excerpts from --- Mexico, The Meeting of Two Cultures 1991 Higgins and Associates, New York, NY for The 7-Eleven Hispanic Arts Festival (Arts for Business) The Wedding of Musical Traditions Prior to the arrival of Cortes the music of Mexico, played with rattles, drums, reed and clay flutes, and conch-shell horns, was an integral part of religious celebrations. Quickly, however, as Christianity spread, in many areas these instruments gave way to instruments imported by the Spanish: violins, guitars and harps, brass horns, and woodwinds. The Indian and mestizo musicians not only learned to play European instruments, but also to build their own, sometimes giving them shapes and tunings of their own invention. Music and dance were important elements of Spanish theatrical productions, enormously popular throughout the Spanish speaking world during the colonial period. The typical Spanish theatrical orchestra of the sixteenth, seventeenth, and eighteenth centuries was comprised of violins (usually two), harp and guitars (or guitar variants). It was from this group that several of the most distinctive regional ensembles of Mexico developed, including the Mariachi. Mariachi - What Does It Mean?

Musicologists and folklorists have argued for years over the origin of the word - Mariachi. The explanation that appears most frequently - especially on record jackets and in travel brochures - is that it is a variation of the French word mariage, meaning wedding or marriage, and comes from the time in the nineteenth century when Maximillian, a Frenchman, was Emperor of Mexico. According to this myth the Mariachi was named by the French after the celebration with which it was most commonly associated. But this explanation, always regarded as highly doubtful by linguists, was totally discredited recently when a use of the word was found that predated the time when the French arrived in Mexico. Currently, however, the best scholarly opinion is that the word mariachi has native roots. One theory is that it comes from the name of the wood used to make the platform on which the performers danced to the music of the village musicians. But whatever its true source - and the truth may never be discovered with absolute certainty - the word today has one meaning that is crystal clear: Mariachi means on of the most exciting and enchanting musical ensembles found anywhere in the world.

The Unique Make-Up of the Mariachi Ensemble In the complete Mariachi group today there are as many as six to eight violins, two trumpets, and a guitar - all standard European instruments. Then there is a high-itched, round-backed guitar called the vihuela, which when strummed in the traditional manner gives the Mariachi its typical rhythmic vitality; a deep-voiced guitar called the guitarró n which serves as the bass of the ensemble; and a Mexican folk harp, which usually doubles the base line, but also ornaments the melody. While these three instruments have European origins, in their present form they are strictly Mexican. The sound that these instruments combine to make is unique. Like the sarape, which often used widely contrasting colors side by side - green and orange, yellow and blue - the Mariachi used sharply contrasting sounds: the sweet sounds of the violins against the brilliance of the trumpets, and the deep sound of the guitarró n against the crisp, high voice of the vihuela; and the frequent shifting between syncopation and on-beat rhythm. The resulting sound is the heart and soul of Mexico.

The Beginning of the Mariachi We Know Today Although the origins of Mariachi music go back hundreds of years, in the form we know it the Mariachi began in the nineteenth century in the Mexican state of Jalisco - according to popular legend, in the town of Cocula. 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 guitarró n (which had replaced the harp) were the instruments of the 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. La Negra is the best-known example. Sones from other regions include the son jarocho or veracruzano, from the region around the Gulf port of Veracruz; and the son huasteco, from northeastern Mexico.

The most famous example of the son jarocho is La Bamba . A typical son huasteco, also known as the huapango, is La Malagueñ a. It is interesting to note that there are some sones, such as El Gusto, which are common in all three regions and clearly date back to a common ancestor. Mariachi and Dance It is important to remember the son-and other types of Mariachi music- is not just music to be played and sung. From the very start it was music to be danced. The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado, a distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive the heels of their boots or shoes into the dance-floor, pounding out swift, often syncopated rhythms which complement the different rhythm of the musical instruments. The zapateado can literally reduce even the most resistant dance floor to splinters because of the force with which it is danced. Each of the regional variations of the son has its traditional style of dance.

The huapango or son huasteco, for instance, like the son jalisciense and son jarocho, was originally danced on wooden platforms, in some areas mounted on earthen jugs. To dance the huapango the couples line up in opposing columns. The upper part of the body is held perfectly erect as the feet perform rapid, intricate, shuffling maneuvers. Today it is sometimes performed with a glass of water on the head to show off the dancer's incredible muscular control. The lyrics of the sones frequently describe country life: in particular, the plants, animals and people of the region. These lyrics are highly suggestive, often using imagery of the courtship of farm animals to describe the relations of men and women. In the dance the movements of the performers often represent the farm-yard courtship described in the verses of the sones. Another kind of music related to the son and intimately connected with a particular dance is the jarabe. The jarabe, which has many regional variations, is really a medley of dance pieces, including sones, danzas, jotas, and polkas. No discussion of Mariachi dance would be complete without mentioning the famous Jarabe Tapatio - the Mexican Hat Dance.

