Loza, Steven - Contemporary Ethnomusicology in Mexico

University of Texas Press

Contemporary Ethnomusicology in MexicoAuthor(s): Steven LozaSource: Latin American Music Review / Revista de Música Latinoamericana, Vol. 11, No. 2(Autumn - Winter, 1990), pp. 201-250Published by: University of Texas PressStable URL: http://www.jstor.org/stable/780125 .Accessed: 30/08/2011 04:51

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Steven Loza Contemporary

Ethnomusicology in Mexico

The purpose of this article is to provide a brief synopsis, or "map," of some of the important developments in the field of ethnomusicology in Mexico. I have compiled and evaluated data

through a survey of available literature, from documentation available at different research institutions in Mexico, and through discussion with individual scholars and workers in the field.'

The article is divided into three main sections: (1) a review of current academic and research institutions related to the field; (2) a review of a cross section of the available literature and related materials; and (3) a list of scholars in the field. Following the essay portion are a bibliography, a select discography, and a filmography. An appendix provides a directory of institutions representing and supporting ethnomusicological research in Mexico (compiled by the Consejo de la Musica Popular Mexicana).

Academic and Research Institutions

There exist in Mexico today various institutions that have achieved substantial development in the research and study of music through the ethno-

musicological method. Perhaps one of the most significant recent developments has been the organization of the Consejo de la Musica Popular Mexicana. This national council consists of representatives from four

major research institutions dedicated to the study of ethnomusicology and related disciplines. Formed in 1983, the group meets regularly as a focal

point for scholastic interchange in addition to serving as a check mechanism to prevent duplication of research. One of the principal motives of the latter concern is largely economic; with the current state of the Mexican economy, researchers are concerned that the limited funds available be used efficiently.

Latin American Music Review, Volume 11, Number 2, December 1990 ?1990 by the University of Texas Press

202 : Steven Loza

Such a movement certainly reflects a cooperative spirit and dedication to

productive field studies and scholarship. The institutions represented in the Consejo de la Musica Popular

Mexicana are the Centro Nacional de Investigaci6n, Documentaci6n e Informaci6n Musical (CENIDIM), established through the Instituto Nacional de Bellas Artes (INBA); Direcci6n General de Culturas Populares (DGCP), coordinated by the Secretaria de Educaci6n Publica (SEP) and which has recently incorporated the Fondo Nacional para el Desarrollo de la Danza Popular Mexicana (FONADAN); Instituto Nacional de Antro-

pologia e Historia (INAH); Instituto Nacional Indigenista (INI); and the Museo Nacional de Culturas Populares (MNCP).

In 1983, the representatives of this interinstitutional council were Hiram

Dordelly and Guillermo Contreras (CENIDIM); Jas Reuter and Susana Dultzin (DGCP); Mario Kuri-Aldana and Joaquin Guzman (FONADAN); Irene Vasquez and Gabriel Moedano (INAH); Armando Zayas and Jesus Herrera (INI); and Eblen Macari and Jorge Miranda (MNCP).

In May of 1984, Dr. Jas Reuter was appointed as the first coordinator of the consejo. Following his death, other members of the consejo have alter- nated as coordinators. The group also became affiliated with the Programa de Protecci6n y Estimulo a los Valores Tradicionales de las Artesanias y Culturas Populares (PACUP), a project directed by the Subsecretaria de Cultura. One of the consejo's prime directives in its Folleto de recursos musicales de las instituciones del consejo2 is expressed as follows:

Independientemente de las labores que cada uno de los miembros realiza en sus instituciones, dedicar parte de su tiempo al Consejo es, en ultima instan- cia, apoyar el desarrollo de la investigaci6n etnomusicologica en Mexico, pues estas seis instituciones del sector cultural de la Secretaria de Educaci6n Publica coinciden en su afin por apoyar a la m6sica y a los musicos populares, portadores de esta tradicion, asi como en profundizar el estudio de esta manifestaci6n cultural, su registro, y su aplicaci6n en la educaci6n

(Consejo de la Musica Popular Mexicana, 1985b:2).

The consejo has been involved in the coordination of various projects, that is, conferences, seminars, festivals, competitions, consultancies, courses, and radio programs. Specific programs coordinated have included the formulation of a national directory of institutions and individuals in the

study and diffusion of popular Mexican music (see appendix), a recorded

anthology of traditional Mexican music, a diagnostic method titled La musica tradicional mexicana en la educacion for application in preschool and

primary music education, and state diagnostic courses of musical resources for selected students in Colima, Puebla, and Quintana Roo. Collaborating with the consejo in the last four research projects were investigators Gema

Camacho, Maria del Carmen Jimenez, and Patricia Olalde.

Contemporary Ethnomusicology in Mexico : 203

Additionally, the consejo supports the record collections of each of the member institutions, along with books and other literature published by the latter. Also available through the consejo for use by the public is a collection of commercial recordings and other published material.

CENIDIM

Organized in July 1974, the Centro Nacional de Investigaci6n, Documen- taci6n e Informaci6n Musical (CENIDIM) operates under the auspices of the Instituto Nacional de Bellas Artes (INBA). Historically, however, the center can be dated to a much earlier period. In 1930, Higinio Vasquez Santana, director of the Departamento de Bellas Artes, administered the establishment of the Archivo de la Musica Popular Mexicana. In 1942, field studies of traditional music were conducted by John H. Green, Roberto

Tellez-Giron, and Henrietta Yurchenco. For the first time in Mexican

musicology, field recordings were made. In 1946, the Departamento de Musica de la Direcci6n General de Educacion Extraescolar y Estetica founded the Secretaria de Investigaciones Musicales. The latter was ab- sorbed by the Instituto Nacional de Bellas Artes on its establishment in

1947, and continued as a part of INBA until the formation of CENIDIM. CENIDIM has evolved as a research center devoted to the investigation

of music in general, although it has concentrated its focus on music in Mexico and Latin America:

La tarea primordial del Centro habia sido, originalmente, la investigaci6n y estudio de las manifestaciones tradicionales del pueblo en su aspecto musical. Sin embargo, este mismo estudio hizo necesario profundizar en diversos aspectos de la historia de la mfsica religiosa y profana de Mexico, por lo que actualmente el grupo de trabajo del CENIDIM es mucho mas amplio, ya que no solo abarca la etnomusicologia, sino la musicologia, la musica elec- tr6nica y la electroacustica (Ibid.:5).

Since its inception, CENIDIM has had several directors, including ethnomusicologist Carmen Sordo-Sodi, composer Manuel Enriquez (currently director of music, INBA), musicologist and oboist Leonora Saavedra, and the present director, composer/musicologist Luis Jaime Cortez.

CENIDIM has also established an impressive collection of musical in-

struments, housed in the center's headquarters in Mexico City. Much of the collection was assembled by Francis Dominguez in the 1930s. INBA, in conjunction with the Secretaria de Relaciones Exteriores, has extracted

part of the collection in order to present expositions in various European countries. These exhibits have been accompanied by photo-murals illus-

trating the use and technique of the instruments. The collection is currently

204 : Steven Loza

maintained by Guillermo Contreras, one of the ethnomusicologists on the CENIDIM staff.

