Mini-Ethnography Guidelines

Mini-Ethnography Guidelines

Introduction

Introduce the musical style and performer(s) that you have chosen to observe for this project. Describe their style and output using broad terms such as “Norteño” or “Rock ‘N’ Roll”, and specific styles or subgenres such as “Cumbia” or “Alternative”.

Xavier Tiza Gonzales

Biography

I began playing the guitar at about age 14. My main inspiration for playing came from watching the great Stevie Ray Vaughan on a television show from Austin Texas called Austin City Limits. After only two years of playing with limited instruction, I joined what would be the band I was a member of for over 12 years, “Origen”, later to be named “Origen Latino” (one of my most memorable experiences). The music we played consisted of a wide variety of Latin music, and a country song here and there. My curiosity into the world of music took me into the high school jazz band and later to the El Paso Community College where I studied Private jazz guitar under Nestor Arzola, and jazz improv with Tommy Fragga. I soon found myself in the middle of a decision to leave school for the option to play more shows on the road. This was the moment that I knew music would be a living for me. Nothing could come close to the feeling of being on stage and performing in front of people. The band recorded 2 albums which later were awarded Hispanic Music Awards for Song of the year, and band of the year, which were voted for by the public in a newspaper poll. [unique_solution]

Throughout my career, besides playing, I have participated as a studio musician for many artists in the Christian, Latin, country, Latin rock, and pop rock genre. My latest work adventures have taken me all over the world from The Gulf Islands, to the European and North African continents, and as far down as the Caribbean and Mexico to Brazil to name a few. Having the opportunity to play with a countless number of talented musicians around the world, I continue my journey for knowledge through the sharing of intense musical experiences. This is the school that no one can pay for. Getting on stage and leaving everything you’ve got within every note you sing and play. Performance after performance after performance! It is the school of hard knocks for musicians. There is no substitute for experience. Get on the stage and show what you got. And shut up. All the talk, and all the hype… At the end of the day, ” Show me, don’t tell me. ” That’s what I always say.

With the experience and knowledge gained from my endeavors, I now began to forge what I feel to be my own contribution through my musical expressions in the cover material I play, and most importantly my original music.
Due to my travels and adventures working as an entertainer/performer, my taste in music is, to say the least, quite eclectic. I have many influences in Mexican music and on to the greats of the American eras of the 50’s, 60’s, 70’s, mowtown, classic rock, jazz fusion, progressive rock and many more. It is far too redundant to say that I admire and respect all music. My sound has been described as having influences from Stevie Ray Vaughan, Maroon 5, Dave Matthews ,Carlos Santana and as funky as Earth Wind And Fire, and Tower of power, Stevie wonder, Journey, and Michael Jackson are all artists which have influenced my musical expression shaping it to what it is now. I am constantly working towards improvement in both my playing and singing.
My hope is that the community of both Musicians and performers, to music aficionados alike, will be happy to hear my creations as I continue to grow as an entertainer. Giving; to say the least “MY ALL” on stage. Stay tuned to Xavier Tisa. You will not be disappointed!

Current Location

El Paso, TX

Influences

Stevie Ray Vaughan, Maroon 5, Dave Matthews, Carlos Santana, Stevie wonder, Journey, Michael Jackson

Style

Xavier is a cover artist he does write his own music but does NOT perform it for others.  Please review his biography above and the interviewed questions in purple below.

Please include some relevant styles of the genres he sings in the resources mentions below (highlighted in yellow)

Give a brief description of the style(s) and history of the music performed (include the contributive geographical, political, and social factors). When was this style of music conceived and for what purpose?

Historically, who performed this music?

Research relevant styles in the Garland Encyclopedia of Music, Smithsonian Folkways, and other resources suggested by Dr. Shaheen Espinosa.

Explain whether you believe the styles could be classified as “border music” according to our in-class readings and discussions.

Instrumentation

What is the typical instrumentation for the style(s) of music performed? Describe the main or most important instruments to the style.

• Xavier uses his guitar throughout his performance, no other instrument

was used.

Performer(s)

Describe the musician(s) and answer the following questions:

• What is the sociocultural context for most of their performances?
  • Xavier would code switch some of the audience were from Cd. Juarez, MX and others just loved regional Mexican music and would request a cover. Naturally Xavier would speak Spanglish to connect with his audience.

• Was the context for the performance you observed typical, or unusual? Explain.

• To which community do you believe the performers belong? Why?

• Xavier belongs to the border community. He identifies with both sides of the border because he respects his roots and embraces his Hispanic heritage.

• How did they come to practice the style? You may understand this by interviewing the musician(s) or by referencing their online biography or profile if one is available.

• See biography included above.

Research and conduct interviews that will allow you to attempt to understand how the community and identity (or positionality) of the musician(s) relates to the music.

Performance Description:

• Include the time, date, and place of the concert.
  • The event I attended was on Friday November 29,2019 at 7:00pm at the Wine Attitude, wine bar.

• Is it on a weekend or weeknight?

