 0 | |a Intro -- Cover Page -- Half Title -- Title Page -- Copyright -- Contents -- Acknowledgments -- Introduction: The Globalization of Conjunto -- The Processes and Implications of Globalization -- A Brief History of Conjunto -- Characteristics of Conjunto: "Ay Te Dejo En San Antonio" -- Outline of Contents -- Part I: The Migration of Conjunto -- 1. "We love you, Flaco!": Chicken Skin Music, "Mingomania," and the Inter/national Presentation of Conjunto -- Globalized Inclusions -- Flaco Jiménez: Inter/national Tours and Popular Festivals -- Mingo Saldívar: Nationalist Tours and Folkloric Festivals | |
| 505 | 8 | |a Steve Jordan: Struggles with Mainstream Recognition -- Conclusions -- 2. "Ladies and gentlemen, Dodge presents Flaco Jiménez!": Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto -- Theoretical Framework: Globalization through Media -- Recording Conjunto: Regional Labels -- Recording Conjunto: Arhoolie Records -- Recording Conjunto: Arista Texas -- The Radio Presence of Conjunto: KEDA -- Conjunto on Television, in Print Media, and Online -- Conclusions | |
| 505 | 8 | |a 3. "From Texas to Washington and across to Michigan and Illinois...": Nostalgia and Authenticity in the U.S. American Spread of Conjunto -- Theoretical Framework: Community and Nostalgia -- Conjunto in the Midwest: Jesse Ponce -- Conjunto in the Midwest: Jimmy Bejarano Sr. -- Conjunto in the Pacific Northwest: Santiago Almeida and Joel Guzman -- Conjunto in the Southwest: Max Baca and Los Texmaniacs -- Conjunto in California: Conjunto Califas and Conjunto Los Pochos -- Conjunto in California: Los Lobos -- Conclusions -- Part II: The Hybridization of Conjunto | |
| 505 | 8 | |a 4. "You have to mix it up!": "Seguro Que Hell Yes," the Texas Tornados, Los Super Seven, and the Cultural Hybridity of Flaco Jiménez -- The Ambassador: Hybridity in the Works of Flaco Jiménez -- Collaborative Hybridity: Texas Tornados -- Cultural Preservation: Los Super Seven -- Conclusions -- 5. "I play the jazz accordion!": "Rueda de Fuego (Ring of Fire)," "My Toot Toot," and the Country/Zydeco Influences of Mingo Saldívar and Steve Jordan -- Mingo Saldívar and "Ring of Fire": The Hybridization of Repertory -- Mingo Saldívar and "La Margarita": The Hybridization of Sonic Elements | |
| 505 | 8 | |a "Conjunto music, to me, is like country-western...": The Correspondence of Genre -- Steve Jordan and "My Toot Toot": More Hybridization of Repertory -- Steve Jordan and "Grítenme Piedras Del Campo": Further Hybridization of Sonic Elements -- "Super Fly" vs. Ranchera: The Generic Signification of Clothing -- Analysis: Identities of Hybridization -- Conclusions: A Continuum of Genre/Identity -- 6. "It's jealousy...": Eva Ybarra and the Hybrid Offerings of Women in Conjunto -- Women in Conjunto: Eva Ybarra -- Women in Conjunto: Susan Torres -- The Globalization of Female Vocalists -- Conclusions | |
| 500 | |a Part III: The Appropriation of Conjunto | ||
| 520 | |a "A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jimenez and Mingo Saldívar. Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music's reach. As Bauer shows, conjunto's encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jimenez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization? A rare look at a fascinating musical phenomenon, Flaco's Legacy reveals how conjunto came to encompass new people, places, and styles"-- |c Provided by publisher. | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 600 | 1 | 0 | |a Jimenez, Flaco. |
| 600 | 1 | 7 | |a Jimenez, Flaco. |2 fast |0 (OCoLC)fst00174571 |
| 650 | 0 | |a Music and globalization. | |
| 650 | 0 | |a Conjunto music |x History and criticism. | |
| 650 | 7 | |a Music and globalization. |2 fast |0 (OCoLC)fst01030477 | |
| 650 | 7 | |a Conjunto music. |2 fast |0 (OCoLC)fst00875327 | |
| 650 | 7 | |a MUSIC / General |2 bisacsh | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 776 | 0 | 8 | |i Print version: |a Bauer, Erin E. |t Flaco's Legacy |d Bielefeld : University of Illinois Press,c2023 |z 9780252087158 |
| 830 | 0 | |a Music in American Life Series. | |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.5406/jj.2516326 |z Texto completo |
| 938 | |a Project MUSE |b MUSE |n musev2_110819 | ||
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL30394313 | ||
| 994 | |a 92 |b IZTAP | ||