https://journals.unam.mx/index.php/rlp La <strong><em>Revista de Literaturas Populares</em></strong> es la primera publicación especializada cuyo objeto de estudio abarca la literatura folclórica o tradicional, la actual literatura de masas, la reflexión teórica sobre las mismas y las relaciones de éstas con la literatura "culta", incluso la literatura indígena, que en la revista se presenta en su lengua original y con la traducción correspondiente. Esta publicación se permite aproximaciones diversas a las expresiones de literatura popular (la propiamente literaria, la histórica, la psicológica, la antropológica, etcétera) pues pretende conseguir un acercamiento interdisciplinario a su materia de estudio.<br />La aproximación que intenta es una de carácter concéntrico: se centra en las expresiones mexicanas (incluidas las de los migrantes), pero amplía su campo de atención a las expresiones latinoamericanas y también a las europeas circunscritas a un marco temporal que cubre toda la historia mexicana: desde la época prehispánica, la Colonia y los siglos XIX y XX hasta nuestros días. Facultad de Filosofía y Letras es-ES Revista de Literaturas Populares 1665-6431 https://journals.unam.mx/index.php/rlp/article/view/31880 Rosa Virginia Sánchez Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31881 Nieves Rodríguez Valle Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31882 Raúl Eduardo González Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31883 Mariana Masera Anastasia Krutitskaya Caterina Camastra Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31884 César Hernández Azuara Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31892 Juan José Escorza Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31893 Raúl Eduardo González Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31894 Liliana Toledo Guzmán Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31895 Rosa Virginia Sánchez Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31896 Grissel Gómez Estrada Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31897 Jessica Gottfried Hesketh Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31898 Ana Zarina Palafox Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31899 Jorge Morenos Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31900 Caterina Camastra Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31901 Rosa Virginia Sánchez Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31885 This essay explores the effect that globalization may have in folkloric traditions in general and Mexican son in particular. It analyzes how globalization can serve as a vehicle for popularization and / or reintepretation of some folkloric traditions, and how it may work as a tool for the negligence or the renewal of some musical genres as well. It presents the Mexican son —a musical experience and expression that synthesizes different contexts, elements, and cultural identities— through a historical journey from its formative years to its Golden Age period. This journey is located within different globalization movementes that took place historically. Consequently, this work analyzes several effects brought by globalization such as an intensive transformation of traditions and the constant negotiation between a global tendency to homogenize and a response to individualize and differenciatte on the part of the traditions themselves, that is, a reconsideration of the specific cultural values against the push of values imposed by hegemonic cultural trends. Raquel Paraíso Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31886 This paper considers the topada as a complex system of improvisation and memory. The author analyzes the structure of this musical and festive confrontation and of the poetic forms that the participants employ, to propopose some ideas on the sequences that alternate music, dance and songs, as well as on the complementary functions of memory and writing. Marco Antonio Molina Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31887 This paper analyzes the works of several local chroniclers of Veracruz that captured, in prose or verse, portraits of the fandangos and its Sones Jarochos. The author proposes an approach to the Son Jarocho trough the recurrent themes of this chronicles, such as the lyrics and the dances, the jarocho distinctive cultural features, the typical costumes, the local values, etc. Ricardo Pérez Monfort Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31889 Based on my own fieldwork in Texquitote, San Luis Potosí, this paper proposes a series of ideas concerning the art of building musical instruments. The branches of musicology that study musical instrument have never considered the importance of the process of building an instrument, althought this process constitutes a highly specialized task that frecuently has huge cultural connnotations and consequences. Such is the case in Texquitote and in many other places of the region known as the Huasteca, where the difference between ‘sacred’ and ‘profane’ music is extensive to the forms and tecniques employed in the construcction of the instruments, wich in some cases must follow strict ritual procedures. This paper proposes the term etnolaudería for this kind of studies. Víctor Hernández Vaca Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31890 Based on oral testimonies and various historical documents (press releases, sound recordings, music scores, television broadcasts, etc.), this paper considers the popularity of the well known Son de La Negra. The author analyzes the meaning of its verses and traces the history of this musical piece from its earliest reccordings to the concert halls. This paper suggests that the atypical characteristics of this son are probably due to the influence of a recording by the Mariachi Vargas, which gained popularity and became a standard in the repertoire of the modern mariachi. Jesús Jáuregui Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31891 This paper proposes a discussion on musical change based in the field work of Gerónimo Baqueiro Foster and Roberto Téllez Girón. The collections of sones de fandango or huapangos that they gathered in the 1930’s and 40’s are compared with the current field work of the author in Veracruz and a small region of the Sierra Norte de Puebla. Musical change and social change are not a parallel process; plus, each musical system behaves in a different way as time goes by and social changes occurr. The tradicional dances of Puebla show continuity and precision in oral transmision, while the sones de fandango in Puebla are replaced with new musical genres. On the other hand the sones of Veracruz show a deep change in the tuning system and a continuity in the musical system as a whole. Jessica Gottfried Hesketh Copyright (c) 10 1-2 https://journals.unam.mx/index.php/rlp/article/view/31879 Comité de Redacción Copyright (c) 10 1-2