Tejano music - Wikipedia Jump to content Main menu Main menu move to sidebar hide Navigation Main page Contents Current events Random article About Wikipedia Contact us Contribute Help Learn to edit Community portal Recent changes Upload file Special pages Search Search Appearance Donate Create account Log in Personal tools Donate Create account Log in Contents move to sidebar hide (Top) 1 Origins 2 History 3 Development 4 Music industry 5 Influence 6 See also 7 References 8 Further reading 9 External links Toggle the table of contents Tejano music 13 languages العربية Deutsch Esperanto Español עברית हिन्दी 日本語 한국어 Norsk bokmål Português Русский Simple English Svenska Edit links Article Talk English Read Edit View history Tools Tools move to sidebar hide Actions Read Edit View history General What links here Related changes Upload file Permanent link Page information Cite this page Get shortened URL Switch to legacy parser Print/export Download as PDF Printable version In other projects Wikidata item Appearance move to sidebar hide From Wikipedia, the free encyclopedia Music genre fusing Mexican and European influences This article needs more citations. 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Find sources: "Tejano music" – news · newspapers · books · scholar · JSTOR (December 2020) (Learn how and when to remove this message) Tejano musicStylistic origins Pop Rock R&B Blues Jazz Country Conjunto Mexican cumbia Mariachi Norteño GruperaCultural origins20th century, Texas and MexicoRegional scenesCentral and South Texas, Northeastern MexicoOther topics Banda music Latin music New Mexico music Regional Mexican music Texas country music Part of a series onChicanos and Mexican Americans Terms Identity Chola/o La Raza Pachuca Pachuco Pinta/o Xicanx Concepts Anti-Mexican sentiment History Early-American Period Josefa Segovia Las Gorras Blancas Mexican–American War Mutualista San Elizario Salt War Sonoratown Treaty of Guadalupe Hidalgo Pre-Chicano Movement 1917 Bath riots Bisbee Deportation Bloody Christmas Bracero program California agricultural strikes Cantaloupe strike of 1928 Citrus Strike of 1936 La Matanza Mexican Repatriation Operation Wetback Plan de San Diego Porvenir Massacre Sleepy Lagoon trial Zoot Suit Riots Chicano Movement Aztlán Black-brown unity Brown Berets Católicos por La Raza Tulare labor camps rent strike Delano grape strike Centro Cultural Chicanismo Chicano Moratorium Colegio César Chávez CFMN Conferencia de Mujeres CRP East L.A. walkouts Hijas de Cuauhtémoc Huelga schools Land grant struggle Las Adelitas de Aztlán Los Siete de la Raza Los Seis de Boulder MANA MAYO MEChA Occupation of Catalina Island PCUN Plan Espiritual de Aztlán Plan de Santa Bárbara Quinto Sol Raza Unida Party United Farm Workers Post-Chicano Period 1985–1987 cannery strike 1992 Drywall Strike 2019 El Paso Walmart shooting Abolish ICE Arizona SB 1070 Castro 2020 Chicano Art Exhibit DACA Great American Boycott IRCA Farah strike Justice for Janitors Murder of Selena Proposition 187 South Central Farm Culture Language Abrazos, no balazos Caló Chicano English Chicano names Órale Food New Mexican cuisine Tex-Mex cuisine Mexican-American cuisine Music Chicano rap Chicano rock Chicano soul Tejano music Symbols Cal-Style VW Homies Lowrider Lowrider bicycle Mexican-American folklore Pancho Claus Zoot suit Literature Literature Chicana literature Chicano literature Chicano poetry Autobiographical Always Running Living Up the Street Who Would Have Thought It? Novels Bless Me, Ultima Caballero Desert Blood From This Wicked Patch of Dust Mexican WhiteBoy The Dirty Girls Social Club The House on Mango Street The Rain God The Revolt of the Cockroach People So Far from God Under the Feet of Jesus ...y no se lo tragó la tierra Poetry and Short Stories Emplumada I Am Joaquin Moment of Silence Pensamiento Serpentino The Moths Chicano studies Fields Chicana feminism Chicanafuturism Organizations MAS Programs, Tucson NACCS UCLA Chicano Studies Research Center Texts Borderlands/La Frontera: The New Mestiza Brown, Not White The Church in the Barrio This Bridge Called My Back Theory Barrioization Coyolxauhqui imperative Gringo justice Nahui Ollin Nepantla New tribalism Rasquachismo Spiritual activism Vergüenza Youth