"The voice is the most important instrument in Mexican Ranchera (Mariachi) music because the bulk of its repertoire is sung. However, no book on vocal care and production, voice history, diction, technique, graded song lists, and warm-ups for Mariachi singers has been available until now. Dr. Juanita Ulloa has designed The Mariachi Voice to create a bridge between the voice and Mariachi fields, and to extend the reach of training and advocacy for Mariachi vocal training to academic programs, voice studios, and individual singers. Her Operachi style evolved out of her own training, touring, recording, and training of others as a specialist in Mexican and Latin American song. In The Mariachi Voice, Dr. Ulloa shares vocal technique and pedagogy, introducing the female Mariachi fach. She highlights important differences in training the female voice for healthy Ranchera singing while still honoring the style and introduces Mexican Spanish Lyric Diction with International Phonetic Alphabet (IPA). Professor John Nix of University of Texas, San Antonio contributes an article on vocal production and care. Readers will develop cultural sensitivity towards this almost 200-year-old tradition. The Ranchera vocal history chapter explores the crossover classical vocal training of ranchera singer-actors in charro movie musicals, many tracing back to legendary Mexico City based voice teacher José Pierson. It is a wake-up call to raising the standards and accessibility of vocal training. The Mariachi Voice is sure to enrich those who take pride in sharing these songs and their singers as important symbols of Mexico's identity worldwide"--

Gustavo's family has a mariachi band and everyone except Gustavo is in it. Follow him as he finds his place in the family business.

Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on norteña, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border," "nation," "migration," "diaspora," etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.

Introduce your students to Mexico's most popular form of traditional music--mariachi. The cassette includes examples of son, polka, waltz and bolero tunes and songs.

College Music Curricula for a New Century considers what a more inclusive and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue about how to transition to new paradigms and how they might be implemented in practical terms, based on existing experiments taking place nationally and internationally.

In recent decades, world music styles have been making increasing inroads into Western popular music, music theater, choral concerts, and even concert hall performances. So You Want to Sing World Music is an essential compendium of these genres and provides technical approaches to singing non-Western styles. Matthew Hoch gathers a cohort of expert performers and teachers to address singing styles from across the globe, including Tuvan throat singing, Celtic pop and traditional Irish singing, South African choral singing, Brazilian popular music genres, Hindustani classical singing, Native American vocal music, Mexican mariachi, Lithuanian sutartinės, Georgian polyphony, Egyptian vocal music, Persian āvāz, and Peking opera. Additional chapters offer resources for soloists and choral directors as well as primers on voice science, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

An illustrated exploration of mariachi that discusses the history of the genre, food and celebrations associated with the music, significant musicians, and more; and includes a CD.

"The voice is the most important instrument in Mexican Ranchera (Mariachi) music because the bulk of its repertoire is sung. However, no book on vocal care and production, voice history, diction, technique, graded song lists, and warm-ups for Mariachi singers has been available until now. Dr. Juanita Ulloa has designed The Mariachi Voice to create a bridge between the voice and Mariachi fields, and to extend the reach of training and advocacy for Mariachi vocal training to academic programs, voice studios, and individual singers. Her Operachi style evolved out of her own training, touring, recording, and training of others as a specialist in Mexican and Latin American song. In The Mariachi Voice, Dr. Ulloa shares vocal technique and pedagogy, introducing the female Mariachi fach. She highlights important differences in training the female voice for healthy Ranchera singing while still honoring the style and introduces Mexican Spanish Lyric Diction with International Phonetic Alphabet (IPA). Professor John Nix of University of Texas, San Antonio contributes an article on vocal production and care. Readers will develop cultural sensitivity towards this almost 200-year-old tradition. The Ranchera vocal history chapter explores the crossover classical vocal training of ranchera singer-actors in charro movie musicals, many tracing back to legendary Mexico City based voice teacher José Pierson. It is a wake-up call to raising the standards and accessibility of vocal training. The Mariachi Voice is sure to enrich those who take pride in sharing these songs and their singers as important symbols of Mexico's identity worldwide"--