During the years 1979-1983, CENIDIM sponsored and organized five

major annual events directly related to ethnomusicological research: the Festivales Nacionales de Musica y Danza Aut6ctona, "con la finalidad de

promover en los centros urbanos el conocimiento de las manifestaciones rurales tradicionales y estimular a los musicos de las diferentes regiones, formando entre ellos a mas musicos j6venes e integrandose estos a nuevos

grupos musicales" (Ibid.:6). The presentation of traditional music per- formed as part of these festivals was recorded and one set has been issued as an L.P. (see discography).

The ethnomusicology unit of CENIDIM has directed the research and

cataloguing of well over 200 field tapes from different regions of Mexico. In addition, stored in the center are field recordings compiled by Alfonso

Ortega and Samuel Marti. During the years 1980-1983, approximately 100 cassettes were recorded of radio programs, conferences, and traditional music interpreted by the center's ethnomusicologists. These last recordings have been established largely under the direction of Hiram Dordelly, head of the Department of Ethnomusicology at CENIDIM. Also housed in the center's archive are 145 field recordings of Henrietta Yurchenco and 75

recordings from the work of Jose Raul Hellmer. The ethnomusicology unit also deals with musical transcription of dif-

ferent musical genres throughout Mexico. Specifically involved in this work has been Federico Hernandez.

The library at CENIDIM represents one of the few Mexican resource centers exclusively dedicated to music, especially the traditional music of Mexico. The library collections were enhanced considerably in 1983

through the donation of the Biblioteca Baqueiro-Foster, which contains ten thousand volumes of books, scores, journals, memoirs, and records.

Also considered part of the ethnomusicological research conducted

through CENIDIM is the collection of photographs from the fieldwork of Francisco Dominguez, Roberto Tellez Gir6n, Luis Sandi, and others.

To publicize its activities, CENIDIM publishes the Boletz'n CENIDIM three times a year. The center offers guided tours of its museum of musical instruments in addition to library services and reproduction of archive

recordings. The ethnomusicologists on staff at present are Hiram Dordelly, Guillermo Contreras, and Federico Hernandez Rincon.

DGCP

The Direcci6n General de Culturas Populares (DGCP) was established in 1977 by the Secretaria de Educacion Publica. The principal aim was to


revive and to promote the cultural values of the various ethnic groups of

Mexico, both rural and urban. Amplifying this concept was that of "dando un respaldo a aquellas manifestaciones desvalorizadas, incluso, por el mismo grupo social hist6ricamente productor. Se busca con esta labor fortalecer la identidad cultural de estos grupos sociales y articularlos a la vida nacional" (Ibid.:8).

Formulated as part of DGCP in 1979 was the Department of Ethno-

musicology, directed by E. Thomas Stanford. Material compiled and documented by the department during fieldwork is the primary thrust, and such material is collected for educational and cultural diffusion. The De-

partment of Ethnomusicology has produced radio programs and has

published books through DGCP. A major unit of DGCP is the Centro de Informacion Documental (CID),

which houses an archive of traditional Mexican cultural materials. Stored in the archive are about 200 unedited documents and data entries representing years of fieldwork. Since 1977, the archive has grown extensively and contains more than 500 general notices of music, dance, festivals, and other cultural events. The photographic collection of CID includes numerous photos of musicians and musical instruments from Mexico City, the States of Mexico, Guanajuato, Hidalgo, Oaxaca, Puebla, San Luis

Potosi, Tlaxcala, and Veracruz. Also attached to CID is a library and sound archive comprising over 750 field tapes of different indigenous and mestizo groups. Part of this collection consists of tapes copied from the

recordings done by E. Thomas Stanford at the Instituto Nacional de

Antropologia e Historia. Other field recordings include those of Manuel Alvarez Boada, Elizabeth Camara, Max Jardow-Pederson, Hilda Pour

Amparo Sevilla, and Alejo Yescas. The Departamento de Medios Audiovisuales of CID has produced

numerous major radio programs on traditional musical cultures in Mexico, including "Musica Popular," a series of seventy-two programs on the

history, genres, and musical instruments of different states in Mexico. Also produced by CID in collaboration with other institutions is the radio

program "Kiosko Cultural," which transmits cultural news in popular art, music, and dance. Also housed at the Departamento de Medios Audio- visuales are the recorded anthologies published by FONART, INI, and MNCP in addition to more than eighty cassette recordings of various conferences on popular culture, some organized by the DGCP. Studies

sponsored or published by DGCP include those by MaxJardow-Pederson, Manuel Alvarez Boada, Humberto Aguirre, Manuel B. Alvarez, Jas Reuter, Lilian Scheffler, and E. Thomas Stanford.

In addition to the intense activity that DGCP has initiated at its Centro de Informaci6n Documental in Mexico City, the institution is represented

206: Steven Loza

by eleven regional units located in the following cities: Chihuahua, Chi- huahua; Uruapan, Michoacan; Huajuapan de Le6n, Oaxaca; Oaxaca, Oaxaca; Huauchinango, Puebla; Criollo Puerto, Quintana Roo; Hermo- sillo, Sonora; Acayuca, Veracruz; Jalapa, Veracruz; Papantla, Veracruz; and Merida, Yucatan. Each of the units is involved in the development of research programs and projects.

Services provided by DGCP that are available to the public include the use of its library and access to all of the aforementioned resource facilities.

Additionally, research assistance is offered by mail, in person, or via tele-

phone. Duplication service is also available at the center.

FONADAN

Although the Fondo Nacional para el Desarrollo de la Danza Popular Mexicana (FONADAN) has become part of DGCP, a brief synopsis is

provided here to review its historical importance as part of the ethnomusi-

cology scene in Mexico. Founded in 1972 and continued for twelve years, it was directed by Josefina Lavalle. Researchers who collaborated with FONADAN included Joaquin Guzman, Mario Kuri-Aldana, Luis Felipe Obregon, Felipe Ramirez Gil, and Marcelo Torreblanca.

Facilities furnished by FONADAN included a sound archive consisting of more than seven hundred tapes of traditional music, the majority ac-

companied by dance. FONADAN also published books and records representing the diverse musical dance styles from the states of Chiapas, Guana-

juato, Guerrero, Hidalgo, Jalisco, Mexico, Michoacan, Morelos, Oaxaca, Puebla, San Luis Potosi, Sonora, Tlaxcala, Veracruz, and Yucatan. The

publications include historical data, choreographic illustrations, musical scores and transcriptions, descriptions of costumes and sets, and other data.

FONADAN was also involved in the production of more than five hundred thirty-minute radio programs. Themes included dance, musical

instruments, composers, and traditional Mexican music. All the research materials and facilities of FONADAN are now available through DGCP.

INAH

Founded in 1938, the Instituto Nacional de Anthropologia e Historia

(INAH) is one of the most dynamic organs of the Secretaria de Educacion Publica (SEP). Among the institute's goals is the advancement of studies and research that contribute to the scientific and artistic comprehension of archeology and history of Mexico. Through anthropological and


ethnographic methods applied largely to the indigenous communities, a substantial corpus of literature and other materials has been published.

In 1975, a unit called Oficina de Edici6n de Discos was organized as

part of INAH, in recognition of the need for recording contemporary indi-

genous and mestizo musical cultures. Plans to research and produce a

complete anthropological series of LPs were formalized in 1978, and in

September of 1982 the Departamento de Estudios de Musica y Literatura Orales (DEMLO) was formed. The philosophical tenets of DEMLO com-

prised the goals of research, preservation, diffusion, and the promotion of

indigenous music, traditional literature, and popular theater. Researchers at DEMLO have access to a collection of recordings and

literature related especially to the traditional music of Mexico. Also acces- sible are more than four thousand photographs of music and dance contexts and musical instruments.

