How to dance musica nortena


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Mexican Americans are Americans of full or partial Mexican descent. Some members of the community prefer to call themselves Chicanos. As of July 2016, Mexican Americans made up 11.2% of the United States' population, as 36.3 million U.S. residents identified as being of full or partial Mexican ancestry. As of July 2016, Mexican Americans comprised 63.2% of all Hispanics and Latinos in the United States. Over 60% of all Mexican Americans reside in the states of California and Texas.[3] As of 2016 Mexicans make up 53% of total percent population of Latin foreign-born. Mexicans are also the largest foreign born population, account for 27% of the total foreign born population. Of the estimated 11 million unauthorized immigrants living in the United States 56% are from Mexico. ["Mexican Americans," Wikipedia]


Norteño, also called música norteña, is a popular-music genre of Northern Mexico that developed in the late nineteenth century as a mix of regional Mexican music and the folk music of German, Polish, and Czech migrant workers and immigrants to Mexico. Norteño is closely associated with the music for polka (a Czech folk dance), waltz (a descendant of German folk dance) and corridos, ballads about love, everyday life, crime, and social problems. 

The accordion and bajo sexto are norteño's most characteristic instruments. 

The type of accordion played in norteño is the diatonic button accordion (DBA) — diatonic because it can only produce the notes of the diatonic scale. The player operates the instrument by pressing buttons that allow interior reeds to vibrate as the bellows part of the instrument is pushed and pulled. (The buttons on the right-hand panel produce the melody, those on the left-hand panel produce supporting chords.) The DBA is favored in norteño because it is relatively lightweight, nimble in operation, and because its bellows construction allows for an emphatically rhythmic style of playing dance music.

The bajo sexto (literally, "bass sixth") is a member of the guitar family. The name refers to the low-pitched range of the bajo sexto (an octave lower than guitar), and to the six pairs (or courses) of strings. 

The bajo sexto, like many string instruments built by Mexican artisans in the seventeenth and eighteenth centuries, was modeled on early types of Spanish guitars. The bajo sexto reached its full development in the nineteenth century and migrated northwards, where it became a popular instrument for weddings and dances. By 1930 the bajo sexto joined the accordion in the initial pairing that was to give rise to conjunto (literally, group or ensemble). Flaco Jimenez of San Antonio, Texas is a major figure in norteño, having earned six Grammys over a sixty-year career.

Flaco Jimenez and Max Baca play "Margarita", "La Paloma," and "Cada Vez Que Cae La Tarde"
A conjunto norteño is a Mexican folk ensemble that adds snare drum and a bass instrument to the DBA/bajo sexto pair. The instrument may be string bass, or tololoche as in this video by Norteños de Río Bravo, or electric bass guitar as in this clip from a corrido by Los Tigres del Norte. A more recent substitute bass instrument is tuba, as in this corrido by Calibre 50. Cuban tumbadoras (conga drums) and bongó are also included in some modern conjuntos, such as "Sufro como Yo Sufri" by La Leyenda (2018).

Conjunto became popular within the transnational Mexican communities of the borderlands primarily through local radio stations in the "golden age" of the conjunto in the 1940s and early 1950s. Also, some conjuntos from Mexico — Los Alegres de Terán (active 1948-2007), Los Huricanes del Norte (1969-present), Los Rieleros del Norte (active 1984-present) — relocated to the United States.
From the rural areas of its origin norteño achieved popularity in urban centers and eventually in many Latin American countries. 

Other popular norteño artists include Ramón Ayala, Intocable, and Los Tucanes de Tijuana. 

Through the late twentieth century the norteña style remained conservative and stable with minor refinements in electronic sound quality and recording techniques. This era is probably best represented by the style of accordionist Ruben Naranjo from the Corpus Christi area, who died in 1998. Música norteña has also had its own category for many years in the Grammy awards, and a perennial winner in the early 2000s was the long-popular group of Ramón Ayala y Los Bravos del Norte. [Dan W. Dickey, "Musica Tejana," Texas State Historical Society]


European immigrants in Mexico fled to Texas during the chaos and war that was set in motion by the Mexican Revolution (1910-1920). In Texas the dance music of the new European refugees mixed with the songs of Mexican Americans in a music that would eventually be called Tejano ("Texan") or Tex-Mex. Lydia Mendoza of Houston began her long illustrious career by recording one of the first Spanish-language songs, "Mal Hombre", for RCA's ethnic market in 1934. Narciso Martínez, who was raised in the small Texas town of La Paloma, brought a new virtuosity to accordion playing. Martínez, the "father of tejano conjunto," started to record in the 1930s when local radio stations began to broadcast norteño and tejano. 
By the mid 1950s tejano conjunto, influenced by Big Band music, expanded into larger ensembles — bandas and orquestas — that included various wind instruments and the standard jazz drum set.

Oscar Martínez's banda was made up of the instrumentation that established the template— two trumpets, alto and tenor saxophones, guitar, bass, and drums. This type of banda peaked in the 1970s. [Brittanica]

Martinez' song "El Tejano Enamorado," featured on his 1965 album "El Gallo Copeton," hit the radio before Martinez knew anything about the industry or what royalties were. It became popular with musicians across the country and has been recorded by more than 40 artists. He also has his own English version, "The Texas Playboy."

Martinez has written and published a book, "Tejano Music Talk," and hosts a Tejano music program each Sunday on local radio station Majic 104.9 FM. He also recently released a new single, a love song to his hometown called "The Corpus Christi Rose," and continues to create his own series of original paintings. [Michael Zamora, "Preserving Tejano's History," San Angelo Standard-Times, November 2011]

A third type of ensemble, grupo, originated in the 1960s. Grupos replaced the instrumentation of tejano conjunto with keyboards and synthesizers, while largely embracing the traditional repertoire. The most famous performer of the period is Selena, who became an international celebrity before being murdered in 1995. 


Guadalupe San Miguel Jr., "Nativism, Immigration, and the Latinization of America," in Forum on Public Policy: A Journal of the Oxford Round Table, September 2011. Available online through Brooklyn College Library.


  • Gigmasters - Brooklyn Mariachi Band
  • Yelp - Best Live Mexican Music in NYC


Cathy Ragland, "Introduction" in Musica Norteña: Mexican Americans Creating a Nation between Nations, Temple University Press 2009. Available through JSTORR

Handbook of Texas Online, Dan W. Dickey, "MUSICA NORTENA"

Allmusic - Norteno

Alejandro L. Madrid (ed.), Transnational Encounters: Music and Permance at the U.S.-Mexico Border, Oxford University Press, 2011

Guadalupe San Miguel, Tejano Proud: Tex-Mex Music in the Twentieth Century, Texas A&M International University, 2002.

Raimiro Burr, The Billboard Guide to Tejano and Regional Mexican Music, Billboard Books, 1999.


Suggested follow-up topics
  • Linda Ronstadt's canciones; Selena; grupo
  • Chicano Rock; Contemporary Mexican and Mexican-American music in California. The Twiins: Mexican Music Made in America
  • New hybrid forms and extensions of traditional Norteño and Tejano.
  • 1 2018-09-02T13:23:05-07:00 Lydia Mendoza "Mal hombre" 1934 2 plain 2018-09-02T13:23:30-07:00
  • 1 2018-09-01T18:18:16-07:00 Antonio Tanguma Jr. plays polka 2 Diatonic button accordion (DBA), "El Cerro de la Silla" plain 2018-09-01T18:19:19-07:00
  • 1 2018-09-01T18:25:54-07:00 LOS ALEGRES DE TERAN La mula bronca 1 plain 2018-09-01T18:25:54-07:00
  • 1 2018-09-01T18:26:13-07:00 Los Rieleros Del Norte Por Tu Maldito Amor 1 plain 2018-09-01T18:26:13-07:00
  • 1 2018-09-01T18:00:54-07:00 Mexico 1 Source: Google Maps media/mexico-google. png plain 2018-09-01T18:00:54-07:00
  • 1 2018-09-01T18:16:03-07:00 Michael Salgado 1 Source media/michael-salgado.jpg plain 2018-09-01T18:16:03-07:00
  • 1 2018-09-02T13:24:15-07:00 Narciso Martinez - El Huracan del Valle 1 plain 2018-09-02T13:24:16-07:00
  • 1 2018-09-02T13:28:06-07:00 Oscar Martinez "El Tejano Enamorado" 1 plain 2018-09-02T13:28:07-07:00
  • 1 2018-09-01T18:20:21-07:00 Candido Salmeron plays the bajo sexto 1 plain 2018-09-01T18:20:21-07:00
  • 1 2018-09-01T18:21:27-07:00 Flaco Jimenez: NPR Music Tiny Desk Concert 1 plain 2018-09-01T18:21:27-07:00
  • 1 2018-09-01T18:23:27-07:00 La Leyenda - Sufre Como Yo Sufri 1 plain 2018-09-01T18:23:28-07:00

