Across
- 3. the glorification of indigenous traditions and heritage; it constitutes a primary element of Mexican Revolutionary Nationalism
- 4. Guitarra ___________, also known as quinta: a deep-bodied guitar with eight strings, which is an essential component of trios huastecos
- 6. Spanish missionary who founded the first school of music in Nueva España in 1523, to use music as part of the conversion of the indigenous peoples of Mexico
- 7. A Mexican cowboy, particularly from Western Mexico; their typical suit is worn by mariachi ensembles
- 9. Penitential dance depicting indigenous converts on a religious pilgrimage, still performed by many indigenous and Mestizos throughout Mexico, typically for saint days and especially for the Virgin of Guadalupe; the dancers carry ayacachtlis and wear tenábaris and are accompanied by huéhuetl
- 13. _____ de Tecalitlán, Most iconic mariachi ensemble, founded in 1898 by Gaspar Vargas and still active today
- 14. Small four-string guitar, used in son jarocho ensembles
- 15. A villancico depicting the music, song and dance of black people
- 16. Ideophone drum made by carving a log, with an H-shaped cutout in the top which produces two different pitches when struck with a stick; the Mexicas and Mayas considered it to be sacred and is still in use in many religious ceremonies
- 18. A small five-string instrument with a curved arched back; a main instrument of mariachi ensembles
- 22. Refrain or chorus; the part of a text, set to music, which repeats both text and music. Usually alternates with coplas
- 23. A rapid movement of the dancer’s feet against a raised wooden platform, producing a percussive accompaniment to the music; an important feature of Mexican folk dance
- 25. A social construct distinguishing one group of humans from another on the basis of shared cultural heritage, ancestry, language, history, and or culture; it has largely replaced the now outdated concept of race
- 26. The simultaneous sounding of two or more pitches
- 27. Antonio López de _____, general and President of Mexico who lost or sold over half of Mexico’s territory between 1836 and 1853
- 29. The first and most important note of a scale, often indicated by the Roman numeral I
- 33. _______ or Yoeme people, indigenous group of Northwestern Mexico and Arizona; their ritual dances include the Danza del Venado, the Pascola, and the Matachines
- 34. A practice in which a solo alternates with a chorus or ensemble; it is a feature of African and African diaspora musics
- 38. Seven-time president of Mexico who pursued the modernization of Mexico through foreign investment
- 42. _____ music, a term describing musics that are traditional, primarily disseminated through oral transmission, and usually associated with a specific rural setting or ethnic group
- 43. President of Mexico who in the 1930s institutionalized the Mexican Revolutionary reforms, including the nationalization of the oil and mining industries
- 48. Spanish vernacular musical and poetic form consisting of several coplas framed by a refrain. They typically had sacred themes and were sung in feast days, and are still sung today throughout the Spanish-speaking world, primarily during Christmas
- 50. (1910-1926) The period during which Porfirio Díaz was overthrown and multiple leaders, many of them from the Northern states, vied for power in Mexico
- 51. A large six-string bass guitar with a curved arched back; a main instrument of mariachi and other Mexican folk musics
- 52. Indigenous people of southern Mexico, Guatemala, Belize, El Salvador and Honduras; they had one of the greatest civilizations of the pre-Columbian era. They built several large cities such as Copán, Tikal, Uxmal and Bonampak, used a glyphic writing system and had achievements in astronomy and mathematics
- 53. A generic term for Mexican folk music, typically danced, with regional variations
- 54. Name that the Aztecs took after settling in Tenochtitlán; from this name the modern name of Mexico is derived
- 56. _________ murals: fresco paintings found inside a temple in his Mayan city, depicting a ceremony including musicians and musical instruments which provide information about music in the Mayan world
- 57. Capital of the Mexica empire, founded in Central Mexico in 1325; after Cortés conquered it in 1521, the Spanish founded Mexico City on its ruins
- 61. A Catholic hymn of praise, introduced in the 18th century by Franciscan missionaries, especially in the missions of Northern Nueva España; they are still in use in many rural churches in Mexico and the SW U.S.
- 62. The arrangement of time durations in music
- 63. La ________: Region of east-central Mexico along the Gulf Coast, incl. Southern Tamaulipas, Northern Veracruz, and parts of Puebla, Hidalgo, San Luis Potosí and Querétaro; a distinctive musical culture emerged there focusing on the huapango
- 64. a term describing the ethnic and cultural mixing that occurred in Spanish America during colonial times
- 66. Fray Bernardino de _______: Spanish missionary who, in the years immediately after the Conquest of Tenochtitlán, collected the history and customs of the Mexicas into a bilingual Spanish-Náhuatl book now known as the Florentine Codex
- 67. Mexican intellectual who coined the term “raza cósmica” to describe what he saw as the superiority of the mixed-race peoples of Latin America
- 70. _____ music, a term describing musics that are disseminated through media such as radio, records, TV, film or electronic files, subject to an aesthetic of innovation and mass appeal, and associated with the urban middle and lower classes
- 71. Spanish folk dance in triple meter, accompanied by guitar and castanets. In southern Mexico, in the Huasteca and Jarocho regions, the same word is used to describe a communal celebration during which sones are danced on a tarima
- 72. The way in which the melodic, harmonic, and rhythmic elements of music are woven together
- 73. Petition ceremonial dance of the Tarahumaras, in which a dancer holds a gourd rattle
- 74. Lamellophone of Afro-Caribbean origin, used in son jarocho
Down
- 1. Mexican artist whose murals exemplify the tenets of Revolutionary Nationalism
- 2. Traditional ritual dance of Northern Mexico, in which the Pahko (Old Man of the Fiesta) acts as host, dancing with rihhutiam and koyolim around his waist, tenebaris on his legs and carries senasom. He is accompanied by violin, harp, flute and drum. The dance originated with the Yaqui but is also performed by other indigenous groups of what was Northern New Spain
- 5. A characteristic rhythmic feature of both Spanish and Mexican mestizo music, which consists of the rapid alternation between triple and duple units, creating uneven accents
- 8. The process during which an individual or group adapts or borrows traits from another culture; it acknowledges negotiation and the merging of cultures, in contrast with the now outdated concept of assimilation which assumed the original culture was lost
- 10. Missionary who evangelized the region of Northern New Spain known as the Pimería (now Sonora and Southern Arizona)
- 11. Catholic priest and a leader of the Mexican Independence struggle, famous for issuing the “Grito” that sparked the initial revolt
- 12. Verse or stanza; the part of a text, set to music, which changes text over repeated music.