• • Xavier’s performances are every Friday night to start the weekend off.

• Does the time and date of the event restrict certain people from attending?

• • The time will work for most individuals, the exception would be those who work evenings on Friday night.

• Is it a free event, or is admission charged?

• • There is no admission the event is completely free.

• Is it low enough that most of the community can attend?

• • Since admission is free most of the community can attend and is perfect for a relaxing night.

• If the event is free, was it necessary to reserve a space ahead of time?

• • The free event does not require you to reserve space ahead of time however, the owner of the wine bar recommends arriving early as it is first come first serve.

• Is this concert explicitly or tacitly targeting a specific audience?

• The event doesn’t explicitly or tactfully target a specific audience Xavier is well rounded in all genres and tailors his performance based on the audience’s request.

• Where did you learn about this concert? Online?

• I learned about the event from my neighbor we were discussing how my classes were going and I spoke to him about the mini-ethnography He recommended coming out and doing it on Xavier’s performance.

• What is the typical way this artist advertises their concerts?

• • Xavier and Wine Attitude advertise his performance on Facebook’s advertisement ads and on their profiles as well.

Detailed description of the venue

• What is the venue of the concert?

• • The venue of the concert is at a Wine Bar located at:
    •  6404 North Mesa Street Suite B1, El Paso, Texas 79912

• Is this the typical venue for this musician or ensemble?

• • It is the typical venue for Xavier as he performs here weekly starting every Friday at 7:00 pm.

• What area and neighborhood is this concert taking place?

• • The venue, Wine Attitude is located on the West side of town. Nearby is another venue, unrelated, Rocking Cigar Bar and Grill (RCBG). While Wine Attitude does not offer any food on its menu many in the audience brought their food from RCBG.
  • Is the neighborhood known for anything in particular (is it in an arts or entertainment district, college district, etc.)?
    • This lower half of the neighborhood is not known for entertaining but a mile up the road is known for its college district.

• Is this venue completely inclusive, or are there sectors of the population that are excluded (officially or unofficially)?

• • The venue is not completely inclusive, because it is a wine bar those who are under 21 are unable to attend.

• Is the venue indoors or outdoors?

• • The venue is an indoor venue.

• How is the sound projected?

• • There are two speakers on each side of Xavier as he performs to project his voice and guitar.

• Is the audience sitting or standing?

• • While some of the audience were standing it was a preference as plenty of seating was available including the bar, and sofa sitting area.

• Is the space crowded, or is there room to walk around, dance, etc.?
• The room was not crowded there was plenty of walking room, even room to dance, however no one was dancing during this event rather just relaxing, enjoying their wine and listening to the music.

Detailed description of the musician or ensemble of musicians

• Name of all of the performers on stage.

• • Xavier Tiza Gonzales

• List all of the instruments on stage and describe their roles in the ensemble. For example, is one instrument crucial to the overall sound of this genre?

• • Guitar and yes, it is crucial as it is the only instrument being used for the performance.

• Are all of the instruments typical to this style, or are there instruments not normally found in this genre?

• • Some of the genres did not use a guitar in their original performance, but Xavier made it flow perfectly the tempo matched

• Provide a detailed description of artists’ clothing or costuming.

• • Xavier was wearing a red polo shirt with jeans. Relaxed setting with a glass of wine by his side throughout the night.

• Detailed description of audience members (age groups, dress, behavior, audience position in relation to stage, reactions, etc.)
  • The audience is dressed business casual, age group seems to be 30s-50s, audience is laughing and enjoying the energy of the performance and bouncing that back.

Detailed description of the music

Describe the music that you hear in as much detail as you possibly can. List specific songs or (if not possible) use some indication like: First song, second song, etc.

Analyze the style(s) represented – cite specific songs (ex. a very -popular song in this style, or a song that is noticeably different than the others). Are all the instruments used typical for this style? If not, why do you think they were used and what effect does their inclusion produce?

Later, you will use the music terminology that we have learned in class to provide as much detail as you possibly can about the music including observations about rhythm, melody, instrumentation, form, etc.

Feedback from Audience Members

Observe the audience reaction throughout the concert. If possible, interview at least two audience members, or one audience member and a member of the band sometime after the concert has ended.

• Ask the audience member why they attended, had they seen the artist live before, and whether or not they were satisfied with this concert, and to what degree.
  • Brittnee Coss (audience member)
    • Coss was unaware there was live music and was the first time they heard Mr. Gonzales play. Ms. Coss states she was “impressed” with Xavier’s performance and the wide range of genres he was able to sing. She also enjoyed the interaction Xavier had with the audience.

• ask them why they perform this genre, when were the first introduced to it, and what does it mean to them.
  • See biography above. And answered interview questions below.

Analysis

After conducting research on the style of music, observing a performance, and interviewing participants, infer and describe what you believe to be the socio-cultural factors behind the motivations for the musical activity (similar to the ways we have observed such processes in class).

Use the researched historical background and your knowledge of the community in which the music is practiced in order to contextualize the musical event that you described in both local and national society.

