Mariachi Music Essay

In my research I will discuss the changes Mariachi music underwent in transition throughout generations and different places like Los Angeles. I will also introduce Mariachi’s origin and uniqueness to fully understand how it has become standardized through its many innovations of style and music.

The Word Mariachi refers to a specific ensemble made up of violins, guitar, vihuelas, and guitarrón, often including a harp. Best scholarly opinion states that the word mariachi has native roots, and the popular theory is that it comes from the name of the wood that was used to make a platform for the performers, as they danced and performed. The word also refers to the different styles of Music that the groups play, which now includes popular songs

from other traditional musical styles like rancheros, corridos, and sons. There are many interpretations of the what Mariachi is and where it originated from. Mariachi was associated with the Spanish term Fandango that was used to describe a broader term of music activity. Mariachi stems as far back as the conquest because of the instruments that were brought over and eventually used in the ensemble of Mariachi. Several stringed instruments have found favor in the mariachi ensemble over the years. Vihuelas and harps were brought to Mexico from the Spaniards in the 16th century. The guitarra de golpe, is a five-string flat-backed guitar with various regional tunings was commonly used by Jaliscan mariachis. Eventually in the twentieth century, the term Mariachi became the standard term referring solely to the ensemble style that mariachi had coined at the time. This gives us an early example of standardization that Mariachi evolved through when becoming recognized as an ensemble style of music.
Mariachi’s instrumentation changed throughout time Mariachi music was played in rural areas until political movement aided the growth of what Mariachi is today. After the relocation of Mariachi, instruments, audience, style and the size of Mariachi changed. The new Mariachi added more instruments and were in uniforms, being called charros. Mariachi music also changed as it became urbanized, that soon urban mariachi and rural mariachi were considered two distinct categories. Today modern mariachi follows urbanized Mariachi, dress in charro-style, and incorporated brass instrumentation into their songs. On the other hand, Traditional Mariachi has followed rural Mariachi, focusing on string instrumentation.

The common six-string guitar was introduced later, and in some ensembles is found together with its requinto, a smaller version tuned a fourth higher. The requinto takes the melodic part and is normally played by plucking or picking, while the guitarra sexta takes the harmonic role and is played by strumming the trumpet. Early experiments were also made with trombone and accordion in the 1920s. In the 1940s, mariachis used a piston, that had also been used by mariachis in San Gabriel, Jalisco. The trumpet itself had appeared in several early Coculan mariachis during the 1920s. In previous generations, the use the tambora in the mariachi ensemble was not uncommon. In highland Jalisco, it was considered an “indigenous mariachi” sound and until the mid- to late-twentieth century such groups were still used at weddings, bullfights, and religious festivals. The tambora forms one-half of the chirimía, a traditional ensemble of a Spanish-derived reed instrument and drum, also native to the western region and used for religious processions the chirimía reed instrument formed part of proto-mariachi groups in Jalisco in the early 19th century. In the arpa grande groups of Michoacán, the percussive role is

