Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as Aztec music.
For example, contemporary musicians in Los Angeles draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models, showing how musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.
This according to “Forging Aztecness: Twentieth-century Mexican musical nationalism in twenty-first century Los Angeles/Forjando el Aztecanismo: Nacionalismo musical mexicano del siglo XX en el siglo XXI en Los Ángeles” by Kristina F. Nielsen (Yearbook for traditional music LII  127–46; RILM Abstracts of Music Literature 2020-69466).
The record documents 音乐考古学与古代音乐遗迹研究 (Archaeomusicology and research on music relics) by 方建军 (Fang Jianjun) (Zhongguo yinyue/Chinese music 3:147  pp. 75–82, 106).
Fang’s article discusses the relationships between archaeological environments and musical functions, between ancient workshops and the building of instruments, and between soundscapes and music performance, with reference to archaeomusicological sites in Europe and Africa as well as China. China has many such sites, among them Xiaoshuangqiao of the early Shang dynasty (16th–11th century B.C.E.) in Henan province, Sanxingdui in Sichuan province, and the Neolithic tomb sites at Jiahu village, also in Henan province.
Above, flutes excavated at the Jiahu site; below, reproductions of bronze bells from a tomb dated around 433 B.C.E.
The volumes in this series are anthologies of peer-reviewed articles focused on a specific topic. Reflecting the broad scope of music-archaeological research worldwide, they draw in perspectives from a range of disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
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This bilingual series aims to raise the study of the music-related activities of the pre-Columbian Americas to a new level, with peer-reviewed studies of both past and living traditions, providing a platform for the most up-to-date information on the music archaeology of the New World.
Below, a brief film about the pre-Columbian instruments of Mexico.
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For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →