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The tamborita or tamborita calentana is a percussion instrument from Mexico. It is used in conjuntos de música calentana, in the states of Guerrero, Michoacán and Estado de México.
It is a double-headed skin drum, traditionally built with Parota root wood. Rims are made of aisinchete schrub and are tightened as in military drums. It is performed with a pair of wood sticks, one of these with a skin covered head to soften the sound. Tamborita accompanies guitars and violins in sones and gustos of tierracalenteña music.
The term conjunto refers to several types of small musical ensembles present in different Latin American musical traditions, mainly in Mexico and Cuba. While Mexican conjuntos play styles such as norteño and tejano, Cuban conjuntos specialize in the son, as well as its derivations such as salsa.
Silvestre Revueltas Sánchez was a Mexican composer of classical music, a violinist and a conductor.
The marímbula is a plucked box musical instrument of the Caribbean. In Cuba it is common in the changüí genre, as well as old styles of son. In Mexico, where it is known as marimbol is played in son jarocho; in the Dominican Republic, where it is known as marimba, it is played in merengue típico, and in Jamaica it is known as rumba box and played in mento.
Regional styles of Mexican music vary greatly vary from state to state. Norteño, banda, duranguense, Son mexicano and other Mexican country music genres are often known as regional Mexican music because each state produces different musical sounds and lyrics.
Agustín de Ahumada y Villalón, 2nd Marquess of Amarillas was a Spanish military officer and Viceroy of New Spain from 1755 to 1760.
Purépecha, often called Tarascan, is a language isolate or small language family that is spoken by some 140,000 Purépecha in the highlands of Michoacán, Mexico.
The cajón de tapeo, tapeador, cajón de tamboreo or Mexican cajon is a wood box drum traditional to southern Mexico. It is played by slapping the top face with a piece of wood in one hand, and a bare hand. It was developed as a substitute of the tarima de baile of Oaxaca and Guerrero. It usually follows 3/4 and 6/8 time signatures. In 1962, musicologist E. Thomas Stanford wrote a description of its use in Jamiltepec, Oaxaca.
The pandero jarocho, pandero octagonal or pandero tlacotalpeño is a kind of tambourine typical of the Mexican state of Veracruz. It is octagonal in shape, ringed with eight jangling metal disks, and with an animal skin stretched over one side. The most common methods of playing are two: one, by alternately tapping the skin with the thumb and forefinger, jangling the disks and creating a dull beat on the skin; two, by running the outstretched thumb over the skin near the perimeter of the frame.
The bombo criollo, or simply bombo, is a family of Latin American drums derived from the European bass drum and native Latin American drum traditions. These drums are of smaller dimensions than the orchestral bass drum, and their frame can be made of wood or steel. They can be held vertically or diagonally on the body or a stand. The specific make of the instrument depends on the regional tradition. In Argentina, the bombo criollo is called bombo legüero and played in many folkloric styles. In Cuba, bombos are the largest drums played by the street comparsas in Santiago. In other countries, the term tambora is commonly used.
The huiringua, kuiringua, kiringua, quiringua, cuiringua is a percussion instrument of the group of slit drums. It consists of a hollow log with closed ends with a slit along the instrument. The shell becomes the resonating chamber for the sound vibrations created when the slit is struck with a pair of wood mallets.
The cantaro is a percussion instrument. It is a clay pot that is struck in its outer surface or mouth with a hand, creating different effects. Water can be used to pitch the instrument to a desired sound.
The redoba is a percussion instrument. It consists of a wood block fixed to a belt and struck with sticks. A pair of blocks can be used to obtain two different musical notes. It is possible to dance and play at the same time. It is mainly used in conjunto norteño.
The arpa jarocha is a large wooden harp that is normally played while standing, although early examples from the 16th through the first three or four decades of the 19th centuries were smaller and were played while seated. It has a wooden frame, a resonator, a flat soundboard, 32-36 nylon strings, and does not have pedals. This harp is tuned diatonically over five octaves. The top of its soundboard sometimes arches outward due to the tension of the strings. Unlike other Mexican harps, the arpa jarocha has its sound holes located on the back of the sound board instead of on the front.
A tamborita is a type of Bolivian ensemble which plays folk music. A typical group contains a tamborita, a caja, a flute, maracas and cymbals.
Concheras or conchas are Mexican stringed-instruments, plucked by concheros dancers. The instruments were important to help preserve elements of native culture from Eurocentric-Catholic suppression. The instruments are used by Concheros dancers for singing at "velaciones" and for dancing at "obligaciones".
The guitarra panzona, guitarra túa or guitarra blanca is a Mexican guitar with six strings and deep body. This guitar is sometimes substituted by a guitarron. It provides a tubby sounding rhythm for calentano music, accompanying violin, guitar and tamborita.
The enneg is a bowed string instrument. It is a traditional instrument of the Seri or Konkaak tribe in northwestern Mexico. It consists of a rectangular body carved from a block of wood, a bridge and has one string. The instrument is played with a mesquite-and-horsehair bow. It is used in rites and dances.
Folk dance of Mexico, commonly known as baile folklorico, is a term used to collectively describe traditional Mexican dances. Ballet folklórico is not just one type of dance, it encompasses each region's traditional dance that has been influenced by their local folklore and has been entwined with ballet characteristics to be made into a theatrical production. Each dance represents a different region in Mexico illustrated through their different zapateado, footwork, having differing stomps or heel toe points, and choreography that imitates animals from their region such as horses, iguanas, and vultures.
The tlaximaltepoztli or simply tepoztli was a common weapon used by civilizations from Mesoamerica which was formed by a wooden haft in which the poll of the bronze head was inlaid in a hole in the haft. It was used for war or as a tool. Its use is documented by the Codex Mendoza and the Codex Fejérváry-Mayer. Tax collectors from the Aztec Empire demanded this kind of axe as tribute from the subjugated kingdoms. In Aztec mythology, the tepoztli was used by the god Tepoztécatl, god of fermentation and fertility. In Codex Borgia he is represented with a bronze axe.