Texas-Mexican music, or m???sica tejana, is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido, canci???n, and what author Manuel Pe???a calls the canci???n-corrido. M???sica tejana also includes two major regional ensembles and their styles-the conjunto and the Texas-Mexican version of the orquesta. A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of m???sica tejana ...
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Texas-Mexican music, or m???sica tejana, is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido, canci???n, and what author Manuel Pe???a calls the canci???n-corrido. M???sica tejana also includes two major regional ensembles and their styles-the conjunto and the Texas-Mexican version of the orquesta. A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of m???sica tejana. Despite their diversity, these various ensembles, genres, and styles share two fundamental characteristics: they are all homegrown, and they all speak after their own fashion to fundamental social processes shaping Texas-Mexican society. As Pe???a persuasively argues, they represent a transforming cultural economy and its effects on Texas-Mexicans. Pe???a traces the history of m???sica tejana from the fandangos and bailes of the nineteenth century through the canci???n ranchera and the politically informed corrido to the most recent forms of Tejano music. In the beginning, he argues, musicmaking was a function of "use-value"-its symbolic power linked to the social processes of which it was an organic part. As m???sica tejana was swept into the commercial market, it added a second, less culturally grounded dimension-"exchange-value"-whereby it came under the culturally weakening influence of the commercial market. Since the 1940s, the music has oscillated between the extremes of use- and exchange-value, though it has never lost its power to speak to issues of identity, difference, and social change. M???sica Tejana thus gives not only a detailed overview of m???sica tejana but also analyzes the social and economic implications of the music. The breadth, depth, and clarity with which Pe???a has treated this subject make this a most useful text for those interested in ethnomusicology, folklore, ethnic studies, and Mexican American culture. Manuel Pe???a, who received his Ph.D. in ethnomusicology and folklore from the University of Texas, has been a professor of anthropology and music at the University of Texas at Austin and California State University, Fresno. He is the author of The Texas-Mexican Conjunto: History of a Working-Class Music and The Mexican American Orquesta: Music, Culture, and the Dialectic of Conflict.
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