Usually Ships in 3-5 Business Days
Questions About This Book?
Why should I rent this book?
Renting is easy, fast, and cheap! Renting from eCampus.com can save you hundreds of dollars compared to the cost of new or used books each semester. At the end of the semester, simply ship the book back to us with a free UPS shipping label! No need to worry about selling it back.
How do rental returns work?
Returning books is as easy as possible. As your rental due date approaches, we will email you several courtesy reminders. When you are ready to return, you can print a free UPS shipping label from our website at any time. Then, just return the book to your UPS driver or any staffed UPS location. You can even use the same box we shipped it in!
What version or edition is this?
This is the edition with a publication date of 9/30/2013.
What is included with this book?
- 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 CDs, lab manuals, study guides, etc.
- The Rental copy of this book is not guaranteed to include any supplemental materials. You may receive a brand new copy, but typically, only the book itself.
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.