Hot 50 Norteño Songs for Latin Music Playlist

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Norteño or Norteña is a genre of Regional Mexican music from Northern Mexico. The music is most often based on the double and triple meter and its lyrics often deal with socially relevant topics.  However, there are many norteño love songs.

The accordion and the bajo sexto are traditional norteño’s instruments. Norteña music developed in the late 1800s, as a mixture between local Mexican music and German/Austrian/Czech folk music.

We put together a collection of popular Norteño songs being downloaded on Amazon. Enjoy our list of Hot 50 Norteño songs for your wedding or party.

“La Chona” by Los Tucanes De Tijuana

Ahí Te dejo En San Antonio, Norteña México - San Antonio Norteño
Amiga Si Lo Ves (Norteña) - Jenni Rivera
Amorcito Norteno - Various artists
Asi De Plano - Polo Urias Y Su Maquina Norteña feat. Conjunto Primavera
Buckle Up & Crank It Up! (281 Conjunto Jam) - Tejano Highway 281
Dos Cuernos de Chivo (Norteño) - Los Dos Grandes De La Sierra
Echandome un Perico (Norteño) - Los Dos Grandes De La Sierra
El De Durango - Greeg Mora feat. Grupo Delta Norteño
El Famoso Chino Antrax (Version Norteña) - Lenin Ramirez
El Meridiano 2.0 - La Potencia De La Musica Norteña feat. Conjunto Nube
Esta Noche Te Olvido (Versión Norteña) - Sarah Monique
Fiesta Mix 2020 Cumbia Ranchera Norteña: el Alacran / la Pollera Colora / las Sardinitas / el Pelito de Aguacate / Ay Ay Ay - Los Reales del Valle
Hasta El Fin Del Mundo (Cumbia Norteña) - Jennifer Peña
Hasta Mi Final (Versión Norteña) - Jimencio
Homenaje a Los Conjuntos Del Ayer - Nathan Rodriguez y su Conjunto Borikén
Huapango Norteño Mix 2 - Los Reyes De La Farra
Huapangos Nortenos En Vivo - Implicados - Cumbias Nortenas
Huapangos Norteños - Grupo Mensajeros Musical
La Calandria, Norteña México - San Antonio Norteño
La Inconforme (Norteña) - Grupo G
La Invitacion - Buknas De Culiacan feat. Colmillo Norteño
La Manzanita Con Norteño & Banda - Arley Perez
La Misma Sangre (Norteño) - Los Dos Grandes De La Sierra
La norteña (remastered) - Jorge Negrete Y El Trío Calaveras
La Norteña - El RG Rogelio Garnica
Las Bicicletas (Polka Norteña) - Mariachi Pulido
Las Mañanitas - Cumbre Nortena feat. Tony Melendez de Conjunto Primavera, Tino Laureano de Conjunto Agua Azul, Sergio Soto de La Maquinaria Norteña, Angel Landeros de Brio Norteño, Israel Leyva de La Novedad Norteña, Froy Espitia de el Contragolpe, Jr Melendez, Isidro Lu
Lo Intente - Conjunto Nube feat. La Fe Norteña
Me Enamore de Ti - La Zenda Norteña feat. La Reunion Nortena
Me Regalo Contigo - Gerardo Reyes with Conjunto Bernal
Mexico Lindo, Norteña México - San Antonio Norteño
Mi Conjunto - Conjunto Clasico / Tito Nieves
Mi Pretexto de Borracho - Grupo Firme Feat. Enigma Norteño
No Te Vayas (Versión Norteño Banda) - Ricardo Montaner feat. Julion Alvarez y Su Norteño Banda
Norteña Del Sur - Nortec: Bostich + Fussible
Nortenas Mix (Diciembre Edition) - DJ Spider
Norteno Banned - Cuete
Perdón por el Desorden (Norteño - Mariachi) - Leandro Ríos
Popurri de Canciones Norteñas - Los Rieleros Del Norte
Popurri de Conjunto Alameda - Bravos de Ojinaga
Popurrí de Conjunto Primavera (En Vivo) - Conjunto Aguila Real
Reventon Norteño: El Chubasco / Y por Esa Calle Vive / La Puerta Negra / Esa Muchacha / Tristes Recuerdos - Banda San Antonio
Rincón Norteño - Kikin y Los Astros & Los Gorriones del Topo Chico
Se Me Antoja - La Kumbre Con K feat. Conjunto Nube
Soy Norteño - Polo Urías
Te Fuiste a Volar Gaviota - Chuyon y la Liebre Norteña feat. Herencia Norteña
Te Quise Olvidar (Norteño Version) - MDO
Vivo Y Muero En Tu Piel (Cumbia Norteña) - Jennifer Peña
Volar Sin Alas (Cumbia Norteña Version) - Jimena feat. Bronco El Gigante de America
Ya Llegó Conjunto Barrio - Conjunto Barrio

