Include the title, the name of the composer (if known) and of the performer. Describe the singing style. Comment on the vocalist’s breath control and vowel placement. Was there use of chest voice or falsete? Comment on the lyrics (see translations in course reader) . Is the song defiant, tender, passionate, remorseful, detached? Is there any imagery used? Is there any message? Identify the type of instrumental accompaniment. Comment on the strumming. Is it the same as what you heard in the other types of Mexican songs?
DUE DATE: Wednesday, April 29.
10. Report 10 (Narrative Song & Bolero): CD 3. Select ONE of the following:
Narrative Song (Corrido)
a) Track 10, Juan Charrasqueado (Los Costeños)
b) Track 11, Los Mandados (Vicenete Fernandez)
c) Track 12, El Alazán y el Rocío/Rosillo (Ezequiel Peña)
d) Track 13, Máquina 501 (Los Alegres de Terán)
e) Track 14, Sin Ti (Trío Los Panchos)
f) Track 15, Palmera/Palmeras (Ixya Herrera)
g) Track 16, Solamente Una Vez (Agustín Lara)
h) Track 17, Para Olvidarte (Los Tres Ases)
i) Track 18, Cerca del Mar (Güicho Cisneros & Los Dandys)
j) Track 19, Sombras (Javier Solis)
Include the title, the name of the composer (if known) and of the performer. Describe the singing style. Comment on the vocalist’s breath control and vowel placement. Was there use of chest voice or falsete? Comment on the lyrics (see translations in course reader) . Is the song defiant, tender, passionate, remorseful, detached? Is there any imagery used? Is there any message? Identify the type of instrumental accompaniment.
DUE DATE: Monday, May 4.
B. LEARNING OBJECTIVES (To be measured through exams, reports, and classroom
1. Identify the defining features of the musical genre known as the Mexican son: origin,
historical and socio-cultural context, artistic expression.
2. Identify three Mexican son traditions: the son jarocho, son huasteco, and son de mariachi with
regard to point of origin, historical and socio-cultural context, structure, musical instruments,
vocal and instrumental performance technique, text, performers, and social context.
3. Identify the defining features of Mexican song: origin, historical and socio-cultural context,
4. Identify the specific co-traditions of Mexican song (the canción ranchera, nationalistic song,
corrido, huapango, bolero) with regard to origin, structure, accompaniment, vocal and
instrumental performance technique, lyrics, composers, vocalists, and social context, artistic
5. Identify specific ensembles and soloists discussed in class with regard to origin, historical and
socio-cultural context, instrumentation, vocal and instrumental performance technique,
stylistic interpretation, and repertoire.
C. THIS COURSE MEETS THE FOLLOWING THE UNIVERSITY GE STUDENT
LEARNING OUTCOMES (SLOS):
1. Explain and reflect critically upon the human search for meaning, values, discourse and
expression in one or more eras/stylistic periods or cultures.
2. Analyze, interpret, and reflect critically upon ideas of value, meaning, discourse and
expression from a variety of perspectives from the arts and/or humanities.
3. Demonstrate ability to engage and reflect upon their intellectual and creative development
within the arts and humanities.
4. Use appropriate critical vocabulary to describe and analyze works of artistic expression,
literature, philosophy, or religion and a comprehension of the historical context within which a body of work was created or a tradition emerged.
5. Describe and explain the historical and/or cultural context within which a body of work was
created or a tradition emerged.
D. THIS COURSE MEETS THE FOLLOWING DEPARTMENT SLOS:
1. Demonstrate an ability to think critically, analytically, and creatively about the Chicana/o
experience in the local and global society.
2. Demonstrate competency in oral, written, and research skills.
3. Demonstrate an understanding of creative and performance arts.
4. Acquire an understanding of Chicana/o Studies history, culture, arts, language, and socio-
CSUN has a two-paragraph policy governing attendance:
1. Students are expected to attend all class meetings. Students who are absent from the first 2 meetings of a class that meets more than once a week or from the first meeting of a class that meets once a week lose the right to remain on the class roll and must formally withdraw from the class, following University procedures and deadlines. Failure to formally withdraw from a class will result in the instructor assigning to the student a grade of “WU” (Unauthorized Withdrawal), which, in computing a student’s GPA, counts as a grade of “F.”
2. In a compressed term or session of fewer than 15 weeks, the rule applies if the first class meeting is missed. An instructor may allow a student to continue in the class if the student notified the instructor that the absence would be temporary. If no instructor was assigned to the course in advance, students must notify the Department Chair that their absence from the class will be temporary.
I assign grades based on your exam scores. I do not penalize absences but please consider that absences will probably lower your chances of doing well on the exams. At my discretion, I may give extra points for consistent attendance and participation.
From CSUN Catalog: “ACADEMIC DISHONESTY: Cheating or plagiarism in connection with an academic program at a campus is listed in Section 41301, Title 5, California Code of Regulations, as an offense for which a student may be expelled, suspended, or given a less severe disciplinary sanction. Academic dishonesty is an especially serious offense and diminishes the quality of scholarship and defrauds those who depend upon the integrity of the campus programs. The source of quotations, paraphrased information, and borrowed facts must be cited.
Classmate Contact Information
I would suggest that you to get basic contact information from two classmates (such as email address or phone number) so they can call on these classmates for help in case they miss a meeting or have a simple question. I have left two blank lines on the first pages of thiis syllabus.
If you have a disability and need accommodations, please register with the Disability Resources and Educational Services (DRES) office or the National Center on Deafness (NCOD). The DRES office is located in Bayramian Hall, room 110 and can be reached at 818.677.2684. NCOD is located on Bertrand Street in Jeanne Chisholm Hall and can be reached at 818.677.2611