One of the essential aims of DEMLO is the publication of records, primarily representing the indigenous and mestizo music of Mexico. Re- searchers have recorded various musical cultures within the country. The sound archive contains more than four hundred field tapes, including the donated collection of Raul Hellmer. Through INAH, DEMLO has directed the recording of an important series of LP anthologies (twenty-five as of

1985) focusing on music in its socioeconomic context (see Discography, INAH series). The series includes musical examples of the following indi-

genous groups: Huave, Huichol, Maya, Mixe, Mixteco, Nahuas (from Guerrero, Morelos, Veracruz, and Puebla), Purepecha, Tarahumara, Tojolabal, Totonaco, Tzotzil, Yaqui, Zapoteca (from Istmo), and Zoque. Regions represented in the anthologies include Coahuila, Chiapas, Chi-

huahua, Distrito Federal, Durango, Guerrero, Jalisco, Mexico, Michoacan, Morelos, Nayarit, Oaxaca, Puebla, San Luis Potosi, Sinaloa, Sonora, Tlaxcala, Veracruz, and Zacatecas.

DEMLO has also sponsored two important research projects hinged to fieldwork and analysis. One is an in-depth study of Zapotec song; the other

encompasses an investigation of the oral and musical traditions of Afro- mestizos in Mexico, the latter project in collaboration with UNESCO. Other activities spearheaded by DEMLO include radio and television

programs designed for the promotion and dissemination of recordings, literature, exhibits, festivals, conferences, and other special events related to oral and traditional expression.

Notices of DEMLO's activities as part of INAH are published in the

monthly bulletin Antropologia e Historia. Additionally, INAH has published numerous monographs and other literature related to the fields of anthropology and history. Services are available to the public at the institute.

208: Steven Loza

INI

The Instituto Nacional Indigenista (INI) was formed in December of 1943. The purpose of this institute is to conceive and to coordinate the study of

indigenous groups through field research and other programs, with the

specific goal of detecting socio-cultural problems, to find methods of assist-

ing indigenous groups, and recently, to publish the results of findings resulting from research and specific programs.

The sound and visual unit at INI, called the Archivo Etnografico Audio- visual (AEA), was established in 1977. Its prime directive is to catalogue and to disseminate cultural data related to the indigenous societies in Mexico through various audiovisual media, including recordings, slide

presentations, film, video, and television. These idioms and their facilities at INI have grown extensively and are located at the AEA. In 1980, the AEA expanded its programs and field studies through more emphasis on

publication and ethnomusicological work, making the archive more effi- cient in terms of research, access to scholars and students, and performance.

Audiovisual materials that have been produced through AEA include the following: two slide programs, "La Danza de los voladores" and "In- strumentales musicales"; fourteen 16mm-color films, focusing on nine

indigenous groups; a photographic library consisting of over four thousand 35 mm plates of musicians, dancers, and instrument technology of thirty ethnic groups; five video programs on the music of the Mixe, Mixe-Popo- luca, Nahua (of Cuetzalan, Puebla), and Totonaco; and a sound archive that has catalogued over four hundred field recordings of music of about

fifty ethnic groups. Most of these tapes were produced through "58 En- cuentros de Musica y Danza Indigena," a project that was administered

by INI throughout Mexico from 1978 to 1982. Ten records were produced as a result of this field project:

1. "Cinco siglos de bandas en Mexico," serie I, vols. 2, 3, 4; 2. "Grupos etnicos de Baja California Norte," serie I, vol. 5; 3. "Cuentos nahuas," serie III, narraciones en voz indigena, vol. I; 4. "Mayas peninsulares," serie I, Encuentros de mfsica tradicional, vol. 1; 5. "Cantos tradicionales," serie I, Encuentros de musica tradicional, vol. 10; 6. "Un costumbre sones de flor," serie II, La musica ritual, vol. 1; 7. "La muisica de una comunidad otomi," serie IV, La musica en las

comunidades indigenas, vol. 2; 8. "Cuentos tzeltales," serie III, Narraciones indigenas, vol. 2; 9. "La musica entre los chichimecas," serie IV, La musica en las comuni-

dades indigenas, vol. 1; and 10. "Cincuenta encuentros de misica y danza indigena," serie I, Encuentros

de m6sica tradicional indigena, vols. 6, 7, 8, 9.

Among the many monographs based on ethnomusicological research


published through INI and the AEA is the book Cincuenta encuentros de mulsica

y danza indigena, a descriptive compilation of fifty performances representing various traditional expressions. Conferences supported by INI include the "Primer Seminario de Musica Indigena" (June 1985) and "Encuentro de Miusica Indigena" (December 1985). A bimonthly journal titled Mexico

Indigena is published by INI. One issue (no. 5) was dedicated specifically to the field of ethnomusicology. INI has also been responsible for the production of six area radio stations through its Departamento de Investigacion y Programaci6n de la Direcci6n de Comunicaci6n Social. The radio stations are bilingual (including the indigenous language of the area served) and are intended as an institutional instrument of ethnic cohesion and

language and musical maintenance. It is estimated that each radio station utilizes about two hundred music recordings.

Additional responsibilities of the Departamento de Investigacion y Pro-

gramaci6n include providing each station with sound and other technical

material; provision of ethnomusicological training to station personnel; supervision of music research conducted by the stations; and compliance with the criteria that maintain and support the indigenous and cultural

integrity of the radio stations. Available at the Archivo Etnografico Audio- visual of INI are a library, film rentals, duplication services, and other

pertinent scholastic information.

MNCP

Established in 1982, the Museo Nacional de Culturas Populares (MNCP) is an arm of the Direccion General de Culturas Populares. The principal objective of the MNCP is to develop information resources related to popular culture. This research-based goal, unlike that of any other research institution in Mexico, is specifically dedicated to popular urban music and culture in general.

The MNCP has developed a Departamento de Medios Graficos y Audiovisuales. This section of the museum has compiled approximately one thousand scores or lead sheets of popular urban music since the nineteenth century. These manuscripts include zarzuelas, operettas, and theater waltzes. About fifty original scores with complete orchestration and librettos have been collected. A radio program entitled "La vida en broma" was

produced using material from the museum. Also housed in the MNCP is a collection of six hundred 78 rpm discs,

most of which are renditions of the bolero musical genre so popular in Mexico during the past fifty years. The museum has made a general request for donations of popular music recordings in recognition of their artistic and historical importance in Mexico. Additionally, dubbings are

210 : Steven Loza

being made of existing private collections. The MNCP has produced and edited six LP recordings (1983-1985):

1. Del principal al lzrico, El pat's de las tandas; 2. Mexican rataplan, El pa's de las tandas; 3. "Cachitos de Mexico, El pais de las tandas"; 4. "El tango en Mexico," vol. 1; 5. "El tango en Mexico," vol. 2; and 6. "Inspiraci6n. La obra de Maria Grever."