If you think a Norteño song should be on our list, be sure to comment on it below so that we can add it.

You can read the current list of Norteno songs here.

Latin Flavor Song Lists To Check Out

  • Hot 50 Spanish Songs
  • Bachata
  • Banda
  • Bolero
  • Cumbia
  • Flamenco
  • Norteño
  • Reggaeton
  • Rhumba
  • Tango
  • Tejano


Don't Have An Empty Dancefloor!

Redowa - frwiki.


"The Original Redowa Waltz"; by Jullien

Redowa is a slow three-beat dance, the parent of the mazurka, consisting of polka and waltz steps, which spread throughout the world during the 1840s. She is part of, with the Scottish, the Slow Waltz, the Five Times Waltz and the Varsovienne and the Waltz Variation, the Mazurka and the Gallop, a pair of dances that emerged from this "polkamania", in order to satisfy the demand of the lounge dancers.

It has not been studied comprehensively, and although it has been systematized by various dance masters and various composers, it seems that its principles have been interpreted in different ways.


  • 1 Origin
  • 2 Composition
    • 2.1 In France
    • 2.2 In Mexico
      • 2.2.1 El Naranjo
  • 3 Public recognition
    • 3.1 In France
      • 3.1.1 In society
      • 3.1. 2 Confectionery
    • 3.2 In the United States
    • 3.3 In Mexico
  • 4 Save
    • 4.1 In France
    • 4.2 In the US
      • 4.2.1 In Texas
    • 4.3 In Mexico
      • 4.3.1 Chihuahua
      • 4.3.2 Nuevo Leon
  • 5 Classic Redowas
  • 6 Bibliography
    • 6.1 Books and articles
    • 6.2 Internet resources
  • 7 References and notes
    • 7.1 References
    • 7.2 Notes


There are no reliable sources about its origin. It looks like it was a collaboration between the Parisian composer Louis Chlédowski, whose biography no one has ever written, and Henri Cellarius for tap and dance figures. At times the composition was a waltz, and although the steps and figures circulated through the commercial networks of Henri Cellarius, local composers seem to have interpreted the composition very freely. Its origin is from a Czech folk dance called "rejdovák" according to "Fashion Monitor" , but this relationship seems more conjectural than demonstrated.

Reidovak (or reidovak in English literature) is a dance of rural origin that was performed in dance halls in Prague in the late 1820s and early 1830s. Academician Anton Müller, art historian and journalist of Bohemia (magazine) (de) addition to the Prager Zeitung, in a letter addressed to him, Julius Maximilian Schottky, asked for his opinion, the reply of which he published on , about a poem written by Harro Paul Harring that dealt with Reidowak and described him as an affront to propriety, which he asked the author to revise.


In France

In his The Art of Composing and Performing Light Music, published in 1852 and republished long after her death in 1887, Gatien Marcayou describes it as a variant of the mazurka, like bar three four (3/4), but whose accented beat (the one containing the marked notes) is the third instead of the second in each measure.