control complex Visual art Visual Art Chicana art Chicano art Chicano cinema Paño Tortilla art Art Collectives Asco Culture Clash East Los Streetscapers Los Four Mujeres Muralistas Teatro Campesino Royal Chicano Air Force Art organizations Centro de Arte Público Galería de la Raza Mission Cultural Center for Latino Arts Precita Eyes Self Help Graphics & Art Locations Balmy Alley Chicano Park Estrada Courts Great Wall of Los Angeles Law Supreme Court cases Botiller v. Dominguez Hernandez v. Texas San Antonio I.S.D. v. Rodriguez Espinoza v. Farah Manufacturing Co. U.S. v. Brignoni-Ponce Plyler v. Doe Medellín v. Texas Flores-Figueroa v. U.S. Leal Garcia v. Texas Mendez v. Westminster Bernal v. Fainter Perez v. Brownell DHS v. Regents of the Univ. of Cal. Federal Court cases Madrigal v. Quilligan Population Population by City Arizona (Tucson) California (Los Angeles) Illinois (Chicago) Michigan (Detroit) Nebraska (Omaha) Texas Dallas–Fort Worth Houston Multiethnic Blaxicans Californios Nuevomexicanos Tejanos Indigenous Mexican Americans Punjabi Mexican Americans Lists Chicano films Chicano poets Chicano rappers Mexican Americans Writers Bibliography United States portal Category Index v t e Tejano music (Spanish: música tejana ), also known as Tex-Mex music, is a popular music style fusing American and Mexican influences. Its evolution began in northern Mexico (a variation of regional Mexican music known as norteño ).[1][2] It reached a larger audience in the late 20th century with the popularity of performers and groups such as Mazz, Selena,[3] La Mafia, Ram Herrera, La Sombra, Elida Reyna, Elsa García, Laura Canales, Intocable, Jay Perez, Emilio Navaira, Esteban "Steve" Jordan, Shelly Lares, David Lee Garza y Los Musicales, Jennifer Peña and La Fiebre.[4] Origins[edit] Central to the evolution of early Tejano music was the blend of traditional forms such as the corrido and mariachi, and Continental European styles, such as polka introduced by German, Polish, and Czech settlers in the late 19th century.[5] In particular, the accordion was adopted by Tejano folk musicians at the turn of the 20th century, and it became a popular instrument for amateur musicians in Texas and Northern Mexico. Small bands known as orquestas, featuring amateur musicians, became a staple at community dances. Early inceptions of Tejano music demonstrated musical innovation, but also a social and cultural innovation in themes that countered narratives of dominant culture.[6] At the turn of the century, Tejanos were mostly involved in ranching and agriculture. The only diversion was the occasional traveling musician who would come to the ranches and farms. Their basic instruments were the flute, guitar, and drum, and they sang songs that were passed down through the generations from songs originally sung in Mexico. One of these musicians was Lydia Mendoza, who became one of the first to record Spanish language music as part of RCA's expansion of their popular race records of the 1920s. As these traveling musicians traveled into areas where the German Texans and other European settlers lived. “Music of the Plains” (mural study, Kilgore, Texas Post Office, 1939) by Xavier Gonzalez. This New Deal-era artwork features a cowboy of Mexican heritage serenading a woman, symbolizing the deep Hispanic cultural roots in Kilgore's identity. The original study is housed in the Smithsonian American Art Museum.[7] Norteño/conjunto accordion pioneer Narciso Martínez, known as the "Father of Conjunto Music", defined the accordion's role in conjunto music. He learned many tunes from German, Polish and Czech brass bands and transposed them to accordion.[8] Martínez gave accordion playing a new virtuosity in the 1930s, when he adopted the two button row accordion. At the same time, he formed a group with bajo sexto player Santiago Almeida.[9] With the accordion, drums, and bajo sexto, Tejanos now had a sound they could begin to call their own. In the 1940s, Valerio Longoria introduced lyrics to conjunto music, further establishing the Tejano claim to this new sound.