por The Yucatan music It is the result of a combination of various musical influences, both foreign and own, from which two autochthonous styles emerge: the trova and the Yucatecan jarana.
Both musical styles are the product of cultural roots that involve foreign sounds reinterpreted by the people of the community.
In Mexico it is curious that there are two musical styles within the same region, which is why some people consider the jarana as a mixture that leans more towards music combined with dance.
Since the beginnings of the jarana, its main interpreters have been indigenous peoples and mestizo people. And the Yucatecan trova has always been considered to maintain its popularity in the city.
Main musical styles of Yucatán
1- Yucatecan revelry
The Yucatecan jarana is the term used for the festivals, dances, and musical style of the region.
In the towns, the festivals are celebrated on certain important dates for the community, such as the dairy farms or the patronal festival. The dance that accompanies it is a kind of happy couple tapping.
The origin of this musical style can be found in various indigenous sonnets, with a dash of Spanish music.
The jarana is performed by the guild band or by a jaranera orchestra. Some of the instruments that make it up are the saxophone, the trumpet, the timpani, the bass drum, the güiro, the clarinet and the trombone.
The jaranas have no text. There are some composers who have incorporated one into instrumental pieces, but the orchestras in eastern Yucatán never sing them.
Popular jarana composers include Juan Russ, Antonio Yam Hoil, Eleuterio Tec and Isisdro May Han.
Currently, the jarana is represented for tourist purposes because it is the heritage of the Yucatecan people.
Although it is true that the number of composers has decreased considerably in recent years, the reproduction of jaranas has ensured that this tradition does not become extinct like so many others.
2- Yucatecan Trova
The Yucatecan trova is also known as the Yucatecan song. Its origin dates from the 20th century, specifically from 1960, according to various historians.
The trova is commonly used in urban spaces as opposed to in towns, as is the case with the jarana. In Mérida, the state capital, it is usually the great sensation of events, especially in the main squares.
It is influenced by Andalusian music, including some of its instruments such as the six-string guitar.
Another important foreign influence was the impact of the Havana zarzuelas, which determined some of its rhythms and musical forms.
Thanks to the proximity between Havana and Mérida, sounds such as the danzón and Cuban points began to emerge.
There was also an incredible migration of Cuban poets from the mid-19th century, who likewise had a bit of an influence on this musical mix.
The poets wrote about love themes, represented by the song of a man looking for the love of a woman.
It is important to highlight that the Yucatecan trova was created by poets and not by composers. Some of the most recognized are: Joaquín Acosta, Pastor Cervera, Ricardo Palmerín, Fermín Pastrani, Coqui Navarro, Guty Cárdenas, José Peón Contreras and Pepe Domínguez.
Reference
Baqueiro, Jerome. Aspects of Yucatecan popular music in three centuries. Mexican Musical Magazine, volume IV.
Moseley, Edward and Terry, Edward. (1980). Yucatan. A World Apart. University of Alabama Press. Tuscaloosa.