Another project that has been planned is a coproduction of a record series titled "Historia de la musica popular mexicana (1900-1940)." Themes

planned for the series include the following: music of textile workers at the turn of the twentieth century; music of the 1920s in Mexico City; music

during the Cardenas presidency; and music of the World War II period. Research publications supported by MNCP include El pat's de las tandas,

by Alfonso Morales, and Del rancho al batacldn (a cancionero). Also published is cQue onda con la mu'sica popular Mexicana? which consists of proceedings from the Primer Foro conference in 1982 at which the MNCP was founded. Other conferences organized through MNCP include those directed by Carlos Monsivais titled "La Agonia Eterna de la Canci6n Romantica." All MNCP conferences have been recorded and are available for review.

The MNCP has utilized concerts as an important means for the promotion and diffusion of popular music. Performance contexts include the

following: "Concurso de canci6n obrera"; the concert presentation of the record El pals de las tandas; the cycle "A ritmo de asfalto" (a presentation of different styles of contemporary urban music); "Nocturnal... La

epoca dorada del bolero"; and "Dos generaciones cantan a Maria Grever." Available at the museum are duplication and recording services in addi-

tion to publication sales.

ENM (UNAM)

The major university program in Mexico for the training of ethnomusi-

cologists is administered by the Escuela Nacional de Musica (ENM), which is part of the Universidad Nacional Aut6noma de Mexico (UNAM). The

program in ethnomusicology offers a licenciatura (comparable to a bachelor's

degree). The program's structure comprises seven years of study, including three years of preliminary, general studies in music in theory, history, and

practice (in effect, the equivalent of a B.M. degree). Following these general music studies are four years of specialization in ethnomusicology, lead-

ing to the completion of the licenciatura. The ethnomusicology curriculum

comprises, among others, courses focusing on the study of audiovisual


techniques, indigenous languages in Mexico, Latin, organology of pre- Cortesian instruments, pedagogy, text analysis, photography, and a review of literary sources tracing music in Mexico from the early sixteenth to the late nineteenth centuries (i.e., Motolinia to Lumholtz). Incorporated into the program is a series of lectures by visiting scholars.

Jose Antonio Guzman currently directs the ethnomusicology program at the ENM. Appointed to the post in 1988, he completed his Ph.D. in

ethnomusicology at the Jaap Kunst Institute in Amsterdam. Guzman's

principal areas of research are pre-Hispanic, indigenous music and colonial music in Mexico. An accomplished harpsichordist, he has also composed an opera.

Courses are taught at ENM by a number of instructors. Guzman teaches Mexican music, field practices, and universal history of music. The last

incorporates a world perspective of music through history, covering topics as diverse as Gregorian chant and Renaissance music to the music of

Africa, twentieth-century composers, development of folk music, and the musical culture of Asia. Other courses taught include transcription, an-

thropological method (taught by an anthropologist), and ethnographic methods. In an interview that I conducted with Guzman, he stressed the

importance of ethnomusicological technique and method in cross-comparative studies, especially when juxtaposing the diverse musical traditions of Mexico and those of different areas of the world. While many indigenous musical cultures are currently being investigated in Mexico, Guzman

emphasized that other areas of prime importance are music of the cities and the social history of music in general.

There are at present approximately fourteen students studying ethno-

musicology at the Escuela Nacional de Muisica. Six of these students are

specializing at the licenciatura level.

Other Institutions

In addition to the above-mentioned research and academic institutions, there are others actively involved in the field of ethnomusicology. The Escuela Nacional de Antropologia e Historia (ENAH) offers a variety of courses in ethnology, ethnomusicology, and performance practices of folk and popular musical traditions. Spearheading the program in ethnomusi-

cological curriculum at ENAH has been E. Thomas Stanford. Stanford has directed the creation of an ethnomusicology laboratory, which is

equipped with audio facilities and houses a substantial catalogued collection of traditional music, mostly recorded in Mexico. Stanford has also published extensively on topics related to the research that he has conducted

throughout various parts of Mexico (see bibliography) and teaches courses

212 : Steven Loza

in ethnomusicological research and indigenous and mestizo musical cultures. Others teaching related courses at ENAH include Guillermo Con-

treras, Gonzalo Camacho, and Guillermo Gonzalez (an anthropologist). Another academic institution of vital importance to the field of ethno-

musicology in Mexico is the Escuela Nacional de Danza Folklorica.

Emphasizing both research and practice, the school is directed by Gonzalo

Camacho, a dance ethnologist. Also established at UNAM is the Instituto de Investigaci6n Antro-

pologica (IIA), which has contributed to ethnomusicological research

through the collection, cataloguing, and classification of traditional musical instruments. An important ethnology conference was convened under the

auspices of IIA and the Instituto Nacional de Antropologia e Historia

(INAH) in 1985. A nongovernmental organization that has existed in Mexico for many

years is the Sociedad Mexicana de Musicologia. This society has conducted seminars and conferences and has contributed to the production and dissemination of individual publications and recordings. A similar group is the Sociedad Folklorica A.C. (ABACUM), in the Huastec region. This association is currently issuing recorded anthologies with notes of the music of countries outside of Mexico, for example, Haiti and Jamaica.

A Review of Literature and Related Materials

The second section critiques some of the significant and current literature related to ethnomusicology in Mexico. The goal cannot be, therefore, all-

encompassing. The bibliography presents a more extensive listing of recent and standard publications.

The principal scholarly academic journal of musical research in Mexico is Heterofonia, which celebrated its twentieth year in 1988. A quarterly, Heterofoni'a is the official organ of the Conservatorio Nacional de Musica.

Musicologist Esperanza Pulido was the chief editor of the journal since its

inception. (In 1991, Juan Jose Escorza became editor following Sra. Pulido's death.)

During its twenty years Heterofonz'a has focused primarily on research in historical musicology, with emphasis on Western art music and the music of Mexican and other Latin American composers and musicians from the colonial period to the present. In the last few years, the journal has demon- strated an interest in expanding its thematic role to include scholarship in line with cultural analysis. Exemplary of this expanding philosophy are a number of recent articles based on sociocultural, interdisciplinary analysis or other theoretical frameworks, such as "Un estudio sobre la persistencia de Carlos Chavez en el ballet" (Parker, 1986); "La Punitiva: el corrido


norteno y la tradici6n oral, impresa y fonografica" (Hernandez, 1986); "Diego Rivera, Frida Kahlo y Carlos Chavez: colaboraci6n, desilusi6n y retribuci6n" (Parker, 1987); and "El estilo musical como concepto" (Loza, 1988).

Pauta, which began publication in 1981, is another important music

journal in Mexico. It focuses on theory and musical criticism. Published

quarterly through CENIDIM, it is the offical voice of the Instituto Nacional de Bellas Artes. Composer Mario Lavista has been director of Pauta since its inception, and the 1987 editorial board included Federico Banuelas, Daniel Cat6n, Rodolfo Halffter, Antonio Russek, Leonora Saavedra, Guillermo Sheridan, and Luis Jaime Cortez.

The emphasis of Pauta has largely been on twentieth-century and con-

temporary music of the Americas and Europe. As with Heterofon'a, the editors of the journal have recently attempted to incorporate essays, cri-

tiques, and analyses of an interdisciplinary nature, for example, "La musica en la conquista espiritual de Mexico" (Escorza, 1987); "Damaso Perez Prado" (Melo, 1987); "Entrevista a Laurie Anderson" (Baer, 1987); and "El canto de los nahuas" (Sandi, 1984). Also published in Pauta are poetry or prose about music; see, for example, work by Gloria

Carmona, Federico Alvarez del Toro, Miguel Bernal Jimenez, Ramon

Lopez Velarde, Octavio Paz, Robert Louis Stevenson, and William

Shakespeare. In addition to Pauta, CENIDIM publishes a quarterly bulletin, Bolet'n

CENIDIM. The bulletin updates and disseminates the research findings of CENIDIM, provides information about recent acquisitions, musical

activities, and short research essays. CENIDIM has published a substantial collection of books, scores, and

recordings. Those about ethnomusicology are listed in the bibliography and select discography.

