136 pages | 11 B/W Illus.
Musicians’ Migratory Patterns: American-Mexican Border Lands considers the works and ideologies of an array of American-based, immigrant Mexican composers. It asserts their immigrant status as a central force in nourishing, informing, and propelling musical and artistic concerns, uncovering pure and fresh forms of expression that broaden the multicultural map of Mexico. The text guides readers in appreciation of the aesthetic and technical achievements of original works and innovative performances, with artistic and pedagogical implications that frame a vivid picture of the contemporary Mexican as immigrant creator in the United States.
The ongoing displacement of Mexicans into the United States impacts not only American economic conditions but the country’s social, cultural, and intellectual configurations as well. Artistic and academic voices shape and enrich the multicultural diversity of both countries, as immigrant Mexican composers and their musics prove instrumental to the forming of a self-critical society compelled to value and embrace its diversity. Despite conflicting political reactions on this complex subject of legal and illegal immigration, undeniable is the influence of Mexican musical expressions, in the United States and Mexico, at the border and beyond.
Chapter 1: Sound Through the Looking Glass: An Approach to the Dimensional Sonology on the Tijuana-San Diego Border (Álvaro G. Díaz Rodríguez) / Chapter 2: Network Platforms, Electronic Scenes and Cultural Activism at the Tijuana-San Diego Border: The Performance of Border Critical Thinking in Young Artistic Movements in the Early 21st Century (Rossana Lara Velázquez) / Chapter 3: Sonic Borders of Self: A Trajectory (Wilfrido Terrazas) / Chapter 4: P/T: Ensenada & Experimentalist Musical Practice: Narrations in Place and Time (Teresa Díaz de Cossio & Paul N Roth) / Chapter 5: Sound Migration: Repatriation of Mexican Piano Music: A Case Study on Three Short Piano Pieces by Samuel Zyman (Turcios Ruiz) / Chapter 6: Borderline Crossings: The New Mexican Orchestra (Mauricio Rodríguez)
Created in 2009, Cultural Expressions in Music began as a series of monographs that sought to promote and share the diversity of perspectives, cultures, experiences, philosophies, and contributions of The College Music Society’s membership and the music community at large. The volumes published under this rubric follow the tenets of geo-musicology, an interdisciplinary outreach of recent coinage, which integrates musical expression, geo-political thinking, and migratory movement of musicians, musical genres, styles, repertoire, and practices. The monographs and edited collections in the series urge readers worldwide to reflect, musically and culturally, upon one of the most pressing issues of our time: immigration.