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The Historical Investigation and Sociological Analysis of Conjunto

Conjunto的歷史淵源與社會價值

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摘要


Conjunto為二十世紀初美國德州地區的民俗音樂現象,主要流行於墨裔美國人的西班牙語族群,被歸類於美國民俗音樂的德州民俗音樂(Tejano Music)中。近年來,一些民族音樂學者、人類學者與社會學者開始對Conjunto作進一步的調查、分析與研究,從中發現到族群融合與同化的現象。   Conjunto發源於墨西哥境內,由於與歐洲貿易頻繁,受到歐洲文化刺激也相對增日,尤其是港口都市,更是漸漸地產生出具西班牙音樂血統的墨西哥民俗音樂。緊接著,北美洲的英美移民漸漸南遷,佔據了墨西哥北半部土地,即今之德州地區,此一文化也注入Conjunto,使得Conjunto在民俗音樂之外尚有流行音樂的特性。到了二十世紀末,Conjunto 面臨了錄音科技的考驗,音樂市場大幅度萎縮,僅有的支持者為來自墨西哥移民至美國的勞工階級,其民俗活動已逐漸式微。 Conjunto的價值在於人類社會之變遷所形成之音樂活動現象,而非音樂上的藝術觀點。此一混血的成果,成為墨裔美國人等西語族群與英語族群的文化見證。

並列摘要


Conjunto, the Texas-Mexican music which belongs to the working class, was popular from 1935 to 1960. During this period, Conjunto emerged as an ensemble with a highly organized style and a strong base of social support that turned it into a powerful symbol among the Texas-Mexican working class. The birth of Conjunto was related to the socioeconomic factor. When Chicanos began to experience some upward socioeconomic movement during and after World War II, ethnic inequality intervened and excluded them from any but the most minimal “structural” assimilation of the “primary-contact” type into American society. By moving into new socioeconomic fields, they exposed themselves to new sets of social relations that inescapably shut off time-tested cultural strategies. The transition from rural to urban modes of life, from Mexican to American cultural environments, and from proletarian to middle-class status was not easy. During this transitional period, both economic and cultural ties were maintained between northern Mexicans and the Mexicans in Texas. The economic connection facilitated the birth of Conjunto. Finally, Conjunto music has been declining at the end of the twentieth century. Although it is still available to people on Saturday nights in places like Beeville, Mathis, and Edinburg, Conjunto became the music of la gente pobre (the poor people) and it tied strongly to the Mexican culture and the wage earners' lives.

並列關鍵字

Conjunto Tejano Texas-Mexican music Chicano

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