A project of major importance in recent Mexican musicology was the

publication in 1984 of La musica de Mexico. Edited by composer/musicologist Julio Estrada and published by UNAM, the publication is organized as follows:

I. Historia A. Periodo prehispanico

1. Susana Dultzin Dubin 2. Jose Antonio Guzman B. 3. Jose Antonio Nava G6mez T. 4. E. Thomas Stanford

B. Periodo virreinal 1. Jose Antonio Guzman B. 2. Robert Stevenson

214 : Steven Loza

C. Periodo de la Independencia a la Revoluci6n 1. Gloria Carmona

D. Periodo nacionalista 1. Julio Estrada 2. Luis Alfonso Estrada 3. Aurelio de los Reyes 4. Luis Sandi

E. Periodo contemporaneo 1. Jose Antonio Alcaraz 2. Julio Estrada 3. Luis Alfonso Estrada 4. E. Thomas Stanford

II. Guia bibliografica A. Sylvana Young Osorio

III. Antologia A. Miguel Alcazar B. Gloria Carmona C. J. Jesus Estrada D. Julio Estrada E. E. Thomas Stanford

IV. Diccionario de musicay musicos mexicanos (in press)

For the ethnomusicologist, the format of La mutsica de Mexico represents a somewhat different scholarly approach from the contemporary methods of

Europe and the United States. Integrated into this study are historical, structural, and ethnological analyses of art music (the dominant portion), pre-Hispanic and contemporary indigenous musical culture, and some review of popular, commercial music, that is, theater and film music.3

The Instituto Nacional Indigenista is responsible for the publication of numerous studies of the indigenous populations in Mexico. One of the most utilized and concise publications is a two-volume set entitled Grupos etnicos de Mxico. These volumes comprise fifty-two brief monographs and were initiated by INI in 1976. Each monograph, in the form of a pamphlet with color photographs, maps, and ethnological data, abstracts a particular indigenous culture of Mexico. Each is structured according to the following categories: historical antecedents; geography; demography; language; dress; housing; economy; social organization; artwork; religious organization; political organization; festivities; interethnic relations; and public social programs. The fifty-two descriptive sections represent all of the

contemporary, identifiable indigenous groups of Mexico with the exception of the Ixcatecos of Oaxaca, the Jacaltecos and Chujes of Chiapas, and the Pimas Altos of Sonora. Reasons cited for these omissions include communication difficulties, geographic inaccessibility, lack of existing data, and lack of knowledge concerning the viability of classifying these groups as

specific ethnic groups of Mexico. Because of the ethnological data contained in Grupos etnicos de Mexico,


these two volumes are an essential tool for any ethnomusicologist interested in the indigenous musical culture of contemporary Mexico. This is especially the case for those who are new to the research area and who would benefit from a panoramic concept applied to a culturally diverse and geo- graphically dispersed indigenous population.

Also published by INI is a descriptive inventory of ethnographic films

produced through its Archivo Etnografico Audiovisual (see filmography). Abstracted in the brochure (including photographs) are films produced during the period of 1978 to 1985. Most of the films contain footage depict- ing musical culture in context. Printed in bilingual format, the preface reads as follows:

The purpose of the (INI) filmic production is to make known and promote the indigenous cultural values within and outside the different ethnic communities, making modern audiovisual communication available to them.

Our work is noted by a close link of cooperation among research and filming crews and the members of the communities. The result has been a new type of cinematographic register in which it is the members of the communities themselves who directly transmit their outgoing messages.

By such means, through the recording of their daily life and their varied forms of cultural manifestation, we seek to present their richness, their values and the problems faced by the numerous native communities of contemporary Mexico. (Instituto Nacional Indigenista, 1985:1)

Monographs published since 1965 and of value to the ethnomusicologist include publications by Ignacio Manuel Altamirano (1979), Ger6nimo

Baqueiro-Foster (1970, 1975), Antonio Cabello Moreno (1975), Eloisa Ruiz Carvalho de Baqueiro (1970), Arturo Chamorro (1983, 1984), Cuauhtemoc Esparza Sanchez (1976), Felipe Flores Dorantes and Lorenza Flores Garcia (1981), FONADAN (1975), Federico Hernandez Rinc6n, Ar6n Bitran, and Hiram Dordelly (1986),Vicente T. Mendoza (reprint, 1980), Hernes Rafael (1982), Jas Reuter (1982, 1983), Roberto Rivera

(1980), Celedonio Serrano Martinez (1972). Articles penned by Mexican ethnomusicologists and musicologists have

appeared in various international research journals, such as Latin American Music Review, Yearbook of the International Folk Music Council, Musica (Casa de las Americas, Cuba), and Antropologia e Historia. Examples include articles

by Chamorro (1982), Flores Dorantes (1977), Moedano (1980), Reuter

(1984), and Stanford (1972).

Scholars Active in the Field

It is appropriate to cite here some of the major ethnomusicologists currently active in Mexico. Some have already been described briefly in previous

216 : Steven Loza

sections, for example, Jose Antonio Guzman and E. Thomas Stanford. One of the most active ethnomusicologists in Mexico is Guillermo

Contreras, who is affiliated with the following research institutions:

CENIDIM, INI, Consejo de la Musica Popular Mexicana, Escuela Nacional de Antropologia e Historia, and Sociedad Mexicana de Musi-

cologia. At CENIDIM, Contreras is one of the principal ethnomusicologists, along with Hiram Dordelly, head of the ethnomusicology unit at the center. At the Escuela Nacional de Antropologia e Historia, Contreras teaches courses in instrumental practice of traditional musical styles and in organology. He has also compiled a vast collection of traditional instruments, especially from Mexico. For a significant period of time, Contreras was a member of the group LosJaraneros, which specialized in the interpretation of traditional mestizo folk music in Mexico. The ensemble was associated with CENIDIM and frequently toured nationally and internationally.

Arturo Chamorro has recently emerged as one of the principal ethno-

musicologists in Mexico. A prolific scholar and indefatigable field researcher, Chamorro is at present completing doctoral studies at The University of

Texas, Austin, under the supervision of Gerard Behague. Chamorro has written on indigenous musical traditions, urban popular music, and per- cussion instruments in Mexico (see bibliography).

Other individuals include Gabriel Moedano, anthropologist at INAH and director of its DEMLO unit; Felipe Flores Dorantes, archaeologist at INAH who has cowritten a study on pre-Hispanic organology (1981) and who conducts classes at the Escuela Nacional de Musica; Violeta Torres, an ethnomusicologist affiliated with INAH and flutist conducting fieldwork

among the Zapotec indigenous groups (her specializations include organology and recording projects of indigenous music); Jose Luis Sagredo, who has carried out investigations of traditional border (northern) music and has given courses in music research at the Escuela Nacional de Danza

Folklorica; Leticia Varela, from the State of Sonora, who studied musi-

cology in West Germany and had her book on Yaqui musical culture in Mexico published in 1986; Arturo Salinas, a composer/ethnomusicologist from the State of Monterrey who has studied various indigenous groups in Mexico (he recently taught at Mills College in Oakland, California); Alejandro Alcocer, who has conducted fieldwork under the auspices of INI in numerous locales throughout Mexico and has compiled a large collection of traditional musical instruments and recordings especially from rural areas; Jesus Perero, from the State of Morelos, who has been described as a practitioner/researcher of traditional musical styles; and

Agustin Pimentel, director of the musical group Tribu, which interprets traditional and experimental styles and which has been affiliated with both the Escuela Nacional de Musica and INI.


