And it features 174 topical and biographical entries, focusing on artists and musical outlets. With nearly double the number of entries devoted to music in the original Encyclopedia, this volume includes 30 thematic essays, covering topics such as ragtime, zydeco, folk music festivals, minstrelsy, rockabilly, white and black gospel traditions, and southern rock. This much-anticipated volume in The New Encyclopedia of Southern Culture celebrates an essential element of southern life and makes available for the first time a stand-alone reference to the music and music makers of the American South. Southern music has flourished as a meeting ground for the traditions of West African and European peoples in the region, leading to the evolution of various traditional folk genres, bluegrass, country, jazz, gospel, rock, blues, and southern hip-hop. Together, the entries demonstrate that southern folklife is dynamically alive and everywhere around us, giving meaning to the everyday unfolding of community life. In 56 topical entries, contributors focus on more specific elements of folklife, such as roadside memorials, collegiate stepping, quinceanera celebrations, New Orleans marching bands, and hunting dogs. Fifty thematic entries address subjects such as car culture, funerals, hip-hop, and powwows. Moving beyond the traditional view of folklore that situates it in historical practice and narrowly defined genres, entries in this volume demonstrate how folklife remains a vital part of communities' self-definitions. Looking at traditional practices still carried on today as well as at aspects of folklife that are dynamic and emergent, contributors to this volume of The New Encyclopedia of Southern Culture examine a broad range of folk traditions. Southern folklife is the heart of southern culture. Today, the music of Texas-which includes Native American music, gospel, blues, ragtime, swing, jazz, rhythm and blues, conjunto, Tejano, Cajun, zydeco, western swing, honky tonk, polkas, schottsches, rock & roll, rap, hip hop and more-reflects the unique cultural dynamics of the Southwest. The History of Texas Music incorporates a selection of well-chosen photographs of both prominent and less-well-known artists and describes not only the ethnic origins of much of Texas music but also the cross-pollination among various genres. A musician himself, Hartman draws on both academic and non-academic sources to give a more complete understanding of the stateвЂ™s remarkable musical history and ethnic community studies with his first-hand knowledge of how important music is as a cultural medium through which human beings communicate information, ideas, emotions, values, and beliefs, and bond together as friends, families, and communities. In the first thorough survey of the vast and complex cultural mosaic that has produced what we know today as вЂњTexas music,вЂќ he paints a broad, panoramic view, offers analysis of the origins of and influences on specific genres, profiles key musicians, and provides guidance to additional sources for further information. Historian Gary Hartman writes knowingly and lovingly of the Lone Star StateвЂ™s musical traditions. Listen to examples of this rich and diverse musical heritage performed byВ some of the greatsВ of mГєsica Tejana and featured in the exhibition, Life and Death on the Border 1910-1920.The richly diverse ethnic heritage of the Lone Star State has brought to the Southwest a remarkable array of rhythms, instruments, and musical styles that have blended here in unique ways and, in turn, have helped shape the music of the nation and the world. Specific musical styles such as corridos (ballads), conjuntos (ensembles), rancheras (rural-life songs), and cumbias (rhythmic dance songs) narrated the lives and challenges of people living along the south Texas-northern Mexico border.

Texas Mexican music continued to evolve as both a European-influenced and distinctly Tejano form that reflected its border history.

Non-traditional Mexican musical instruments such as the accordion, violin, saxophone, and the 12-string bajo sexto bass guitar became standard accompaniment for soloists or small groups of vocalists. Over time, the indigenous Mexican music incorporated rhythms from French dance music, German polkas, Latin American mambos, and other European and African traditions.

As immigrants moved into Mexican Texas, they brought their unique musical heritages with them. The collection of musical forms, styles, and genres known as mГєsica Tejana evolved primarily in South Texas during the 19th century.

Musica texana