- 17. High-pitched range produced by most adult male singers through an artificial technique whereby the vocal chords vibrate only in part; it is a characteristic element of huapango singing
- 19. Mexican singer who became the most prolific and influential composer of canción ranchera
- 20. Musical tradition originating in Western Mexico, especially the state of Jalisco, with an ensemble typically consisting of trumpet, violin, vihuela, guitar, guitarrón and sometimes harp
- 21. The system of harmony based on the major and minor scales, in which harmonies move away from and then return to the tonic
- 24. Son ________: song and dance from the region south of the port of Veracruz, featuring some Afro-Caribbean elements like interlocking polyrhythms played by jarana, requinto and harp
- 28. Ballet _____, term since the 1950s for dance groups that merge theatrical elements of classical ballet with Mexican folk dances
- 29. _______ or Rarámuri people, indigenous group of central and Southern Chihuahua, who until the 20th century underwent very little acculturation; their ritual dances include the yúmari, pascola and matachines
- 30. Mexican dancer and choreographer who founded the Ballet Folklorico de Mexico
- 31. Tall, membranophone drum, with a membrane typically made of jaguar skin; the Mexicas and Mayas considered it to be sacred and is still in use in many religious ceremonies, like the concheros dance
- 32. A meaningful or memorable succession of pitches
- 35. The period (1876-1911) during which Mexico was ruled by Porfirio Díaz
- 36. Language spoken by the ancient Mexicas, as well as by many modern indigenous groups of central and southern Mexico
- 37. _____Nationalism, an ideology applied to much Mexican art after the Revolution, including the tenets that art should have a social function, and the glorification of indigenous heritage
- 39. Word describing a type of son typical of the Huasteca region, and a type of son accompaniment pattern executed rasgueado on instruments of the guitar family; Also known as son huasteco, it features sesquialtera rhythms, falsetto singing, and two singers who alternate coplas with a violinist who improvises fast phrases between sets of coplas
- 40. Spanish folk dance in triple meter, accompanied by guitar, introduced in Spain in the 17th century, danced by couples who perform footwork while playing castanets. The dance was often described as “provocative”
- 41. ________ de Papantla: Ritual petition dance from the Totonacas of the Huasteca region, in which a dancer plays flute and drum on top of a tall pillar while four dancers tied to the pillar with ropes “fly” downwards towards the ground
- 44. Grupo _________: Jarocho ensemble founded in 1977 by Gilberto Gutierrez Silva, credited with revitalizing the son jarocho and fandango tradition
- 45. A Mexican mestizo son that appeared in Mexico around the mid-18th century, denounced by the Inquisition as “indecent, lewd, disgraceful, and provocative.” In spite of the ban, it became associated with the Independence fight, and later became Mexico’s national dance
- 46. Spanish explorer who discovered and then conquered the Aztec city of Tenochtitlán (Mexico City)
- 47. Indigenous devotional dance of Northern Mexico, dedicated to the Virgin Mary. The dancers, aligned in three rows, perform a dance resembling a contradance to the accompaniment of violin and guitar. Each dancer holds aiyam painted red, which is shaken at specific points in the dance, and they wear headdresses with streamers and mirrors. Although it originated among the Yaquis, it is performed by other indigenous groups of what was Northern New Spain
- 49. A person of mixed Spanish and Indian heritage; by the early twentieth century they constituted the majority of the Mexican population
- 54. de capilla Person in charge of the musical activities of a cathedral, including the hiring and training of musicians and choir boys, and the composition of works for liturgical performance
- 55. Juan Gutierrez de Composer who was maestro de capilla in the Puebla cathedral in the 17th century, known primarily for his sacred polychoral works and his villancicos
- 58. Los __________: Trío huasteco founded in Ciudad Valles, San Luis Potosí, in 1974, considered one of the signature representatives of son huasteco
- 59. The way that music is disseminated from person to person
- 60. ______ or teneboim: idiophone leg rattles, made from cocoons of the giant silk moth that are dried, filled with seeds, and strung together. Originally used by the Yaquis in their deer dances and pascolas, now used also during Concheros dances in other parts of Mexico
- 65. Canción _____, term referring to Mexican folk and folk-derived songs with simple chordal accompaniment and an operatic vocal style; it is a main element of both mariachi and conjunto repertoire
- 68. Danza del __________: Oldest and most distinctive ritual dance of the Yaquis, depicting the hunt of a deer. The dancer carries aiyam and wears tenábaris on his legs and rihhutiam around his waist; he is accompanied by hirukiam and ba kubahe as well as singing
- 69. A small five-stringed guitar, which is an essential component of trios huastecos and jarocho ensembles