The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Rental copy of this book is not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
Ethnomusicologist Peter J. Garciacute;a grew up in the North Valley of Albuquerque surrounded by the sounds of local musicians like Al Hurricane, Robert Griego, Eddie Garcia and the Emeralds, and the Purple Haze. Today, various artists, numerous ensemble types, and diverse genres, styles, and singers comprise what local deejays call New Mexico music." The state's diverse, historical, and eclectic music scene reflects the complexity and struggles facing the nation's oldest native Hispanic residents as Nuevo Mexicanos hold on to what's left of their land grants, water and property rights, language, and native music-culture as transnational Mexican and international Latin American music-cultures are heard throughout the Land of Enchantment. In this critical study, Garciacute;a traces how early folk music was first recorded, archived, and preserved by the Anglo artists like Charles Lummis, Mary Austin, and later music scholars like John Donald Robb. Situating New Mexican popular and folk musics within a broader history of U.S. neocolonialism, Garciacute;a examines New Mexico music as part of a larger cultural system of lived values, experiences, and meanings.