[10] In the 1950s, Isidro Lopez further revolutionized the Tejano sound by emphasizing less on the traditional Spanish that Valerio used and using the new Tex-Mex instead. This created a newer sound and took us one step close to the sound we have today. In the 1960s and 70s Little Joe and The Latinaires (later renamed La Familia), The Latin Breed, Luis Ramirez Y su Latin Express, and others infused the orchestra sound into the Tejano sound, taking their influences from Pop, R&B, and other forms of music. In the late 70s and early 80s, there was a new sound emerging with up-and-coming groups like McAllen's Espejismo, led by songwriter/lead singer Rudy Valdez, and Brownsville natives Joe Lopez, Jimmy Gonzalez, and Mazz introduced keyboard to Tejano, influenced by the disco sound of the era. During that period, La Mafia became the first Tejano band to put on rock-style shows for their generation. History[edit] Lydia Mendoza was a singer and songwriter of traditional Mexican music. Tejano musicians like Flaco Jiménez and Esteban Steve Jordan carried on Martinez's tradition of accordion virtuosity and became a fixture on the international World Music scene by the 1980s. [citation needed] In the 1950s and 1960s, rock and roll and country music made inroads, and electric guitars and drums were added to conjunto combos. Also, performers such as Little Joe added both nuances of soul music and R&B, and a Chicano political consciousness. Little Joe, Estevan Jordan, The Royal Jesters, Romances, Carlos Guzman, Joe Bravo, Dimas Three, Chuck & the Dots, the Sky Tones, the Broken Hearts, the Volumes and Sunny Ozuna and the Sunliners were popular in 1960s.[11] The 1960s and 1970s brought a new chicano music and the first La Onda Tejana Broadcasters. Popular Tejano musician and producer Paulino Bernal of the Conjunto Bernal discovered and introduced to the Tejano music scene the norteño band Los Relampagos del Norte with Ramón Ayala and Cornelio Reyna on his Bego Records. Ayala still enjoys success on both sides of the border. Reyna enjoyed a very successful career as an actor and solo singer and resurfaced in the Tejano scene with a major hit with his collaboration with Tejano band La Mafia. He toured constantly until his death. In the 1960s and 1970s, the first La Onda Tejana broadcasting pioneers hit the airwaves including Marcelo Tafoya (first recipient of the Tejano Music Awards "Lifetime Achievement Award), Ramiro "Snowball" de la Cruz, Mary Rodriguez, Rosita Ornelas, and Luis Gonzalez, shortly followed by an influx of broadcasters including the Davila family of San Antonio. This central Texas support by popular broadcasters helped fuel La Onda. [citation needed] In 1987, Gloria Anzaldúa wrote: The whole time I was growing up there was norteño music sometimes called North Mexican border music, or Tex-Mex music, or Chicano music, or cantina (bar) music. I grew up listening to conjuntos, three or four-piece bands made up of folk musicians playing guitar, bajo sexto, drums and button accordion, which Chicanos had borrowed from the German immigrants who had come to Central Texas and Mexico to farm and build breweries. In the Rio Grande Valley, Steve Jordan and Little Joe Hernández were popular, and Flaco Jiménez was the accordion king. The rhythms of Tex-Mex music are those of the polka, also adapted from the Germans, who in turn had borrowed the polka from the Czechs and Bohemians. [...] I grew up feeling ambivalent about our music. Country-western and rock and roll had more status. In the 50s and 60s, for the slightly educated and agringado Chicanos, there existed a sense of shame at being caught listening to our music. Yet I couldn't stop my feet from thumping to the music, could not stop humming the words, nor hide from myself the exhilaration I felt when I heard it.[12] Johnny Rodriguez achieved fame in the 1970s with hit songs like "Pass Me By" and "Ridin' My Thumb to Mexico." La Onda popularity continued to surge in the early to mid-1980s with the fusion progression of Tejano music coming to the forefront regionally with Tejano ballads like Espejismo's hit "Somos Los Dos", written and sung by McAllen native Rudy Valdez, and La Sombra with their Tex-Mex English and Spanish brand of Tejano. As the 1990s dawned, La Mafia, already holding over a dozen Tejano Music Awards, originated a new Tejano style later to become a Tejano standard. With extensive touring from as early as 1988, they eventually opened the doors for such artists as Selena Quintanilla, Emilio Navaira, Jay Perez, and Mazz. Electronic instruments and synthesizers increasingly dominated the sound, and Tejano music increasingly appealed to bilingual country and rock fans. In the wake of her murder, Selena Quintanilla's music received attention from a mainstream American audience as well. Quintanilla, known as "The Queen of Tejano Music", became the first female Tejano artist to win a Grammy and her Ven Conmigo became the first Tejano album by a female artist to be certified gold.