Associated with Guadalajara in the state of Jalisco, it has become the national dance of Mexico. It is highly stylized, with prescribed movements and costumes. The male wears the classic outfit the Jalisco horsemen or charro, while the female the China, wears a hand-woven shawl and a bright sequined skirt. By the 1930's Mariachi musicians had begun wearing the same traje de charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes. Prior to the 1930's, photographs show early Mariachis dressed in calzones de manta, and huaraches, homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco. Coming of Age: Mariachi Vargas Although the roots of the Mariachi go back hundreds of years, there are no Bachs or Beethovens in its early history because Mariachi music was the music of country people. Until the 1930's Mariachi groups were local and semi-professional.

They were almost entirely unknown outside their own region. This began to change about 60 years ago, when the Mariachi Vargas de Tecalitl&#225n n, founded by Gaspar Vargas in 1898, went from Jalisco to Mexico City. They were invited to play at the inauguration in 1934 of populist President Lá zaro Cá rdenas, one of whose great interests was to foster the native culture of Mexico. Catching the Presidents enthusiasm, urban sophisticates took the folk arts to their hearts, and the Mariachi Vargas instantly became the toast of the town. The initial success was only the beginning. Silvestre Vargas, who had taken over from his father as leader of the Mariachi Vargas in 1928, soon hired a trained musician, Rubí n Fuentes, as musical director. Fuentes, still actively involved with the Mariachi Vargas more than fifty years later, is one of the towering figures in the development of the Mariachi.

With the help of Silvestre Vargas, he standardized the arrangements of many of the traditional sones composed many exceptional new huapangos, and wrote arrangements for many of the legendary song writers and singers of his generation, including Pedro Infante , Miguel Aceves Mej&#237a , Lola Beltr&#225n , and José Alfredo Jim&#233nez. By the 1950's he insisted that all his musicians read music. These innovations changed the way Mariachi music moved from one group to another. Gone was the total reliance of the musicians on their ears to pick up new songs, and techniques. With this giant step toward professionalism coinciding with the development of recordings, radio and film, the Mariachi Vargas was able to become the ideal that all other groups would emulate. With the addition of two trumpets, a classical guitar and more violins, by the 1950's the Mariachi ensemble had become a complete, adaptable orchestra, with the ability to retain its traditional base while it was assimilating new musical ideas and styles. The importance of Mariachi Vargas cannot be overestimated. Its arrangements have become the definitive statements of what the Mariachi should be.

The Mariachi at Special Occasions Mariachis often help celebrate the great moments in the lives of the Mexican people. With the serenata (serenade), the Mariachi participates in the rite of courtship. In a society where the young members of opposite sexes were kept apart, the serenata was a means of communication by which a young man could send a message of love to the woman of his heart. In many areas of Mexico, it is not unusual to be awakened by the sound of Las Mañ anitas, the traditional song for saints days, or birthdays. The Mariachi is usually positioned strategically on the street beneath the window of the festejada, but the sound of its music echoes through the whole neighborhood. Mariachis are also commonly hired for baptisms, weddings, patriotic holidays, and even funerals. It is not unusual for the deceased to leave a list of favorite songs to be sung beside the grave at burial. Mariachi music has been incorporated into the Roman Catholic Church's most sacred ritual: the Mass.

The Misa Panamericana is a Mariachi folk mass, sung in Spanish, that uses traditional instruments to create vivid new interpretations of the traditional elements of the service: Angelus, Kyrie eleison, Gloria, Alleluia, Offertory, Credo, Sanctus, and Agnus Dei. The first Mariachi Mass was the concept of a Canadian priest, Father Juan Marco Leclerc, and has been celebrated in Cuernavaca since 1966. It originally took place in a small chapel, but news of it spread so rapidly, and the crowds grew so large, that the regular Sunday Mariachi Mass had be moved to the Cathedral of Cuernavaca. It is now frequently performed throughout Mexico, and In many areas in the United States where people of Mexican origin live.