He recommends structuring it from three eight-bar phrases and ending with a coda of eight to sixteen bars, which is performed as follows:

  • Phrase 1 (eight bars),
  • Phrase 2 (eight bars),
  • Phrase 1 (eight bars),
  • Phrase 3 (eight bars),
  • Phrase 1 (eight bars),
  • Code (in principle eight bars).

In Mexico

El Naranjo

Redova "El Naranjo" compiled on Antonio Tanguma Guajardo , introduced by his great-grandson Antonio Tanguma Jr. , given the peculiarities associated with the instrumental context and the need for simplification required for its educational presentation, follows fairly closely the established rules of Gatien Marcailhu in 1852.

Public recognition

In France

In society

Like all dances of the same type, it seems to have quickly become popular, but has struggled to win "good company". Henri Cellarius noticed in 1847 that people talk about it more than about the dance, no doubt because the "Polish Basque" step recommended by ballroom dancers required a certain size bathroom.


La Redowa gave its name to a cake that is probably forgotten today, which consists of the base of the Neapolitan pastry. once cooked apricots, glaze with powdered sugar and kirsch and garnish with half of the candied bitter oranges and candied cherries.


The musicologist Oskar Comettent observed between 1852 and 1855 that the polka, mazurka polka, redova, scottish (which he calls "shottish"), quadrille and gigue are practiced everywhere and by all strata of society. The jig in the American version arouses his curiosity, but other dances do not require any special comment on his part.

At least as early as 1851, we see the redova polka, which, according to most observers, is a dance that uses a polka step, accent, and repetition tempo. American public libraries hold more than 100 dozen works of red polka composed between 1851 and 1884, including the very curious Yankee Doodle Red Polka composed for piano in 1852 by Elbert Anderson.

In Mexico

In Mexico redova, better known as “ redova " and a Scots called " chotis " have been incorporated into the folk, traditional and contemporary music that make up the music of Nortenha.

We are a little lost due to the lack of proper nomenclature documentation or detailed work on the subject of the origin of their popularity in the northern states of Mexico. Some see this as an effect of German and Czech immigration to Texas and the states of Nuevo León and Tamaulipas when they were fashionable in Europe and the United States.

Others wanted to see this as the effect of French intervention. Others finally see it as an effect of a cultural re-evaluation of all things European in high society during the dictatorship of Porfirio Díaz. However, almost all the redo and choti composers that are part of the national musical heritage are Mexicans.

Redowa probably first penetrated, and at about the same time as in Europe or the United States, into circles of European novelty fanatics, from high society, and sometimes even into the ballrooms of large agricultural estates, before experiencing an eclipse, although musicologist Vicente T. Mendoza, in his work "La Cancion Mexicana: Ensayo De Clasificacion" (Mexican Song, Classification Essays), collected two songs and was revived as a traditional dance. But, as with the dance called "baile calabaceado" in Baja California, the processes of collective appropriation are subject to various influences, subject to more or less fleeting fashions, and sometimes confusing.

In 1954, musicologist Américo Paredes compiled a song in South Texas from an informant who was not a professional musician called "La Redova de Don Porfirio", supposedly composed by the Mexican dictator Porfirio Diaz and which is, in fact, a love song in English language. which is a dandy from XIX - th centuries, will not be able to recognize Redowa. Since the early 1960s, the way polkas, choti and redova are performed has been strongly influenced by the "Huapango Tamaulipeco" or "Huapango Noteño", whose current form, considered traditional, in particular within the baile calabaceado, owes much to cinematic and the musical success of Eulalio Gonzalez "El Piporro" (a). More recently, these interpretations, and the way of dancing, have been drawn to "Cumbia Nortena", or American country music and square dance.


In France

  • Redowa is one of the dances reconstructed and presented by Compagnie Révérences.
  • A dance called "redova" was collected in the 1970s in Samatan (Gers). She combines two mazurkas with a Scotch.


In Texas

José "EI Patrullero" Moreno, nicknamed El Fidelero Del Valle (Valley fiddler), whose conjunto often replaces the accordion with the violin or mandolin as the melody-carrying instrument, has several changes in his repertoire., in particular, "El Cipres" and "Rosa Patricia".

In Mexico


Brian Maldonado's Ballet Folklórico, who also performs in the states of Jalisco, Nuevo Leon and Tamaulipas, includes Chotis, Cuadrillas, Redova and Polkas in his repertoire.

Nuevo Leon

In the state of Nuevo León, redos are most often part of the repertoire of musical groups, whose type is called Conjunto norteño, but are also performed by folk dance troupes. The most frequently mentioned popular reds are:

  • From China to Bravo.
  • From Progreso to Rio Rico.
  • El Naranjo.
  • La Mazorca.
  • Los Jacalitos.

Classic Redowas

  • Arthur Saint-Leon and Fanny Cerrito dancing the redova polka in La Vivandière in London in 1844.
  • Jacques Offenbach painted redowa for La Vie Parisienne in 1867.


Books and articles

  • Alain RIOU and Yvonne Vart, " curtsies: The redowa : Reenactment by the company of curtsies in Redowa, dance 3 times quite slow XIX - th century, which would have Gypsy origin. ”, Autumn Festival 2010 , Caluire-et-Cuire, Révérences, .
  • (es) Santiago Sierra Prado, " (es) La Mazorca ", Cadetes de Linares , Linares (Nuevo Leon), YouTube, .
  • (es) Jaime Gonzalez, " (es) De China A Bravo (Redova) ", Los Ramones de Nuevo León , San Isidro, Los Ramones (Nuevo León), YouTube,
  • (es) Leandro Rios, " (es) El Naranjo ", Así Suena Mi Tierra ... Redova, Chotis y Huapangos , Monterrey (Nuevo León), Remex Music, .
  • (es) Kiko Montalvo, " (es) Los Jacalitos ", Kiko Montalvo and Su Conjunto , Cadereita De Jiménez (Nuevo León), Montalvo Dynasty, .
  • (es) Juan Villareal, Ramiro Cavasos, " (es) De Progreso A Rio Rico - El Cachorro y El Donneño ", Arriba El Norte , Monterrey (Nuevo Leon), Discos Ryn Mexico, .
  • (ru) Arhoolie Records, Jose "EI Patrullero" Moreno: El Fidelero Del Valle , El Cerrito (CA), Arhoolie Productions Inc., (read online) .
  • Gatien Marcailhou, The Art of Composing and Performing Light Music, Quadrille, Waltz, Polka, etc. , Paris, Central Music Office, , 37 p. 0307 .
  • Gatien Marcaiou, The Art of Composing and Performing Light Music, Quadrille, Waltz, Polka, etc. , Paris, Eugène Fromont, , 37 p.
  • (es) Jesús Antonio Tanguma Garza, " El Naranjo como leer partitura - explicacion breve ", YouTube channel of Antonio Tanguma Jr. , Monterrey, .
  • Pierre Lacame and Paul Serre (science editor), New confectionery memorial: contains 3500 recipes for fine and ordinary confectionery, specialties from the best houses of France, confectionery, ice cream, diet bread, preserves ... from Pierre Lacame. : 1st edition, completely revised, expanded and adapted to new ways of working, by Paul Serre. , Crosne (Seine and Oise), Seurre-Lacam, , 837 p. (BnF notice p o FRBNF32333489, read online ) .
  • Oscar Comettet, Three Years in the United States: A Study of American Manners and Customs , Paris, Laurent-Antoine Pagner, , 368 p.
  • (en) Américo Paredes, " Origins of Mexican Corridors: A Question of Definitions ", Journal of American Folklore , Shampeyn, Illinois University Press on behalf of the American folklore society, t. 76, P O 301, , pp. 5 (ISSN 0021-8715 and 1535-182, DOI, DOI, DOI, DOI. 10.2307/538524, JSTOR 538524, read online) .
  • (es) Raul Valdovinos Garcia, El baile calabaceado: tradición de la fiesta del vaquero , Mexicali, Departamento de Editorial de la Universidad Autónoma de Baja California, (ISBN 978-607-6073-84-1) .
  • (es) Vicente T. Mendoza, La canción mexicana. Ensayo de clasificación y antología , Ciudad de México, Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, , 672 p. (ISSN 0188-0845) .
  • (es) Vicente T. Mendoza, La canción mexicana: ensayo de clasificación y antología , Madrid, Fondo de Cultura Económica de España, coll. "Tezontle", , 640 p. (ISBN 978-968-16-1037-1) .
  • Henri Cellarius, La danse des salons , Paris, Pierre-Jules Hetzel , , 174 p. ( read online ) .
  • (author) Anton Müller, " Sendschreiben. Theater und geselliges Leben: Prager Novitäten ", Bohemia, Unterhaltungsblätter für gebildete Stände , Prague, Prager Zeitung, (OCLC 642944487) .
  • (from) Sebastian Willibald Schiessler, Carneval-Almanach auf das Jahr 1830. Hrsg. von S. V. Schiessler , S.V. Enders, (OCLC 82653320, read online) .
  • (en) Cathy Ragland, Musica Nortena: Mexican Americans , Building a Nation Between Nations , Philadelphia, Temple University Press, , 268 p. (ISBN 978-1-59213-748-0, read online) .
  • Louis Khledovski, La Redowa: Nouvelle Danse de Bohole , Paris, Joseph Mason, , 5 pp. (notification BNF P FRBNFNF1523, read the online).