Xavier’s Interview

Questions:

• How does performing on the border differ or influence your music opposed to performances outside of the border city?
• Do you write or sing any of your own songs?
• What style genres influence the music you produce/sing do you fuse them into your music? (reggae, country, cumbia)
• How would you describe or categorize the music you sing? (world music, Tejano music, etc.)
• How would you say you capture the Mexican-American culture in your music?

• Do you ever use your music as a voice for political movements or to speak out against wrongs?

Response: (all is quoted)

“Performing on the border is very different as opposed to outside of El Paso. Starting with repertoire. I find that no matter how much music is out there, our people like to hear the same stuff all the time. Although it may vary as far as what crowd one is performing for, generally people stick to the same basic requests. Always…
if a musician is to evolve in his own right, leaving the area where he or she is from is paramount. I imagine it is the same for every musician in their respective home towns.

I do write my own stuff, though I never perform it. For some reason I seem to be hiding behind my own delusion that nobody is interested in hearing my stuff. That opinion maybe stemming from the aforementioned.

That is the next problem I have. I have been performing so many styles and genres of music that I can never decide which will be my go to when it comes to writing. Today I’m in live with progressive rock, tomorrow it’s blues, the next day it’s Jazz etc…

The categories of music I sing are variety pop. For the most part. In English and Spanish. Everything from the Beatles, to George Straight, and Tigre’s Del Norte to Bachata, Salsa, cumbia, some jazz… even flamenco

How do I capture the Mexican American culture? Hmmm
I embrace every song I perform with true respect to the style. While I may embellish a song or two, here and there… I try to do my best to stick close to what the original style intended. While that is a conversation that would last a long while,I don’t think music is made that way anymore. Everyone is trying to mix and fuse styles on the regular. While I think there is nothing wrong with that, I would like to see the culture preserved a little more when it comes to certain styles/genres. That in turn defines how a performer such as myself fits within the confines of “culture” when performing. In my positions as a variety performer, I do receive many positive comments on my ability to perform many styles to a true tribute of the original intention by the original artist. I can’t escape who I am as far as my Hispanic roots goes. Nor do I intend to. So as far as how I embrace the American culture goes…? It goes hand in hand with every performance whether I perform Mexican or American music. I guess song selection will also play a huge part in that sense.

Do I use my music as a voice for political movements or to speak out against wrongs? Political, most definitely and resoundingly NO. We have a very important role as musicians/entertainers in society. I feel it is an abuse from my part to use my talent to sway political views. I believe that is not what music is for. Music is an escape. A return to a specific point in time. A therapy. It’s as if your therapist or psychologist would start to program you to vote in a specific political view. That would be wrong. I feel the same about sports stars. We should not meddle with politics. That is not who we are. We have an important role in society. Politics is not in the job description. To speak out against wrongs…? Hmm. That almost seems dangerous as well. I would like to see it from the perspective of supporting the wronged. That has a better ring to it. My views on the problems in society do not fit with the collective. So, to separate that from performing is a smart thing. I feel. It seems that in today’s society people sway between right and wrong so easily. We are a fickle society more now than ever. So ,I am not going to compromise my life, my work, my responsibility as an entertainer simply to jump on the next emotional bandwagon as to a tending “wrong”. At least in general. There are a few things I would definitely speak out against, such as child abuse, rape, murder… etc… things of the sort. It’s difficult to elaborate in messaging. These are deep questions that require long conversation in my opinion. Lots can be easily taken out of context, and I hope I did a decent job at explaining myself.”

USE SOME OF THESE KEY TERMS THEY  NEED TO BE INCLUDED  (at least two from each category

Musical terms

Tempo

Beat

Rhythm

Instrumentation

Melody

Identity-oriented terms 

Mexican

Mexican-American

Hispanic

BORDER MUSIC TERMS:

Transnational: a fluid border, acknowledged as a transnational formation, identity constructions are sites of multiplicity that transcend the nation-state as a unit of identification.  -pg 4.

Transcultural: shared culture, shared geography, history, political experience, and overall marginalization from Mexican and U.S. mainstream cultural life the borderlands, should be understood historically as a true transnational cultural region. – pg 4.

Border Music: use a cited scholarly definition from another source.

Kinetopia: a place of movement. Border dances with certain characteristics with respect to the various sociocultural characteristics along the U.S.-Mexico border. The characteristic they tend to have in common, is the political and cultural dynamics they share. – pg 44.

USE-à Heterotopia: “ a space accommodating a wealth of displacement of differen entites. “ all people are migrants and border crossers. Thus a space constantly in movement, flux, wherein migrants constantly search for utopias but find only places of otherness. – pg 56

Place-based identity narrative: The narrative of where the artist identifies. Pg 323.  Xavier’s is El Paso, Tx he referred to it as a “frontera city” a native Hispanic El Pasoan.

Works cited:

Madrid-González Alejandro L. (2011). Transnational encounters: music and performance at the U.S.-Mexico border. New York: Oxford University Press.