Webjefa: The Albuequerque Mariachi festival has a wonderful write-up on their inductees to their Mariachi Hall of Fame Mariachi History | Mariachi Plaza Directory Back to Top Mariachi music as we know it today results from the confluence of several different influences: European styled concert ensembles on haciendas composed of violins, harp, guitars, jawharps and other instruments, simpler coastal folk ensembles whose African influence gives mariachi some of its key rhythmic elements, and the harp and violin ensembles of the tierra caliente. It originated in the Mexican state of Jalisco, in the town of Cocula, in the 19th century, the first example cited in print dates from 1880. By the end of the nineteenth century, the vihuela, two violins, and the guitarrón which had replaced the harp, were the instruments of the mariachi(s). Trumpets, now a key part of the mariachi sound were introduced later, during the early days of broadcast radio. Etymology Musicologists and folklorists have argued for years over the origin of mariachi.

Standard Spanish dictionaries and encyclopedias name the French word mariage (meaning wedding or marriage) as a possible origin, and date it back to the 1860s, when Maximillian of Habsburg was Emperor of Mexico. This theory was probably first put forward by Alfonso Reyes. Another probable theory of the origin of the word mariachi is that it originated in the language of the Cora, an indigenous people of Nayarit (not Jalisco where the band originated). It may refer to the wood used to make the instruments Back to Top Prior to the arrival of Cortes the music of Mexico, played with rattles, drums, reed and clay flutes, and conch-shell horns, was an integral part of religious celebrations. Quickly, however, as Christianity spread, in many areas these instruments gave way to instruments imported by the Spanish: violins, guitars and harps, brass horns, and woodwinds. The Indian and mestizo musicians not only learned to play European instruments, but also to build their own, sometimes giving them shapes and tunings of their own invention. Music and dance were important elements of Spanish theatrical productions, enormously popular throughout the Spanish speaking world during the colonial period.

The typical Spanish theatrical orchestra of the sixteenth, seventeenth, and eighteenth centuries was comprised of violins (usually two), harp and guitars (or guitar variants). It was from this group that several of the most distinctive regional ensembles of Mexico developed, including the Mariachi. History In the 19th century, many Mariachi were roaming laborers moving from one hacienda to another, often more than the average laborer. With the revolution, however, many of the haciendas were forced to dismiss the mariachi, who then wandered from town to town singing songs (corridos) of revolutionary heroes and enemies, and carrying news from one place to another. The Mariachi took to playing in public venues for tips. One of the most popular of these venues was San Pedro Tlaquepaque in the state of Jalisco, a fashionable place for the residents of Guadalajara to spend the summer. From the beginning, mariachi music was dance music. The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado.

When dancing the zapateado, which originated in Spain, the performers drive the heels of their boots into the dance-floor, pounding out swift, often syncopated rhythms which complement that of the musical instruments. Another typical mariachi dance, the Jarabe tapatío or Mexican Hat Dance, from Guadalajara in the state of Jalisco, has become the national dance of Mexico. It is highly stylized, with prescribed movements and costumes. The male wears the classic outfit of the Jalisco horsemen, similar to the outfit of a cowboy, or charro, while the female wears a hand-woven shawl and a bright sequined skirt. Back to Top Until the 1930s, Mariachis were semi-professional and almost entirely unknown outside their own region. This began to change when Mariachi Vargas de Tecalitlán, founded by Gaspar Vargas in 1898, went from Jalisco to Mexico City. President Lázaro Cárdenas invited them to play at his inauguration in 1934, and later to accompany him in his campaign in 1936.

Silvestre Vargas, who had taken over from his father as leader of the Mariachi Vargas in 1928, soon hired a trained musician, Rubén Fuentes, as musical director. Together, Vargas and Fuentes standardized musical arrangements for many of the popular sones and insisted on the use of written music, which greatly facilitated the exchange among different mariachi bands. Their arrangements were used by the great singers of their time, including Pedro Infante, Lola Beltran, Jorge Negrete, Javier Solís and José Alfredo Jiménez. Influenced by jazz and Cuban music in the 1950s, they introduced the trumpet into the standard ensemble, which now included six to eight violins, a guitarrón, a vihuela, a guitar, two trumpets, and occasionally a harp as well. Trumpets were also introduced to mariachi music to accommodate the technical limitations of music recording equipment available for the cinema.

However, nowadays trumpets have become an essential part of the signature mariachi sound, as exemplified by the opening notes of "El Son de la Negra." Back to Top Aided by the advent of radio, television, and the movies, mariachi music went on to become a definitive part of Mexican culture, and the Mariachi Vargas de Tecalitlán appeared in over 200 films in the 1940s and 1950s, often considered the Golden Age of Mexican cinema. Prior to the 1930s, photographs show early mariachis dressed in calzones de manta, and huaraches, homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco. During the 1930s, however, many mariachi took to wearing the traje de charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes. This outfit is often complemented by a large bow-tie, a wide belt and a large sombrero.

