AruzoNe SmrEUNrvrnslrY School of Music ETHNOMUSICOLOGY ENSEMBLE SERIES MARIACHI DIABLO S DEL S OL MARIACHI ASU Kitty Lopez, FacultY Associate Felipe Bautista, Instructor de armonia AlbCrto Lopez, Inskuctor de guitarr6n |. Richard Haefer, Director MARIMBA MADERAS DE COMITAN Ted Solis, DIRECTOR Thanks to the Baisley Powell Elebash Foundation for the contribution of the Baisley Powell Elebash Graduate Fellowships in Ethnomusicology KATZIN CONCERT HALL Wednesday, December L, 1999'7:30 p.m. .: PROGRAM El becerro PAUSE Silvestre Vargas/Ruben Fuentes son Por mujeres como tit MOVE TO EXTERIOR ENTRANCE PLAZA FOR A LATIN PACHANGA Fato bolero Hector Martinez, soloist El gustito Elpidio Ramirez Kitty Lopez, soloist son Huasteca Pieces to be selected from the following MARIACHIASU Teatro principal polca El corrido ilelos conido Miguel Martinez MiViejo Sanluan Phez David Gonz6lez-Brambila Betty Duarte Matwick & Kitty Lopez, soloists En tu dta Polca El Manicero vocal: Ruth Vichules ]os6 Alfredo Jim6nez Rayna Forry, soloist luarez Danz6n con Montuno from Mexico Sonando Son Montuno in Cuban style Mambo Cuco Son Montuno in Cuban style Alfredo D'Orsay Marisa Ronstadt, soloist !os6 Antonio Michel Luna de Octubre El Sancocho Merengue from Dominican Republic Ralph Ruelas, soloist Cumbia Cimaguera las hornMexico Son/pregdn from Cuba Orlando Correon, soloist l^a tequilera ranchera El Golpe Traidor vocal: Norma Talamante Chucho Monge Me equiooqu| contigo ranch.sa lmta V als fr om Chiapas, Mexico) Ralph Ruelas, soloist Cref bolero Porro fromColornbia Norma Talamante and Ruth Vichules, vocal Zandunga Manuel Pomian Chiapas' Mexico ,ffi:"from Cafetal ]oan Sebasti6n Eetty Duarte Matwick, soloist Prieta linda ranchera choreography: Norma Mi Ruudrdamebonito bolero El Piri D.P ranchera ranchera Bolero fuomPuerto Rico vocal: Ron Ramirez D.P coroneles Cumbia from Colombia vocal: Ron Ramirez marcha MARIACHI DIABLOS DEL SOL MiTierra Alberto Garcia El nutlense son La mariquita Bomba/salsa vocals: Norma Talamante and Ron Ramirez Otaaalomanta vocar, charango, and zampofra: Silvestre Vargas / Ruben Fuentes son MARIACHI ASU o^rriT"{!{{lro MARIMBA MADERAS DE COMITAN from Miami from Ecuador l:r! rn= PERSONNEL Mariachi ASU Mariachi Diablos del Sol Michelle Ariffo, violin Orlando Carreon, guitarra Manny Delgadillo, trompeta Jose Jaramillo, guitarra Christopher Long, guitarra Maritza Lopez, violin Felipe Bautista, armonia fTony Dumas, guitarra Rayna Forry, violin J. Richard Haefer, armonia Benjamin Lopez, guitandn Kitty Lopez, flauta/violin Hector Martinez, vihuela Vanessa Lopez, violin Cristina Mendia, violin Betty Duarte Matwick, guitarr6n Daniel Jos6 Montoya, trompeta Eddy Valencia, violin Marimb a Maderas de Comitdn Gabe Burnham Meghan Radtke Renato Salomone Jim Dodson Don Droegemueller David Seleme Kevin Snow Adam Spiroff NormaTalamante Ruth Lara Vichules Larissa Fernandez Brian Holman f,Eun-Young Jung Derrick Klinger f SolMufiiz, guitarrdn Michael S. Padilla, trompeta Adrianna P eralla, viol in lsandra Peralta, viol in Marisa Ronstadt, guitarra Ralph Ruelas, guitarra Mimi Winters, flauta Recipients of the Baisley Powell Elebash Graduate Fellowships in Ethnomusicology Contributors to the ASU Mariachi Scholarship Fund for Fall, 1 999 Arizona Career Academy ASU Hispanic Business Students Association Cecilia A. Lopez Maria L. Mendia Umberto Mendia, State Farm Insurance Agent SolMuniz Ralph Ruelas University of Arizona Mariachi Arizona School of Music Performance Events Staff Performance Events Staff Manager....................PauI W. Estes Assistant Events Staff Manager............... .Gury E. Quamme Andrey Astaiza Steve Aubuchon Dom Baker ]ennifer Cook Elizabeth Maben Jessica Wood Mariachi Diablos del Sol and Mariachi ASU Mariachi Diablos del Sol MDilS was formedin1984 with the help of local professionai mariachis, as the first mariachi at a university or college in Arizona. Over the past fifteen years MDilS has expanded to include community members and youth mariachis often reaching more than 30 persons per semester. MDLS has influenced the start of similar organizations at South Mountain Community College, Northern Arizona University, and local elementary and high schools. In1996 the program expanded to include a second mariachi open to full-time students only and providing scholarship aid to the students. This mariachi is named Mariachi ASU and together with MDilS performs annually ior the Tucson International Mariachi Conference and at events throughout the state. Members of Mariachi Diablos del Sol number 26 this semester and range in age from 15 to + / -65 including 5 high school students, 7 adult community members and ASU students from Freshman through master's levels with majors as diverse as pre-law, Spanish, political science and business to engineering. Mariachi ASU The Musicians: Members of Mariachi ASU are all full-time ASU students who receive scholarships from the ASU Mariachi