Conclusions

This article provides a very brief survey of contemporary ethnomusicology in Mexico. However brief, it is nevertheless an attempt to disseminate such general information to scholars outside of Mexico. Scholars of Mexican music are, of course, aware of this information, but those who are not

specialists in the area, or those embarking on research in the area, will, it is hoped, benefit. Most important, the information is now documented, will be disseminated, and can be responded to critically.

Perhaps the sentiment that had the greatest impact on me in my research in Mexico for this study was my impression of the adaptability and motiva- tion of Mexican ethnomusicologists. They work as a community and have

generally dedicated themselves, mostly because of economic restraints, to the study of music in their own country. They have done so boldly, posi- tively, and without complaint.

This brings me to what I consider an important philosophical point. In

discussing this situation with various scholars in Mexico, I inadvertently began to express the actual advantage of such internal study and explora- tion. I began to consider the apparent restraints as a blessing in disguise, for the Mexican ethnomusicologists are focusing on numerous musical cultures that offer a great deal in their diversity, and a collective compre- hensive study of music in Mexico may very well provide an excellent model for other areas of the world. I am still of the opinion that it is better for some to cover their own territory before attempting to take off for Fantasyland.

Notes

1. I wish to express my extreme gratitude to CENIDIM ethnomusicologists Guillermo Contreras and Hiram Dordelly, and to ethnomusicologist Jose Antonio Guzman (ENM) all of whom helped me extensively in

preparing this article. 2. Many of the data in the first section of this article are extracted from

this source. See Consejo de la Musica Popular Mexicana (1985b). 3. For an extensive review of this publication, see LAMR 8, no. 2 (1987):

269-292 [editor's note].

218 : Steven Loza

Bibliography

Although the intention of this bibliography is to focus on relatively recent

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Aguirre Tinoco, Humberto, and Silvio Munoz, comps. 1977 Decimasjarochas. Tlacotalpan, Veracruz: Museo Ferrando.

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50 encuentros de musica y danza indigena [1982?] Mexico City: INI-Fonopas. Series 1, vols. 6, 7, 8, 9. Phono-

disc. Corridos de la rebelion cristero


Corridos de la revolucion mexicana 1975 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 16. Phonodisc. Cuentos nahuas

N.d. Mexico City: INI-Fonopas. Series 3. Narraciones en voz

indigena, vol. 1. Phonodisc. Cuentos tzeltales

N.d. Mexico City: INI-Fonopas. Series 3, vol. 2. Phonodisc. Danzas de la conquista

1974 Mexico City: Instituto Nacional de Antropologia e Historia. [1967] Vol. 2. Phonodisc.

Diciembre en la tradicion popular. Confitesy canalones 1984 Mexico City: CENIDIM. GO1, LP.

Dueto del Campo y su conjunto 1980 Flor del Rio, Mex.: Malibu LPM-1058. Phonodisc.

Dueto los Consentidos

198[?] Los consentidos. Mexico City: Malibu LPM 1086. Phonodisc. El costumbre: sones deflor

N.d. Mexico City: INI-Fonopas. Series 2. La musica ritual, vol. 1. Phonodisc.

Festival de musica y danza autoctonas 1984 Mexico City: CENIDIM. Vol. 1. LP.

In xochitl in cuzcatl. Cantos de tradicion nahuatl de Morelos y Guerrero 1980 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 23. Phonodisc. La musica de una comunidad otomi

N.d. Mexico City: INI-Fonopas. Series 4. La musica en las comunidades indigenas, vol. 2.

La musica entre los chichimecas N.d. Mexico City: INI-Fonopas. Series 4. Vol. 1. Phonodisc.

Los mayas peninsulares [1980] Mexico City: INI-Fonopas. Series 1, vol. 1. Phonodisc.

Mexico: Music of Pre-Columbian Origin 1982 Edited by Ivan Vandor and Xavier Bellenger. Odeon 3C

064-18594 (Musical Atlas-Unesco Collection).


Michoacan: sones de tierra caliente 1975 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 7. Phonodisc. Musica de la costa chica de Guerrero y Oaxaca


Mutsica de los huaves o marenos 1977 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 14. Phonodisc. Musica del Istmo de Tehuantepec, Oaxaca


Mutsica huasteca 1968 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 3. Phonodisc. Mtusica indzgena de los altos de Chiapas


Mutsica indigena de Mexico 1977 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 9. Phonodisc.

Muzsica indigena del noroeste 1976 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 5. Phonodisc.

Rivas, Yolanda Moreno 1979 El alma viviente de la mulsica mexicana, musica regional de siempre.

Mexico City: Promexa MC-1137. Phonodisc. 1979 El alma viviente de la mulsica mexicana; sones jarochosy huastecas.

Mexico City: Proxema MC-1138. Phonodisc. Sones de Mexico. antologz'a


Sones de Veracruz 1976 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 6. Phonodisc.

Sonesy gustos de la tierra caliente de Guerrero 1976 Mexico City: Instituto Nacional de Antropologia e Historia.

Vol. 10. Phonodisc. Testimonio musical de Mexico


242 : Steven Loza

Tradiciones musicales de La Laguna 1978 Mexico City: Instituto Nacional de Antropologfa e Historia.

Vol. 22. Phonodisc. Tribu:. musica popular mexicana contemporanea

1984 Vol. 3. CADEMAC. Centro de Apoyo EMAC. Trio Pahuatlan

1980 Alegria huasteca. Mexico City: Malibu LPM 1071. Phono- disc.

Filmography

This filmography is an inventory of films produced by the Archivo Etno-

grafico Audiovisual of the Instituto Nacional Indigenista (INI) in Mexico

City. The entries represent films made and disseminated from 1978 to 1985 and are extracted from the booklet Produccion F'lmica, M&xico, published by INI (see bibliography).

Analco, el corazdn de un pueblo, 1982. Ethnic group: Zapotec; 14 min.

Brujosy curanderos (testimonios), 1981. Ethnic groups: Mestizo, Nahua, and

Zoquepopoluca; 1 hr., 25 min. Con el alma entre los dientes (Totonacapan IV), 1981. Ethnic group: Totonac;

45 min. Cuando la niebla levante (Totonacapan I), 1980. Ethnic group: Totonac;

60 min. Del otro lado de la muerte, 1982. Ethnic group: Huastec; 27 min. El dia en que vinieron los muertos (Mazatecos I), 1981. Ethnic group: Mazatec;

1 hr., 3 min. El eterno retorno, 1985. Ethnic group: Kikapu; 91 min. El oficio de tejer, 1981. Ethnic group: Nahua; 42 min. El papel de San Pablito, 1981. Ethnic group: Otomi; 33 min. En clave de sol, 1981. Ethnic group: Mixe; 27 min. Fiesta del Senor Santiago Apdstol (Totonacapan III), 1980. Ethnic group:

Totonac; 45 min. Hikuri Neirra. la danza del peyote, 1980. Ethnic group: Huichol; 32 min.