It is said that General Porfirio Díaz ordered a mariachi band to wear charro suits while playing for the United States Secretary of State. If true, this may be the source of traditional dress for mariachi bands. The mariachi tradition was further extended to a widespread mainstream audience in the United States when popular American folk rock singer Linda Ronstadt realized her dream of making a record of Mexican Canciones in 1987. Ronstadt came from a leading Arizona ranch family who had a long tradition of making and singing Mexican folk music. In 1987, her Canciones De Mi Padre disc was a surprise smash hit with the American public and brought Mariachi music to a level of recognition and credibility it had not seen before north of the border. The album went on to multi-platinum status, becoming at the time the biggest selling non-English language disc in United States history. It also spawned a successful videocassette of Linda's elaborate stage show which was later released on DVD. Ronstadt went on to record a sequel titled "Mas Canciones." Mariachi and Dance It is important to remember the son-and other types of Mariachi music- is not just music to be played and sung.

From the very start it was music to be danced. The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado, a distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive the heels of their boots or shoes into the dance-floor, pounding out swift, often syncopated rhythms which complement the different rhythm of the musical instruments. The zapateado can literally reduce even the most resistant dance floor to splinters because of the force with which it is danced. Another kind of music related to the son and intimately connected with a particular dance is the jarabe. The jarabe, which has many regional variations, is really a medley of dance pieces, including sones, danzas, jotas, and polkas. No discussion of Mariachi dance would be complete without mentioning the famous Jarabe Tapatio - the Mexican Hat Dance. Associated with Guadalajara in the state of Jalisco, it has become the national dance of Mexico. It is highly stylized, with prescribed movements and costumes.

The male wears the classic outfit the Jalisco horsemen or charro, while the female the China, wears a hand-woven shawl and a bright sequined skirt.The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado, a distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive the heels of their boots or shoes into the dance-floor, pounding out swift, often syncopated rhythms which complement the different rhythm of the musical instruments. The zapateado can literally reduce even the most resistant dance floor to splinters because of the force with which it is danced. By the 1930's Mariachi musicians had begun wearing the same traje de charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes.

Prior to the 1930's, photographs show early Mariachis dressed in calzones de manta, and huaraches, homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco. Coming of Age: Mariachi Vargas Although the roots of the Mariachi go back hundreds of years, there are no Bachs or Beethovens in its early history because Mariachi music was the music of country people. Until the 1930's Mariachi groups were local and semi-professional. They were almost entirely unknown outside their own region. This began to change about 60 years ago, when the Mariachi Vargas de Tecalitlán n, founded by Gaspar Vargas in 1898, went from Jalisco to Mexico City. They were invited to play at the inauguration in 1934 of populist President Lá zaro Cárdenas, one of whose great interests was to foster the native culture of Mexico. Catching the Presidents enthusiasm, urban sophisticates took the folk arts to their hearts, and the Mariachi Vargas instantly became the toast of the town. The initial success was only the beginning.

Silvestre Vargas, who had taken over from his father as leader of the Mariachi Vargas in 1928, soon hired a trained musician, Rubín Fuentes, as musical director. What is mariachi Classifieds . Mariachi Lyrics . Mariachi Music . Mariachi Forum What is mariachi? The only thing more Mexican than tequila is mariachi and it seems a shame to have one without the other. Mariachi goes beyond music, it is the sum of a cultural revolution expressed through a group of musicians, dressed in popular clothing (most recently charro suits) which encompasses the essence of Mexico and its people. It is something cultural, spiritual and traditional that is unique to this country, an experience not to be missed. The word mariachi refers to the musicians now commonly seen in restaurants or strolling the streets, dressed in silver studded charro outfits with wide brimmed hats playing a variety of instruments which include violins, guitars, basses, vihuelas (a 5 string guitar) and trumpets. Their songs speak about machismo, love, betrayal, death, politics, revolutionary heroes and even animals (one particularly famous song is "La Cucaracha").

The mariachi originated in the southern part of the state of Jalisco sometime in the 19th century. No one is sure where the name comes from although a variety of theories have been postulated and, depending on which best fits the postulators needs, are adhered to. The original theory held that mariachi was derived from the French word for wedding - mariage, because of the type of music played at these events. The only problem with this theory is that the music originates in a part of Mexico the French never visited and, even it they had, it began before their arrival in 1864. Another theory states that the word comes from the indigenous name of the Pilla or Cirimo tree, whose wood is used to make guitars. If this were true then the word mariachi would be applied to the instrument itself and not to those who play it. It has also been suggested that the name comes from a festival in honor of a virgin known as Maria H. (mah-ree-ah AH-chay) at which musicians played and that over time they were given this name.

The truth is that no one knows where the name originated, but it is one which is associated with a great deal of prestige not only in Mexico, but around the world. The origins of the mariachi itself (the group, culture, music, etc.) are not much easier to trace. The mariachi is the sum of a cultural evolution which has taken place over the last century or so in Mexico Although the indigenous tribes of Mexico made music with flutes, drums and whistles, there is no clear link between the indigenous music and the mariachi. The instruments originally used by the mariachi were those introduced by the Spaniards - violins, guitars, vihuelas, harps, etc. These instruments were intended to be used during masses but the criollos (Mexicans of Spanish descent) began using them to make popular music as well, much to the chagrin of the priests, since they were used to accompany some of the more scandalous, satirical or anticlerical couplets of the times. Mariachi music thrived with the support of the people.

The criollos of the 19th century did all they could to wipe out every last trace of the Spanish presence in Mexico and, by doing so, supported the mariachi music. Mariachis could be seen wearing traditional workmen's clothes - white pants and shirt and a straw hat, and traveling around looking for work. Most commonly they would find employment at any of the haciendas where they would earn more than the average laborer. With the revolution, many of the haciendas were forced to let the mariachis go. They would then wander from town to town singing songs of revolutionary heroes and enemies, carrying news from one place to another. Still not enjoying the same position they had before, the mariachis took to playing in public venues for a fee. One of the most popular of these was San Pedro Tlaquepaque in the state of Jalisco, a fashionable place for the residents of Guadalajara to spend their summers. Since they were playing for a fee they were forced to add new elements to their music and to expand their repertoire to include waltzes and polkas. By the early part of this century the mariachi began to regain its popularity.

The most prized of the mariachis were still those from the state of Jalisco, particularly the areas of Cocula and Tecaltitlan. They represented Mexico to the people during the Independence day celebrations in Mexico City in 1933 as well as during Lazaro Cardenas' election campaign in 1936. With the advent of radio and television their popularity continued to grow. Recording contracts were signed and they were paired with famous singers like Jorge Negrete and Pedro Infante. Due to the popularity of jazz and Cuban music the trumpet was adopted, pushing the violins into second place and, in some cases, replacing the harp. Movies were made which represented Mexico as a place populated with truly macho men whose live revolved around the charro, tequila and, of course, the mariachi. Today, mariachi music is played around the world in places as far away as Japan and Europe. This integral part of Mexico's culture and history is celebrated each September in its birth place, Jalisco. History of Mariachi Music History of Mariachi Music Mariachi and it's Roots The roots of the Mariachi go back hundreds of years.

It was the music of country people; music that celebrated the joys, the struggles, and the triumphs of the Mexican people. The Mariachi was a version of Spanish theatrical orchestra containing violins, guitars, and a harp. Groups were small and not generally known outside of the region from which they came. The musical form and ensemble of the Mariachi developed differently from region to region. The ensemble that is familiar today began to take shape in the the nineteenth century in the state of Jalisco. In other areas such as Veracruz and Huasteca, the northeast region of the country, the ensemble evolved differently. By the end of the nineteenth century, the cocula or the vihuela, two violins, and the guitarron were the instruments of the Mariachi. By the 1950's the Mariachi ensemble was becoming more flexible and orchestral without losing it's traditional base. The classical guitar, two trumpets and more violins were added to make the ensemble more adaptable and able to play different styles other than the son (a type of traditional folk song that is an essential element to the mariachi repetoire).

The Mariachi at Special Occasions The Mariachi has continued to be a huge part in the celebration of the moments of the lives of the Mexican people. In a society where young people of the opposite sex are kept separated, the serenata is a means of communication from a young man to a woman that he is courting. The serenata is a musical message of love delivered by the Mariachi on his behalf. It is common to be woken up with the sounds of Las Mananitas in the early morning. This is a traditional song used to celebrate saint's days and birthdays. Mariachis are commonly one form of entertainment at baptisms, weddings, holidays, and funerals. Mariachi music has been incorporated into the Roman Catholic Church as the music to accompany the ceremony. La Misa Panamericana is a Mariachi folk Mass that uses the Mariachi ensemble to create the group's interpretation of traditional Mass music. The Mariachi continues to be a common and essential source of entertainment in Mexico and now more and more in the Southwest region of the United States.

Mexico's Music: A History of Mariachi - Puerto Aventuras Puerto Aventuras Sea Side Mexico ›› Puerto Aventuras ›› Mexico’s Music: A History of Mariachi Mexico’s Music: A History of Mariachi Mariachi is a type of Mexican folk music originally played in a style called Son Jaliscience. Originally, Mariachi was played with only musicians and string instruments. The musicians would dress in white pants and shirts that the peasant farmers of the 18th century traditionally wore. During the 19th and 20th centuries, Mariachi began to reach cities such as Mexico City and Guadalajara. The style of Mariachi was gradually relabeled as Son, and modifications of the music began to take place. Trumpets were added to Mariachi bands and the musicians began wearing charro outfits. By the first half of the 20th century, Mariachi began to take on national prominence as it was promoted on the radio and at presidential inaugurations. Indigenous Mexicans played music with drums, rattles, horns made from conch shells, and flutes.

The Mariachi style of music did not appear until the the Spanish arrived in Mexico and introduced guitars, violins, brass instruments, harps, and woodwind instruments. Many of these quickly replaced simpler native instruments. Indigenous people quickly learned to not only play but also make these instruments, often modifying the tunings and shapes. The introduction of new types of instruments in Mexico, as well as the concept of musical groups gave rise to several folk musical styles, one of them being Mariachi. At first, Mariachi music featured only string instruments and Mariachi players looked much different than those that perform today. Over time, as music began to evolve, the style of Mariachi changed from Son Jaliscense to Son. More modern Mariachi music is believed to have originated in Jalisco, specifically the town of Cocula. Today, Mariachi bands can be found all around the country from Jalisco to Playa del Carmen and beyond. As Mariachi music became more well known, groups began playing in haciendas but after the Mexican Revolution, many workers were let go. In order to make money the Mariachi groups would have to wander around town, playing for a fee. They were also forced to play in public venues.

The first recognized Mariachi recordings were made in 1908 and 1909. Mariachi music as it is known today developed in the 20th century as music began to transform. The Mexican government had a big hand in cultural promotion as a way to unify Mexican identity after the Revolution. One effort was to promote Mariachi as an international symbol of Mexican identity. The first nationwide radio broadcasting network was built in Mexico in the 1920s. During this time, Mariachi music was broadcast nationwide. Also around this time, Cuban music and jazz began to influence Mariachi and trumpets began being used as harps and violins were pushed into second place. In Jalisco, where modern Mariachi originated, the charro tradition was strong and in the 1920s, they began being used as a cultural ideal in the film industry. The first charro movies debuted in the 1920s but the first person to sing Mariachi in a film was Tito Guizar in 1936. Mariachi music often had a negative perception in films with charros being portrayed as womanizers and heavy drinkers.

This perception however did begin to change in the later part of the 20th century. At this time, Mariachi music started to become more professional and formal training became more widely available. Mariachi Vargas was one of the first major successes with the group appearing in many different films. Women began participating in Mariachi as well with some of the first female performers being Lucha Villa and Lola Beltran. Mariachi groups can vary in size and not all use the same instruments when performing. It is often necessary for groups to know hundreds of songs as they are expected to play requests. Some well known Mariachi singers of the past include Pedro Infante, Luis Miguel, Silvestre Vargas, and many more. Additional Mariachi Information: Unique Facts about Mexico: Mariachi Mariachi Mariachi is a type of musical group, originally from Mexico, consisting of at least two violins, two trumpets, one Spanish guitar, one vihuela (a high-pitched, five-string guitar) and one guitarrón (a small-scaled acoustic bass), but sometimes featuring more than twenty musicians.

The word mariachi was long considered to be derived from marriage, the French word for marriage, since mariachi music is often played at weddings, but this theory has recently been discredited. The earliest known appearance of the word mariachi in reference to music is from 1852, nearly ten years prior to the French intervention in 1861. Another theory states that the word originated in the language of the Coca Indians in the early 16th century and originally referred to the wooden platform on which the musicians often performed, which was made of the wood of the Pilla or Cirimo tree. Yet another theory claims that the guitars were made of this wood. Mariachi music as we know it today originated in the Mexican state of Jalisco, according to popular legend in the town of Cocula, in the 19th century. The mariachi was the distinctive version of the Spanish theatrical orchestra of violins, harp and guitars which developed in and around Jalisco. By the end of the nineteenth century, the vihuela, two violins, and the guitarrón, which had replaced the harp, were the instruments of the mariachi.

The mariachi sound, known as son, is a mixture of Spanish, native and African traditions and differs from region to region. The son jalisciense from the Jalisco region is exemplified by the popular mariachi piece La Negra. The son jarocho or son veracruzano from Veracruz often has the harp instead of the guitarrón as the primary bass instrument and is exemplified by La Bamba. The son huasteco or huapango from southeastern Mexico often includes a flute as part of the standard ensemble and is exemplified by La Malagueña and Serenata Huasteca. In the 19th century, many mariachi were itinerant labourers moving from one hacienda to another, often more than the average labourer. With the revolution, however, many of the haciendas were forced to dismiss the mariachi, who then wandered from town to town singing songs of revolutionary heroes and enemies, and carrying news from one place to another. The mariachi took to playing in public venues for a fee. One of the most popular of these venues was San Pedro Tlaquepaque in the state of Jalisco, a fashionable place for the residents of Guadalajara to spend the summer.

From the beginning, mariachi music was dance music. The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado. When dancing the zapateado, which originated in Spain, the performers drive the heels of their boots into the dance-floor, pounding out swift, often syncopated rhythms which complement that of the musical instruments. Another typical mariachi dance, the jarabe tapatio or Mexican Hat Dance, from Guadalajara in the state of Jalisco, has become the national dance of Mexico. It is highly stylized, with prescribed movements and costumes. The male wears the classic outfit the Jalisco horsemen or charro, while the female wears a hand-woven shawl and a bright sequined skirt. Until the 1930s, mariachi groups were semi-professional and almost entirely unknown outside their own region. This began to change when the mariachi band Vargas de Tecalitlán, founded by Gaspar Vargas in 1898, went from Jalisco to Mexico City.

Populist President Lázaro Cárdenas invited them to play at his inauguration in 1934, and later to accompany him in his campaign in 1936. Silvestre Vargas, who had taken over from his father as leader of the Mariachi Vargas in 1928, soon hired a trained musician, Rubén Fuentes, as musical director. Together, Vargas and Fuentes standardized musical arrangements for many of the popular sones and insisted on the use of written music, which greatly facilitated the exchange among different mariachi bands. Their arrangements were used by the great singers of their time, including Pedro Infante, Lola Beltran, and José Alfredo Jiménez. Influenced by Jazz and Cuban music in the 1950s, they introduced the trumpet into the standard ensemble, which now included six to eight violins, a guitarrón, a vihuela, a guitar, two trumpets, and occasionally a harp as well.

Aided by the advent of radio, television, and the movies, mariachi music went on to become a definitive part of Mexican culture, and the mariachi Vargas de Tecalitlán appeared in over 200 films in the 1940s and 1950s, often considered the Golden Age of Mexican cinema. Prior to the 1930s, photographs show early mariachis dressed in calzones de manta, and huaraches, homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco. During the 1930s, however, many mariachi took to wearing the traje de charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes. This outfit is often complemented by a large bowtie, a wide belt and a large sombrero. It is said that General Porfirio Díaz ordered a mariachi band to wear charro suits while playing for the United States Secretary of State.

If true, this may be the source of traditional dress for mariachi bands. The mariachi tradition has been extended from Mexico to other countries, particularly Colombia, and mariachi music is popular in many countries around the world, particularly the United States, where it was introduced by Mexican immigrants. All text is available under the terms of the GNU Free Documentation License. What is a mariachi band and Where did mariachi bands originate? What is a mariachi band and Where did mariachi bands originate? 2012.12.10 2014.06.15 | Filed Under: History A mariachi band is a Mexican or Mexican American band that walks around playing traditional Mexican songs on guitars, violins, and sometimes trumpets. The musicians wear brightly sequined Spanish costumes and large-brimmed sombreros, or hats. Evolving from rural Mexican origins, mariachi bands became internationally popular in the mid-twentieth century as a musical emblem of Mexico. Read More Also, any literature on baseball written in the 1800's does not credit Abner Doubleday with the invention either. But if my...

2016-12-28T23:28:08+00:00 I'm not saying that whoever wrote this did not research this at all but I am saying this explanation of the origins of baseball... 2016-12-28T23:19:30+00:00 IT TOOK ME OVER WINTER BREAK 12 DAYS 3 HOURS 5 MINUTES AND 36 SECONDS. 2016-12-28T02:49:36+00:00 The math here is false. The fundation of how this was worked out is how long it takes to count to 100 in seconds; which is fine... 2016-11-08T22:41:08+00:00 'Mariachi has changed my life': Mexican music grabs US students - U.S. News U.S. News 'Mariachi has changed my life': Mexican music grabs US students By U.S.

