ISSN: 2639-2119
Authors: Montes Lara M*
Throughout our history, war conflicts have served in some way as generators for the music of peoples. In the case of Mexico, the movements of troops and their bands in such an extensive territory, allowed their music to become known in other regions, even for its melodies to become popular. Specifically, two war movements in our country will be the subject of study for musical identity: Independence, and Revolution. This last social conflict unleashed a musical style that would soon become the favorite of the revolutionaries, specifically in the northern region. In Chihuahua in the 19th century, there were no musical expressions of identity. The emergence of wind music came to fill that gap, as it was adopted by Chihuahua´s society. Already in the 20th century, during Mexican Revolution is when a predilection for a certain type of music arises in Chihuahua. Perhaps nowhere else, throughout the country, were there so many military musical bands as in Chihuahua at this time, so their influence on the tastes of the population was representative. With this entire precedent, it will be possible to problematize how wind music was of vital importance in the social life of the people during the Mexican Revolution. Music bands will have a new valuation within society. Thanks to this, Chihuahua acquires a predilection for this type of wind music. In the town of Nonoava, Chihuahua, is where this musical aesthetics formed during the Mexican Revolution, somehow managed to subsist. It is known as the Nonoava style in which some musical elements similar to those of the Mexican Revolution still prevail on it today. This style is mainly made up of wind instruments. In their traditional repertoire, they continue to use European rhythms such as the polka, the redova, the chotis, and the waltz, among others. It is for this reason that the Nonoava style is the object of study in this work. This has turned the Nonoava style into an element of artistic export, since it has unique musical aesthetic elements, such as its instrumentation, repertoire and phrasing, which make it culturally valuable. In 2015, the city is named by the State Congress as “Nonoava, land of musicians”, becoming cultural heritage of the state of Chihuahua. However, the diffusion of Nonoava’s music has been scarce. More detailed research and work dissemination is necessary so that with this music is valued. It is for these reasons that it is pertinent to work. On the rescue and revaluation of this music, for the growth and dissemination of the Chihuahua´s culture. This work tries to find key pieces of this music.
Keywords: Traditional Music; Folk Art; Traditional Culture; Oral Tradition