Laguna de Dos Tiempos, 1982. Ethnic group: Nahua septentrional; 1 hr., 45 min.

La musicay los mixes, 1978. Ethnic group: Mixe; 30 min. La tierra de los tepehuas, 1982. Ethnic group: Tepehua; 40 min. Loa (Totonacapan V), 1982. Ethnic group: Totonac; 25 min. Los pames de Santa Maria Acapulco, 1981. Ethnic group: Pame; 32 min.


Mara 'Acame (Cantador y curandero), 1982. Ethnic group: Huichol; 47 min. Mitote Tepehuano, 1980. Ethnic group: Tepehuan; 30 min. Montana de Guerrero, 1980. Ethnic group: Nahua, Tlapanec; 32 min. Oro verde, 1982. Ethnic group: Maya; 52 min.

Papaloapan, 1981. Ethnic group: Mazatec; 50 min.

Purepechas, los que viven la vida, 1982. Ethnic group: Purepecha; 35 min. Raramuri Ra'itsaara (Hablan los tarahumaras), 1983. Ethnic group: Tara-

humara; 1 hr., 10 min. Semana Santa en Nanacatlan (Tonoacapan II), 1980. Ethnic group: Totonac;

55 min. Semana Santa entre los mayos, 1980. Ethnic group: Mayo; 32 min. Semilla del cuarto sol, 1982. Ethnic group: interethnic; 50 min.

Quitate tu pa' ponermeyo (Notas sobre tres pueblos Chinatecos), 1981. Ethnic

group: Chinantec; 56 min. Una mayordomia, 1980. Ethnic group: Zoque-popoluca; 55 min.

Appendix: Directory of Institutions

1. Direcci6n General de Culturas Populares

Unidad Regional de Michoacan

Prolongaci6n Fco. Villa 226-A Col. Lindavista

60020, Uruapan, Mich.

Unidad Regional de Oaxaca Belisario Dominguez, No. 115 "A" Col. Reforma

68000, Oaxaca, Oax.

Unidad Regional de Quintana Roo Calle 66, no. 731 Carrillo Puerto, Quintana Roo

Unidad Regional de Oaxaca Calle Porfirio Diaz 10

69000, Huajuapan de Le6n, Oax.

Unidad Regional de Veracruz

Zaragoza 20 Centro

96000, Acayucan, Ver.

Unidad Regional de Veracruz

Diego Leno esq. Zamora Palacio Federal ler. piso Centro

91000, Jalapa, Ver.

244 : Steven Loza

Unidad Regional de Sonora Garmendia 36 Norte Col. San Benito

83190, Hermosillo, Son.

Unidad Regional de Veracruz Francisco I. Madero 728 Centro

93400, Papantla, Ver.

Unidad Regional de Yucatan Calle 44, No. 452 x 73

97000, Merida, Yuc.

2. Instituto Nacional de Antropologfa e Historia

Delegaci6n Baja California Norte Av. Reforma y Calle L"L s/n

21280, Mexicali, B.C.N.

Centro Regional de Chiapas 2a. Poniente Norte 465

Tuxtla, Gutierrez, Chis.

Centro Regional Guanajuato Ex-hacienda de San Matias 99

36020, Guanajuato, Gto.

Centro Regional Hidalgo Ex-convento de San Francisco Frente Plaza Bartolome de Medina

Pachuca, Hidalgo

Centro Regional de Michoacan Antonio Alzate 347

58000, Morelia, Mich.

Delegaci6n Monterrey Colon 400 Oriente

64000, Monterrey, Nuevo Leon

Museo Regional de Guadalajara Liceo, No. 60 Sector Hidalgo Guadalajara, Jal.

Delegaci6n Campeche Baluarte La Soledad, Calle 8 s/n

Campeche, Camp.

Centro Regional Chihuahua Antonio de Montes 4700

31200, Chihuahua, Chih.

Rio Azul 1 Fraccionamiento Seguro Social

Iguala, Gro.

Centro Regional Mexico

Independencia 107-2a. planta Desp. 8 y 9

50070, Toluca, Mex.

Centro Regional de Morelos Matamoros 200

Acapantzingo, Morelos

Museo Regional de la Laguna Bosque Venustiano Carranza s/n

Torreon, Coah.

Centro Regional del Noroeste Calle Jesus Garcia y Calle Califor- nia (antigua penitenciaria) Hermosillo, Son.


Delegaci6n Nayarit Av. Mexico 91 Norte

Tepic, Nay.

Centro Regional de Occidente

Independencia 684, Sector Hidalgo Guadalajara, Jal.

Centro Regional de Queretaro Ex-convento de San Francisco

Corregidora 3 Sur

Queretaro, Qro.

Centro Regional del Sureste Km. 6 1/2. Antigua Carretera a

Progreso Merida, Yuc.

Delegacion Tlaxcala Ex-convento de San Francisco Plaza de Xicotencatl

90030, Tlascala, Tiax.

Delegaci6n Quintana Roo Centro de Convenciones, Museo de Cancun Zona Hotelera

Apdo. Postal 754

77500, Cancun, Quintana Roo

Centro Regional Oaxaca Pino Suarez 715

68000, Oaxaca, Oax.

Centro Regional Puebla Centro Civico 5 de Mayo 11 Sur no. 306

72270, Puebla, Pue.

Delegaci6n San Luis Potosi Venustiano Carranza 1815 Col. Las Aguilas 78260, San Luis Potosi, S.L.P.

Delegacion Tabasco Reforma Sur 210

96300, Comacalco, Tab.

Centro Regional de Veracruz Av. Gonzalez Pages 3-20 piso Veracruz, Ver.

Centro Regional Zacatecas

Ex-colegio de San Luis Gonzaga Plaza de Sto. Domingo Zacatecas, Zac.

3. Instituto Nacional Indigenista

Centro Coordinador Baja California

Pipila 201, esq. Boulevard Ramirez Mendez Fracc. Bahia

22880, Ensenada, B.C.

Centro Coordinador Chiapas Apdo. Postal 4

Comitan, Chis.

Centro Coordinador Chiapas Domicilio Conocido

Adpo. Postal 20 29650, Coapilla, Mezcalapa, Chis.

Centro Coordinador Chiapas La Cabafia

29240, San Crist6bal de las Casas, Chis.

246 : Steven Loza

Centro Coordinador Chiapas Km. 46.5 Carret. Escopetazo- Pichucalco

29770, Bochil, Chis.


29950, Ocosingo, Chis.

Centro Coordinador Chiapas Calle 32, No. 315 Valle de Sto. Domingo 29960, Palenque, Chis.

Centro Coordinador Chiapas Av. Primavera Norte, No. 75 Col. San Francisco

Apdo. Postal 43

30200, Venustiana Carranza, Chis.

Centro Coordinador Chihuahua Calle Pino 3504 Col. Las Granjas 31160, Chihuahua, Chih.

Centro Coordinador Chihuahua Domicilio Conocido

33490, Turuachi, Chih.

Centro Coordinador del Edo. de Mexico Edificio INI Col. Morelos

50450, Atlacomulco, Edo. de Mexico

Centro Coordinador Guanajuato Allende y Niios Heroes 12

Apdo. Postal 83 37900, San Luis de la Paz, Gro.


