The word "mariachi" was in use by the Coca at the time of the Spanish conquest of 1529. The Indians had a five-tone system for music but were soon taught the twelve-tone system by the Spanish friars. Music was used to convert the Indians to Catholicism, and they actually established a music college in the 1500's. Also of great importance was the introduction of European instruments such as the harp, violin and guitar.

During the 1600's, the people of the region of Coccula combined the new instruments of the Spanish conquerors with the prehistoric ones such as the chirimias and wooden drums of the day. This mixing of the two cultures continued almost unchanged during this century. The most important element of this time was the use of music in the lives of the people. Music played a major part in people's religious rituals and celebrations.

During the colonial period of the late 1700's the sone form began to appear. In the original form, sones were actually strings of jarabe and were mostly satirical in nature; often of church and state. Sones became popular in the tonadillas esenicas of the day where much of the country's folk music was created. The latter half of the century saw a coming together of the Spanish, Indian and Negro influences to create a national music idiom. The music became a unifying symbol in the fight for independence from 1810 till 1821. The common instruments of this time usually included a harp, one or two violins, a guitar or variant, drums and flutes.

It is known that around 1840, a group led by Placido Rebolledo existed in Tecalitlán that consisted of a harp, two violins and a guitarra de golpe. This is one of the earliest-known references to an organized group. In 1850, Amado Vargas had an ensemble consisting of the same instruments. This was the beginning of the modern mariachi group. Vargas's son, Gaspar, and grandson, Silvestre, would shape the mariachi in the years to come.

The cuarteto of the late 1800's, began to develop into a more sophisticated sound. Until now, the mariachis had been a regional novelty in the Jalisco area, but traveled to Mexico City to seek their fortune. In the early 1900's, the mariachis became well received in the capital, and with the invention of radio in the 1920's, a national sensation was born. The trumpet was added about this time, and the guitarron replaced the harp. The vihuela and more violins were also added, which doubled the size of the mariachi groups.

In the 1940's and 50's, motion pictures and sound recording created a public interest like never before. Mariachi Vargas de Tecalitlán appeared in over 200 motion pictures, and with Ruben Fuentes as musical director, they began to record standard arrangements of music. The rustic music of the hills became more sophisticated and urbanized. Most groups now began to use two trumpets and more violins, so the mariachi groups became small strolling orchestras capable of interpreting all styles of music. In the 1960's, the music was popular internationally. in the late 1980's, Linda Ronstadt launched a new interest in mariachi music with her "Canciones de Mi Padre" album and tour. Young people in the United States have been drawn into this genre of music in record numbers. Educational institutions have made the study of mariachi music a part of regular curricula. The music itself continues to stay traditional and become more contemporary at the same time.