[13][14] Since the end of the 20th century, Tejano has seen a decline of dedicated radio stations across the US, due to several factors. Among these is the success of Intocable. As a result, many radio stations across the U.S., especially in Texas, have converted to Norteño/banda. This has caused Tejano internet radio to become popular. At the turn of the 21st century, Tejano influence has declined in part due to decreased promotion, the rise in Regional Mexican and other Latin music, the breakup or retirement of established performers, and the emergence of few new performers. Most Tejano artists who performed throughout the 1990s during the music's peak who are still performing today have rarely played to the same wide attention in recent years. Regardless, today's Tejano music, while far more pop-oriented than its Depression-era roots, is still a regional musical style in several Tejano communities as well as in other parts of the United States. [citation needed] Development[edit] Elida Reyna Bobby Pulido at The Laredo Coliseum in 2016 Michael Salgado Tejano music was born in Texas. Although it has influences from Mexico and other Latin American countries, the main influences are American. The types of music that make up Tejano are folk music, roots music, rock, R&B, soul music, blues, country music and the Latin influences of norteño, mariachi, and Mexican cumbia. Tejano musicians such as Emilio and Raulito Navaira, David Lee Garza, and Jay Perez[15] exhibit influence from rock and roots music. Tejano has various categories of music and bands. Three major categories are conjunto, orchestra/orquesta, and modern. A conjunto band is composed of accordion, bajo sexto, electric bass, and drums. Examples of conjunto bands are Esteban "Steve" Jordan,[16] and The Hometown Boys. An orchestra/orquesta consists of bass, drums, electric guitar, synthesizer, and a brass section on which it relies heavily for its sound. Some examples of Modern bands are Ruben Ramos and the Texas Revolution, The Liberty Band, The Latin Breed, La Mafia, Selena Quintanilla, La Sombra, Elida Reyna y Avante, Los Palominos, David Lee Garza y Los Musicales, Shelly Lares, Jay Perez, and Mazz.[17] Mexican influence on Tejano music has resulted in a sound increasingly more like Norteño.[18][19] The accordion, while a historically popular instrument in Tejano music, has gone from a secondary instrument to a must-have instrument. Today, groups like Sunny Sauceda, Eddie Gonzalez, and La Tropa F[20][21] emphasize the accordion. Music industry[edit] During the Post World War II years, local and regional companies emerged to record and market Tejano music. Key factors that influenced the production of Tejano music can be attributed to a diversifying American culture and greater socioeconomic opportunities enabled Mexican American musicians to perform and record music for regional audiences. Early popular forms of Tejano music in the form of female duets and orquesta tejana of the 1940s later influenced the development of Tex-Mex style of the 1950s, and La Onda Chicana (The Chicano Wave) of the 1960s.[22] The growing popularity of accordion based music and "homegrown" records directly influenced the need for Tejano record producers and labels. Record companies such as Discos Ideal established in San Benito, Texas in 1947 and Freddie Records established in Corpus Christi, Texas in 1970 are among the most prolific in producing conjunto style music. Freddie Records, named after founder, Freddie Martinez, Sr. has remained a key figure in the production of Tejano music well into the 21st century. Influence[edit] The term "Tex-Mex" is also used in American rock and roll for Tejano-influenced performers such as the Sir Douglas Quintet and the Texas Tornados (featuring Flaco Jiménez, Freddy Fender, Augie Meyers, and Doug Sahm), Los Super Seven, Sam the Sham and the Pharaohs, Los Lobos, Latin Playboys, Louie and the Lovers, The Champs, Ry Cooder, Calexico, Los Lonely Boys, The Mavericks, Son de Rey, and Selena y Los Dinos.