Program. Current members are: Name Home Town Michelle Ari.flo, Rayna Forry Eddy Valenzuela Daniel Jos6 Montoya Hector Martinez Tucson, Mesa Tony Dumas Betty Matwick New York Nogales Sierra Vista Tempe Mesa Instrument Violin, Violin Violin Major Political Science Nursing English Education Trompeta undeclared Vihuela Guitarra Cuitarr6n Music composition Ethnomusicology Education The Tradition: Mariachis have been performing for Mexican fiestas for over a century. Although the exact beginnings of the tradition and the meaning of the name are obscured, most people believe that the mariachi evolved from the harp trio of Michoacan sometime during the mid-L9th century. The name "mariachi" may have evolved from the association of the ensemble with performances at marriage fiestas and from the related French term "mirage," although a second theory suggests that "mariachi" is an Indian diminutive of the name "Maria," though the exact origin of the word mariachi is lost in history. The Instrumentation: Early mariachis used the harp, violin and guitarra de golpe as the principal instruments. Later the guitarr6nbecame the standard bass instrument and the aihuela the standard harmony instrument with modern guitars added more recently. Trumpets became part of the ensemble in the twentieth century to form the basic "modern" mariachi. Today, concert mariachis may add various instruments, especially for recording sessions, and MDdS regularly uses flutes as part of the ensemble. The Music: Mariachis play a variety of genres or types of music including sones, huapangos, rancheras, polkas, pasos dobles, jarabes, canciones, and cumbias. Although all may be considered "folk music" or music of the people of various regions of Mexico, many of the tunes were composed by individuals during the last century and have gained "folk" stafus as they were accepted by the people. The basic philosophy of the ethnomusicology ensemble program at ASU is to learn about non-Western cultures by hearing, understanding and performing their music. Teaching policies include the use of Faculty Associatds and-consultanls who are members of the tradition as instructors, learning via the "oral tradition" method (rote imitation and "feel") rather than using printed music, and visits to performances by traditional ensembles. Graduate students are required to conduct research into the traditions and present their results in academic formats (seminar presentations, papers). ,' ,; 'i r, Marimba Maderas de Comitdn Ted Solis, Director The Marimba Maderas de Comitdn 'TVoods of Comit6n" of the A.S.U. School of Music was organized in January 1990. The Mexican marimba, a xylophone of African ancestry, is often referred to poetically as "woods [the wooden keys] which sing." Comit6n is a town in the Southeastern Mexican state of Chiapas, which is the heart of the Mexican marimba region. Students learn marimba repertory in a traditional manner: by rote imitation and by "feel"; no written music is used. Marimba ensembles are known for their versatility: they perform not only regional folk music from southeastern Mexico (States of Chiapas, Oaxaca, and Tabasco-- the marimba region adjacent to Central America, which is famous for marimbas) and other areas, but also popular music from Mexico and other areas of Latin America. In addition to Latin percussion appropriate to the variety of its repertoire, this ensemble consists of two large xylophones (marimbas), differing in size by about an octave, with individual box resonators beneath each key; each resonator has a hole over which a fine fim (tela) made from pig's intestine is pasted with beeswax. The resulting buzzy tone is characteristic of all New World marimbas and helps link them with their African ancestors. The grande ['large'] is normally played by four persons, andthe chica ["sma11"] by one, two, or three. For a given piece, each person plays a particular part (i.e., bajo fbass), armonla [harmony], segundo [countermelody], tiple lprincipal melodyl. The stick heads, of various sizes according to position (bajo largest, tiple smallest), are made of raw rubber strips. MARIMBA REPERTORY When playing regional Mexican or Central American folk music (such as Zandunga) the marimba needs little or no accompaniment. For milsica tropical [Caribbeanstyle folk and/or pop such as the bolero, danza, danz6n, chachachd, son montuno, mambo, guaracha, cumbia, guaguanc6, and merenguel different combinations of Caribbean percussion such as the giiiro scrapel maracas rattles; conga, bong6, and timbales drums; campana bells; and claves concussion sticks may be included. We love audience participation, especially singing and dancing; virrually all our repertoire consists of bailables, or dance music. Remember: the main thing is not "good dancing" or "bad dancing," but rather "dancing" or "not dancing." To paraphrase Yogi Berra: "If people don't wanna dance, how're you gonna stop 'em?"