Apdo. Postal 34

30900, Motozintla, Chis.

Centro Coordinador Chiapas Quinta Carmela 5a Sur y 7a Oriente 29140, Ocozocautla de Espinosa,

Chis.


Apdo. Postal 44

29520, Pichucalco, Chis.

Centro Coordinador Chihuahua Calle Pino 3504 Col. Las Granjas 31160, Chihuahua, Chih.

Centro Coordinador Chihuahua Domicilio Conocido

33430, San Rafael, Chih.

Centro Coordinador Durango Domicilio Conocido

Apdo. Postal B-2379

34000, Durango, Dgo.

Centro Coordinador del Edo. de Mexico Domicilio Conocido

50340, Sta. Maria Tixmadeje Edo. de Mexico

Centro Coordinador Guerrero Calle del Sol, No. 4 Fracc. Centenario

Apdo. Postal 8

39100, Chilpancingo, Gro.


Centro Coordinador Guerrero Av. Constitucion Oriente 2216

41100, Chilapa, Gro.

Centro Coordinador Guerrero Camino a Cochoapa s/n

Apdo. Postal 1

41700, Ometepec, Gro.

Centro Coordinador Hidalgo Av. Ejercito Nacional y Campo de Aviacion

Apdo. Postal 71

43000, Huejutla, Hgo.

Centro Coordinador de Michoacan Edificio INI

Apdo. Postal 286 (en Uruapan, Mich.) 60270, Cheran, Mich.

Centro Coordinador Nayarit Apdo. Postal 288

63190, Tepic, Nay.

Centro Coordinador de Oaxaca Domicilio Conocido

68604, Cuicatlan, Oax.

Centro Coordinador Oaxaca H. Colegio Militar 904 Col. Reforma

Apdo. Postal 1, Suc. "E"

68050, Oaxaca, Oax.

Centro Coordinador Oaxaca

Apdo. Postal 32 70300, Matias Romero, Oax.


Rologn. Magnolia en la Chindoo, Carretera Miahuatlan, Pochutla, Apdo. Postal 7 70800, Miahuatlan, Oax.

Centro Coordinador Guerrero Domicilio Conocido

41000, Olinala, Gro.

Centro Coordinador de Guerrero Domicilio Conocido

Apdo. Postal 1

41300, Tlapa, Gro.

Centro Coordinador Hidalgo Domicilio Conocido

Apdo. Postal 178

43600, Tulancingo, Hgo.

Centro Coordinador Michoacan

Quinta del Fresno Col. Morelos

Apdo. Postal A-105

61600, Patzcuaro, Mich.

Centro Coordinador Oaxaca Domicilio Conocido

Apdo. Postal 9

68500, Huautla de Jimenez, Oax.


Apdo. Postal 83 70110, Cd. Ixtepec, Oax.


Apdo. Postal 111

70300, Matias Romero, Oax.

Centro Coordinador de Oaxaca

Apdo. Postal 156

68020, Oax.


Apdo. Postal 286 70600, Salina Cruz, Oax.

248 : Steven Loza

Centro Coordinador de Oaxaca

Negrete y Plaza de la Constitucion Calzada Benito Juarez 7

71700, Santiago Jamiltepec, Oax.

Centro Coordinador Oaxaca Domicilio Conocido

Apdo. Postal 28 68430, Temascal, Oax.

Centro Coordinador Oaxaca Carretera Yucuda Km. 54.5

Apdo. Postal 19

69800, Tlaxiaco, Oax.

Centro Coordinador Peninsular Calle 125, No. 161

Apdo. Postal 16

24900, Calckini, Campo

Centro Coordinador Puebla Km. 194, Carret. Mexico-Tuxpan Apdo. Postal 22

73160, Huachinango, Pue.

Centro Coordinador Puebla Prol. Av. Pastor Rouaix Col. Nicolas Bravo

Apdo. Postal 240 75790, Tehuacan, Pue.

Centro Coordinador Puebla Barrio de Ahuateno s/n

Apdo. Postal 30 73830, Teziutlan, Pue.

Centro Coordinador San Luis Potosi

Apdo. Postal 469 78000, San Luis Potosi, S.L.P.


Apdo. Postal 80

70760, Tehuantepec, Oax.


Apdo. Postal 39

69800, Tlaxiaco, Oax.


Apdo. Postal 81

70206, Tuxtepec, Oax.

Centro Coordinador Peninsular Museo de Artes Populares Calle 59, No. 441-N (entre 48 y 50) 97007, Merida, Yuc.

Centro Coordinador Puebla C. Director Coordinador Rio Panuco 5124 Col. Manuel

72570, Puebla, Pue.

Centro Coordinador Puebla Libertad 30

Apdo. Postal 9

74940, Tepexi de Rodriguez, Pue.

Centro Coordinador Queretaro Domicilio Conocido

Apdo. Postal 18

76850, Amealco, Qro.

Centro Coordinador San Luis Potosi Domicilio Conocido

Apdo. Postal 17 79800, Tancanhuitz de Los

Santos, S.L.P.


Centro Coordinador Queretaro Domicilio Conocido

Apdo. Postal 10

76600, Toliman, Qro.

Centro Coordinador San Luis Potosi Domicilio Conocido

Apdo. Postal 84

79940, Tampacan, S.L.P.

Centro Coordinador Sonora Londres 45 Col. Centenario

83260, Hermosillo, Son.

Centro Coordinador Sonora Domicilio Conocido

Apdo. Postal 13

85760, Alamos, Son.

Centro Coordinador Sonora

Margen Derecha Carret. Navojoa- Huatabampo Apdo. Postal 13

85280, Etchojoa, Son.

Centro Coordinador Veracruz Costera del Golfo Km. 224

Apdo. Postal 187

96000, Acayucan, Ver.

Centro Coordinador Veracruz Domicilio Conocido 92600, Huayacocotla, Ver.

Centro Coordinador Veracruz Domicilio Conocido

Apdo. Postal 147 Orizaba, Ver.

Centro Coordinador San Luis Potosi Km. 2 Carret. Alaquines Apdo. Postal 6

79830, Cd. Cardenas, S.L.P.

Centro Coordinador Sinaloa Carret. Mochis-Choix s/n Col. Pablo Macias 81820, El Fuerte, Sin.

Centro Coordinador Sonora Ruta de Correos, No. 124 Bahia Kino

Apdo. Postal 1566

Centro Coordinador Sonora Calle 8, Final Este, No. 127

Apdo. Postal 114

83600, H. Caboca, Son.

Centro Coordinador Sonora Domicilio Conocido

Apdo. Postal 40

85510, Vicam, Son.


Apdo. Postal 5 92700, Chicontepec, Ver.


Apdo. Postal 53

93535, Morgadal, Ver.

Centro Coordinador Veracruz Apdo. Postal 31

95600, Playa Vicente, Ver.

250 : Steven Loza

Centro Coordinador Veracruz

Alfaro, No. 38

Apdo. Postal 41

91000, Xalapa, Ver.

Centro Coordinador Veracruz M. Azueta, No. 8

95000, Zongolica, Ver.

Loza, Steven - Contemporary Ethnomusicology in Mexico

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Transcript of Loza, Steven - Contemporary Ethnomusicology in Mexico