[23] Texan accordion music has also influenced Basque trikitixa players. Contemporary Swedish-American composer Sven-David Sandström has incorporated Tejano stylings in his classical music. Tejano and conjunto music is so popular that organizations such as the Guadalupe Arts Center in San Antonio, Texas hold annual festivals every year. The performers have included legends such as Flaco Jiménez, conjunto groups from around the world, and contemporary artists. See also[edit] Latin music portal Carlos Santana Chicano rap Chicano rock Chulas Fronteras (1976 film) Latin American music Latin Grammy Award for Best Tejano Album Latin music Music of Texas Tejano Music Awards References[edit] ↑ Diaz-Santana Garza, Luis. Between norteño and tejano conjunto. Lexington Books. Archived from the original on December 6, 2021. Retrieved October 16, 2021. ↑ The history of Tejano ↑ Guerra, Joey (June 6, 2018). "Jimmy Gonzalez, a titan of Tejano music, dies in San Antonio". Houston Chronicle. Retrieved September 10, 2021. ↑ Official website and bio Ram Herrera Bio Retrieved 21 November 2020 ↑ German Roots of Mexican Music Archived April 13, 2013, at the Wayback Machine , Spanish.about.com. Accessed July 2006. ↑ Dorsey, Margaret E. (2006). Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing (1st ed.). Austin: University of Texas Press. ISBN 0-292-79626-9. OCLC 70053493. ↑ "Music of the Plains (mural study, Kilgore, Texas Post Office)". Smithsonian American Art Museum. Archived from the original on June 18, 2024. Retrieved June 18, 2025. ↑ The roots of Tejano and conjunto Archived 2013-07-27 at the Wayback Machine ↑ Rivera, Jacinta. "ALMEIDA, SANTIAGO, SR". www.tshaonline.org. Texas State Historical Association. Retrieved November 23, 2017. ↑ Valerio Longria Retrieved 21 November 2020 ↑ Legacy of Sunny, Chicano Archived July 27, 2021, at the Wayback Machine Retrieved 13 March 2021 ↑ Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza, Aunt Lute Books, fourth edition, 2012, p. 82-83. ↑ "Selena | Artist | GRAMMY.com". grammy.com. Retrieved June 23, 2025. ↑ "National Recording Registry Class Produces Ultimate 'Stay at Home' Playlist". Library of Congress, Washington, D.C. 20540 USA. Retrieved June 23, 2025. ↑ DeLeon, John. "Jay Perez biography". Allmusic. Retrieved September 12, 2008. ↑ CORCORAN, Michael (August 14, 2010). "Steve 'Esteban' Jordan gave the accordion a new sound". Austin 360. Retrieved August 20, 2010. ↑ Koch, Tom (June 6, 2018). "Jimmy Gonzalez, Tejano artist with Brownsville's Grupo Mazz, dead at 67". ABC13. Retrieved June 6, 2018. ↑ "Realidades – Los Tigres del Norte | Releases". AllMusic. Retrieved September 9, 2021. ↑ Yezmin Villarreal (March 21, 2015). "Los Tigres del Norte Are Making Gay Norteño History". Advocate.com. Retrieved September 9, 2021. ↑ Gonzalez, Debra. "Missions Club brings Tejano group to Waco". The Baylor Lariat. Retrieved May 9, 2018. ↑ Ayala, Elaine. "La Tropa F's ultimate fan Teresia Farias dies at 75". San Antonio Express-News. Retrieved May 9, 2018. ↑ San Miguel, Guadalupe (1999). "The Rise of Recorded Tejano Music in the Post-World War II Years, 1946-1964". Journal of American Ethnic History. 19 (1): 26–49. doi:10.2307/27502505. JSTOR 27502505. S2CID 254477651. ↑ Cynthia E., Orozco. "QUINTANILLA PEREZ, SELENA [SELENA]". Texas State Historical Association. Retrieved September 10, 2021. Further reading[edit] Díaz-Santana Garza, Luis (2021). Between Norteño and Tejano Conjunto: Music, Tradition and Culture at the U.S.–Mexico Border. Lanham, MD: Lexington Books. ISBN 978-1-79363-898-4. OCLC 1240575442. Villarreal, Mary Ann (2015). Listening to Rosita: The Business of Tejana Music and Culture, 1930–1955. Norman, OK: University of Oklahoma Press. ISBN 9780806148526. OCLC 908192594. External links[edit] Wikimedia Commons has media related to Tex-Mex music. 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