News Email Courtesy of Ramon Rivera Members of the Wenatchee High School mariachi band get ready to perform at the Washington Apple Blossom Festival in Yakima, Wash., on April 28. Mariachi is resounding in hundreds of U.S. public schools offering the festive Mexican folk music as part of their band classes, music experts say. Many student musicians will get a chance to show their passion for it at events surrounding Cinco de Mayo on Saturday. Follow @msnbc_us “Its popularity has exploded, and music programs all around the country are bursting with enthusiasm,” said Ramon Rivera, the mariachi program director for the Wenatchee School District in Wenatchee, Wash. His mariachi program boasts 300 students, he says, and draws more young players every year from the community of 30,000 residents in north-central Washington. Mariachi bands are no longer confined to states along the U.S. border or American cities with growing Hispanic populations, said Daniel Sheehy, a mariachi expert and director of the Smithsonian Center for Folklife and Cultural Heritage in Washington, D.C. At least 500 U.S.

public schools now offer mariachi as part of their music curricula and there are local and state competitions, Sheeny said. He said members at the Music Educators National Conference have created a task force to see how many mariachi programs had taken root in the last five years. "Mariachi has all the ingredients to make it a powerful movement," Sheeny said. "It’s infectious and honest music and a touchstone of identity." Sheehy has studied the genre for nearly three decades and is the author of "Mariachi Music in America: Experiencing Music, Expressing Culture." Many school bands are gearing up for Cinco de Mayo celebrations. “There is a saying that we live and breathe mariachi in Texas, and that’s no joke,” said Robert Rodriguez, a mariachi director for the Victor Independent School District in Victoria, Texas. “Cinco de Mayo is one of the biggest days for us. We’ll be playing all day long, from 11 a.m. to 10 p.m.” He said he teaches mariachi to 50 students from the district’s two high schools. In the Las Vegas area, the Clark County School District's mariachi program has experienced a boom.

"We started with four schools and about 250 students in the first year," said Javier Trujillo, who was recruited to help develop the program in southern Nevada in 2002. He said within a decade, the program blossomed to include 15 schools, 16 instructors and 2,500 students. He said he doesn't teach in the schools anymore, but plays in a mariachi band. Watch the most-viewed videos on msnbc.com Marcia Neel, who retired this year as coordinator of secondary fine arts for Clark County schools, said Trujillo was being modest about the mariachi program's growth in Las Vegas. "I would say the numbers of students involved in mariachi is somewhere near 3,000 students," she said. "Mariachi is so popular that I have made it my own personal business, and I have been busy." She said school districts in Iowa, Tennessee and northern Nevada have invited her to help start mariachi programs at their middle and high schools. "It is folk music of a country that engages not only the child, but the parent and the entire family," she said.

"What is not to love about it?" The growing number of Mexican-Americans has helped bump up the number of youths interested in the music from their homeland, music instructors say. But students say it's the beat and the joy of the music that drew them. "It's my passion, I love it," said Monica Moreno, 14, from Wenatchee High School. She said she grew up listening to mariachi in her home, where her parents often danced to the music. "I couldn't stand it," Moreno said. "I hated listening to it while I was growing up. Then everything changed when I watched a performance of mariachi performers at high school. They had passion. They had smiles. They were having fun and that's when I knew I wanted to play in a mariachi band." Moreno plays the violin in Wenatchee High School's ninth-grade program. "I will never stop doing it," she said. The music of mariachi originated in the state of Jalisco, in Mexico, sometime during the 19th century. While no one knows for sure how mariachi started, the style is certain. Musicians wear elaborate traditional suits of the horseman, traje de charro.

Love, betrayal, revolutionary heroes, even animals are common themes of mariachi songs. Common instruments are violins, trumpets, guitars, vihuelas (a five-stringed relative of the guitar), and the guitarrón (a large-bodied acoustic bass). Megan Howard, a 12-year-old seventh-grader at Pioneer Middle School in Wenatchee, says she had always wanted to play guitar but wasn’t interested in classical instruction. Howard said she first learned how to play mariachi music in fifth grade and now wants to try out for a spot on the high school's mariachi team. “The music is beautiful, upbeat and fun to play,” said Howard. She said her heart beats along to mariachi. “Through the music and the musicians I learned about how Mexicans care [about] their land,” she said. “I’ve learned not only to play, but learned to appreciate things that are important in life. Mariachi has changed my life.” Does your school have a mariachi band? Let us know on the msnbc.com US News Facebook page . More content from msnbc.com and NBC News:

Question: Mariachi bands originated in which country?
Answer: Mexico