Between Norteño and Tejano Conjunto

Luis Díaz-Santana Garza is professor of music history and guitar at the Autonomous University of Zacatecas in Zacatecas, Mexico.

Díaz-Santana Garza is part of a wave of scholars who incorporate their lived experience in their scholarship…. The author provides a history of conjunto, the multiple musical forms the genre incorporates, and its influence in shaping other musical cultures. The author also argues that transnational music of accordion and bajo sexto have become powerful symbols of Mexican and Chicano identity, displacing mariachi music, thanks to demand from Mexican migrants. The author visited ten archives across Mexico and Texas, and his primary research sources include newspapers, songs, and interviews he conducted in southern Texas towns and large urban centers in Mexico. Recommended. Lower-division undergraduates through faculty and professionals; general readers.

• Table of ContentsChapter I Border Territory: Nuevo León and Texas from Colonial Times to the 19th Century Chapter II Precursors to Conjunto: Culture, Migration and Border Identity Chapter III The First Epoch of Conjunto: The Instruments, Musical Forms and the Media Chapter IV Conjunto: From Subaltern Mexican Culture to American Cultural Treasure Chapter V Transformation and Recent Trends in Conjunto