taken up by a musician who strikes the box of the harp. In the string-based mariachi, the dancer’s feet provided the sounds of percussion lacking in the ensemble itself. Percussive dancing is an important part of several regional son traditions to this day. Common instrumentation consists of violins, Harp, Vihuela, Guitarra de Golpe, Guitarron, and Tololoche. The Mariachi was the distinctive version of the Spanish theatrical orchestra of violins, harp and guitars which developed in and around Jalisco. In other areas such as Veracruz and the Huasteca region in the northeast, the ensemble evolved differently. By the end of the nineteenth century, in Cocula the vihuela, two violins, and the guitarrón were the instruments of the Mariachi. Early Mariachi dates back as far as 1927 in Jalisco. Early on and at its core Mariachi Music was made for dance and celebration or referred as Fandango. As Mariachi continued to develop, Latin America adopted the musical Genre, adding their own cultural taste. In "Mariachi, myths and mestizaje: Popular culture and Mexican national identity,” by Mary-Lee, she examines the different subgenres that were created and standardized in Mexico as different states adopted Mariachi. The principal music played by these early Mariachis was the Son, the popular music of the day. A mixture of folk traditions from Spain, Mexico, and Africa, the son was found in many regions of the country. The son from Jalisco is called the son jalisciense, a known song called La Negra is the best-known example. Son Jalisciense, is the style in which modern Mariachi is derived from. Modern Mariachi uses brass instruments such as trumpets and that’s where we see a difference in music style. These sons were known as the sons of Veracruz. Son Jarocho and Son Huesto are also popular styles in which Mariachi has taken shape in its evolution. These musical developments are important when it comes to understanding the genres past, to understand how it has evolved, especially in a place like the United States. In Chamorro Escalante’s book “Organografía de los mariachis tradicionales en Jalisco.” He examines how the instrumentation, repertoire, and usage of the word itself had changed significantly since the Mariachi appeared in the 19th century. Son Jalisciense is the genre most associated with traditional Mariachi The most readily identifiable, and most written about, characteristic of the son, particularly the son jalisciense of the greater Jaliscan region, is its use of sesquialtera rhythm, or the alternation between 3/4 and 6/8 meters, and the sons are considered the oldest part of the repertoire. This style was very popular and known in rural areas to be dance tunes and festive style music. Traditionally son text has been made up of colpes, usually octosyllabic and totaling four to six lines, about themes of love. Using sons, Mariachi has seen other subgenres emerge such as son Jarocho and son Huesto. Although these sons have different sounds and form, they do share a few things like, compound meters, all are played at a fast tempo, and all are composed as dance music. This development speaks to the innovation Mariachi has made in its past and continues to make moving forward. As mariachi moved into the twentieth century it is evident that it is a genre that is always changing and developing because it is known around the world in popularity, different people and cultures will continue to develop their own versions of the music.
Twentieth century developments of Mariachi were impacted by social, political, and economic events that were taking place in Mexico at the turn of the century. Frances Aparicio’s book, “Musical migrations: transnationalism and cultural hybridity in Latin/o America,” gave insight to some of the twentieth century developments of Mariachi impacted by social and political events. One of the major events early on was the Revolution of 1910, as all music was impacted during this time, which was referred to as “the bridge of transformations.” The revolution brought about major social and economic change. Mariachi music was not really played in major cities until 1910 because many people would garner symbolic attachment for those who subscribed to the Revolutions egalitarian ideals. Since Mariachi was associated with rural peasants, the music became a symbol of Mestizaje or racial mixing.. This development in Mariachi leads it to become a national sensation, as the entire country would embrace it at a time of hardship during the revolution. The popularity of Mariachi would make Mariachi change and innovate as it evolved in the years that followed the Revolution. Mariachi was now being played in larger states and not just for the poor people living in rural areas. The image as far as attire changed to fit a more proper and professional image. Along with the attire changed the ensemble as larger groups were being put together in the larger states.
Standardization of instrumentation began in the 1930’s and was finished around the 1950’s with groups like Mariachi Vargas and Mariachi Mexico de Pepe Villa.

Much of the formations changed due to Mariachis involvement in recordings, radio, and especially film. Mass media has also caused the homogenization of the music, making the differences between rural and regional styles obsolete. Although, the evolution of the Urban Mariachi, which is separate from the rural mariachi, are both still closely tied to the development of mass media in

Mexico.
Mariachi also made an impact in United Sates, Specifically, Los Angeles. Mariachi is one of the most popular genres of Music in Los Angeles. The reason for that being that there is a major Mexican population and an almost continual influx of Mexican immigrants, which includes musicians, into Los Angeles. Innovation involves the substitution of non-standard musical elements into otherwise traditional forms. Steven Pearlman’s article, “Standardization and Innovation in Mariachi Music Performance in Los Angeles,” examines some of the different musical styles that have evolved here in Los Angeles as it pertains to Mariachi music.
Depending on performance context, Mariachis play any number of song forms, which include polcas, boleros, rancheras, danzones, valses, cumbias, and clasicas among a few more. Boleros, Sones and Rancheras seem to be the most important to study because they seem to be the most popular and therefore most likely to be standardized. Sones are the fast tempo, lively dance numbers that are most associated with traditional Mariachi. Pearlman discovers in his research how renditions of traditional Mariachi songs like “Son De Mi Tierra,” and “Las Abajenas” are different here in Los Angles. Most often these pieces are shortened as well as contain a heavy amount of repetition which is a quality not seen in Mexico. He discovers how innovation in Sones is usually limited to the melodic embellishments played during sung versus or choruses. The main melodic figures are usually not altered. Subtle instrumentation changes and performance alterations are discovered across the many forms of Mariachi played in Los Angeles versus Mexico.
The common context in which Mariachi is played here in Los Angeles is the what Pearlmen refers to as the cantina context. The cantina context refers to the fundamental base of performance reminiscent in many ways to the common performance in Mexico. Most of the Mariachi musicians in Los Angles play in the Cantina Context. They rarely play in larger formal ensembles, which is more common in Mexico. Cantina Context is four or five musicians playing for people at tables per request, to stage shows or concerts where larger groups are assembled. In between you will commonly see Mariachi at weddings, baptisms, quiceaneras, and other parties that seem fit. I personally find this to be true growing up in a Mexican American family; Mariachi was present at every major celebrator event. It is a part of our culture and tradition in how we show love and celebrate. In Los Angeles it is not difficult finding a Mariachi group to play for you, as far as my experience goes. Sylvia Clark wrote a piece, “Mariachi music as a symbol of Mexican culture in the United States," where she states the diversity of Mexicans in Los Angeles makes for clashing styles and perspectives for which Mariachi is played. Standardization of Mariachi performance in Los Angeles is real and is a response to the interactions between groups and client.