Internet resources

  • " Redowa ", CNRTL, Lexicographie , Nancy, Center National de Ressources Textuelles et Lexicales (as of October 30, 2020) .
  • (en) Richard Powers, " Nineteenth Century Social Dances ", Stanford Social Dance Description of Social Dance, 46 Historical Dance Descriptions of , Stanford, Stanford University (accessed 24 October 2020) .
  • (es) " Música de Nuevo León: European rhythms adapted to national culture: Los Ritmos característicos de la música de la Nuevo León its the polca, la redova y la mazurca, pero también hay influencia del corrido y el huapango huasteco. ”, On Música en México, Ciudad de México, Asociación Música en México, (accessed October 24, 2020) .
  • Perlinpinpin Fòlc, " Rondo and other Gascon dances on Samatan ", at Discogs, Junqué-OC, (accessed October 24, 2020) .
  • (es) " Jesús Antonio Tanguma Garza ", at the CMA, Saint-Saute-d'Auvergne, Mondial confederation de l'Auvergne (as of October 24, 2020) .
  • (en) Ricardo Hernandez, " Lifestyle ", on Accordion Life, Spokane, Accordion Life Community, (accessed October 24, 2020) .
  • (es) " Conmemora El Tribunal de Tratamiento a las Adicciones su Quarto Aniversario ", at Heraldo de Chihuahua, El Heraldo de Chihuahua , Chihuahua, Sia. Periodistica del Sol de Chihuahua, SA de CV, .
  • (es) El Heraldo del Noroeste, " Preparan evento nacional de danza: En la modalidad de polka ", at Heraldo de Chihuahua, El Heraldo de Chihuahua , Chihuahua, Sia. Periodística del Sol de Chihuahua, SA de CV, .
  • (de) " Bohemia ", on the Zeitschriftendatenbank (ZDB), Deutsche National Bibliothek / Staatsbibliothek zu Berlin (OCLC 642944487, accessed 29October 2020 ) .
  • (de) " Prager Zeitung ", on Zeitschriftendatenbank (ZDB), Deutsche National Bibliothek / Staatsbibliothek zu Berlin (OCLC 724386709, accessed 29 October 2020) .
  • (at) Nick and Melissa Enge, " Polka Redowa " at the Dance Library, Austin, Nick and Melissa Enge (accessed at 1 - and November 2020) .
  • (c) Nick and Melissa Enge, " Polka Redowa Music " at the Dance Library, Austin, Nick and Melissa Enge (accessed at 1 - and November 2020) .
  • (en) Elbert Anderson, " Yankee Doodle Red Polka ", in Library of Congress, New York, Elbert Anderson.

Links and notes


  1. ↑ Richard Powers - 46 historical descriptions of dances
  2. ↑ CNRTL Redova 9Henri Cellarius 1847, pp. 95 [read online]
  3. ↑ Pierre Lacamme and Paul Serre 1934, pp. 16 [read online]
  4. ↑ Pierre Lacamme and Paul Serre 1934, pp. 198 [read online]
  5. ↑ Oscar the Comettant 1857, pp. 287 [read online]
  6. ↑ Nick and Melissa Enge, Polka Redova
  7. ↑ Elbert Anderson 1852
  8. ↑ Nick and Melissa Enge, Polka Redowa Music
  9. ↑ Raul Valdovinos Garcia, 2020 [read online]
  10. ↑ Vicente T. Mendoza, 1961
  11. ↑ Vicente T. Mendoza 1998
  12. ↑ Raul Valdovinos Garcia 2020
  13. ↑ Américo Paredes, 1963.
  14. ↑ Yvonne Warth, 2010.
  15. ↑ Perlinpin Volk, 1976
  16. ↑ Arhoolie Records, 1999.
  17. ↑ Chihuahua Heraldo November 9, 2018
  18. a and b El Heraldo del Noroeste 19January 2018
  19. ↑ Música en México - June 1, 2020
  20. ↑ Jaime Gonzalez 2020
  21. ↑ Cathy Ragland 2009, pp. 76
  22. ↑ Arriba El Norte 2017
  23. ↑ Leandro Rios 2018
  24. ↑ Santiago Sierra Prado 2014
  25. ↑ Kiko Montalvo 2019


  1. ↑ Born in China in Nuevo León, and died in Monterrey,
  2. Jesus Antonio Tanguma Garza . born in Monterrey. Recognized international accordionist, professor at the Music Department of the Autonomous University of Nuevo León (Autonomous University of Nuevo León).
  3. ↑ We must beware of seeing a direct influence, since there are several rédowas published in Spain at the beginning of XX - that follow too.
  4. ↑ Apricot: Cover a pasta, fruit, or device with a thin layer of sifted apricot jelly (also called light or apricot glaze) to give it a radiant look.
  5. ↑ At the end of XIX - centuries and at the beginning of XX - centuries, confectionery, called the bitter orange confit "Chinese"
  6. ↑ This observation somewhat undermines the myth of the introduction of these dances by European immigrants of Czech or German origin and the legend of their popularization by French troops during the temporary reign of Emperor Maximilian, common in Mexico or Texas, but very little is documented, most observers limit themselves to collecting oral folk traditions. While their insistence on a "transnational memory of northern music" is of interest in itself, and they are not entirely devoid of content, they are also a product of an era of Mexican nationalism when it was easier to allow for hereditary transmission. cultural elements as their commercial implementation and their incorporation into Mexican traditions. The same applies almost to Texas, where the heritage of Germanic origin has returned, as the Spanish-speaking Texans have claimed a cultural origin identical to that of the Anglo-Saxons, even if they have been merged with the Hispanic culture.
  7. ↑ The Mexican percussion instrument "redoba", whose pronunciation is almost homophonic, is also often misspelled "redova" in most regional dictions. Correct spelling: "redowa" and "redoba".
  8. ↑ That is, during the 1840s. This hypothesis does not fit well with the urban nature of these dances and the fact that it took some time for immigrants to establish community centers that offered them ballroom services.
  9. ↑ This hypothesis is unlikely, because at the time of the Mexican Expedition, the fashion passed in popular circles, and the military command, rather conservative, did not approve of these dances.
  10. ↑ This hypothesis is most likely because during this period the redova in particular was incorporated into scientific music and survived as a ballroom dance among the aristocracy and the European bourgeoisie.
  11. ↑ There are several, whose author is unknown, which may come from sheet music previously sold but now lost.
  12. ↑ One of them, "El Murciélago" (La Chauve-Sourie), which has been the subject of several parodies in Mexico, including one called "La Portera" (The Concierge), is actually just one of many parodies of "Figaro's Air". "The Barber of Seville.
  13. ↑ honors this law of association, 1901, established in 1988, headquartered in Caluire-et-Cuire, whose aim is, after research and reconstruction, now to the public the evolution of old ballroom dances from the late of the 18th century. th century to the beginning of XX - th century, and thus deepen the historical knowledge of the aspect of our society. Reverence is an official member of the International Dance Council supported by UNESCO.
  14. ↑ Born in Torreon in the state of Coahuila but settled in Reinos, in the state of Tarnaulipas, he worked mainly in McAllen and at Narciso Martfnez Cultural Arts Center in Texas.
  15. ↑ Brian Maldonado Lugo, professor at Cuauhtémoc Municipal Academy of Arts.
  16. ↑ Composed and recorded in 1938 by Antonio Tanguma.

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