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Latin America

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LATIN MUSICAL INSTRUMENTS
LATIN MUSICAL INSTRUMENTS
WIND INSTRUMENTS
WIND INSTRUMENTS
STRING INSTRUMENTS
STRING INSTRUMENTS
PERCUSSION INSTRUMENTS
PERCUSSION INSTRUMENTS

LATIN -AMERICAN MUSIC

LATIN -AMERICAN MUSIC

LATIN AMERICAN MUSICAL STYLES
LATIN AMERICAN MUSICAL STYLES

Tango
Tango
During the "belle epoque" (1890s), the working class of the "Boca" of Buenos Aires (Argentina) invented a new rhythm, the tango. Tan-go was the name given to the drums of the African slaves, and the music was influenced by both the Cuban habanera and the local milonga. The choreography originally devised in the brothels to mimick the obscene and violent relationship between the prostitute, her pimp and a male rival eventually turned into a dance and a style of music of a pessimistic mood, permeated by a fatalistic sense of an unavoidable destiny, a music of sorrow enhanced by the melancholy sound of the bandoneon. When lyrics were added, they drew from "lunfardo", the lingo of the underworld (the term originally meant "thief"). Tango was embraced enthusiastically in Europe and landed in the USA in the 1910s. The Viennese waltz and the Polka had been the first dances to employ the close contact between a male and a female. The tango pushed the envelope in an even more erotic direction. One of the earliest hits of tango was pianist Enrique Saborido's Yo Soy La Morocha (1906). By that time, tango had already established itself as a major genre among young Argentinians. Roberto Firpo is credited as having set the standard in 1913 for all future tango orchestras: the rhythm set by syncopated piano figures, the melodies carried by bandoneon and violin. Firpo's Alma de Bohemio (1914) and Gerardo Hernan Matos Rodriguez's La Cumparsita (1916) were among the early international hits. Bandoneon player Osvaldo Fresedo and violin player Julio de Caro were among the instrumental stars and composers of the 1920s. From his debut with Mi Noche Triste (1917), the song that introduced lyrics into the tango, to his untimely death in 1935, Carlos Gardel was the most charismatic vocalist, the master of erotic abandon. The tango craze took New York by storm during World War I. Rudolph Valentino created an international sensation in a steamy scene of his film "The Four Horsemen of the Apocalypse" (1921). But tango became a more intellectual affair during the 1930s, when literate songwriters created more poetic lyrics. Representative musicians of the decade are pianist Osvaldo Pugliese (Recuerdo) and violinist Elvino Vardaro. Bandoneon player Anibal Troilo ruled the 1940s. Tango then became a dogma that allowed very little freedom. It was only in the 1960s that someone dared question the dogma.Argentinian composer Astor Piazzolla (1921) mixed tango with classical music to compose works for bandoneon and orchestra, pieces for bandoneon octets and quintets a tango opera, a tango oratorio, etc.

son son Cuba was the starting point for many of the Latin dances. At the beginning of the 20th century, Cuba's main music was the "son", a fusion of Spanish popular music and the African rhythm rumba (first mentioned in 1928 and probably related to the Santeria religion). Traditionally played with tres (guitar), contrabass, bongos and claves (wooden sticks that set the circular rhythm) the son of Cuba was popularized by the likes of Ignacio Pineiro, who had an hit with Echale Salsita (1929), and Miguel Matamores. The danzon, first documented by Miguel Failde Perez's Las Alturas de Simpson (1879), was a descendant of the French "contredanse" or contradanza, and in Cuba's 1920s the danzon became a version of the son for the upper classes, performed by "charangas" (flute and violin orchestras, in which the violin provided the main riff while the flute improvised). Charangas of the golden age include: Orquesta Neno Gonzalez (1926), Orquesta Belisario Lopez (1928), Orquesta de Cheo Belen Puig (1934), Orquesta Aragon (1939), Orquesta America (1942). In the 1930s, Spanish-Cuban bandleader Xavier Cugat (who formed the Waldorf-Astoria Orchestra in 1935) was for Latin music what the Beatles were for rock music: his orchestra created the commercial version of Latin music (largely devoid of artistic value but hugely popular) for the western masses. Also during the 1930s, the dance academia of Pierre and Doris Lavelle popularized Latin dancing in Britain (it was Pierre Lavelle who codified the moves of the rumba in 1955 and the moves of the samba in 1956). In the 1940s, Arsenio Rodriguez, a virtuoso of the tres (Cuban guitar), set the standard for the Cuban conjunto (adding congas, piano and trumpets to the traditional guitar-based sexteto) and thus spearheaded a kind of son based on the piano and the congas. For example, Rene' Alvarez, Arsenio's former singer, formed Conjunto Los Astros in 1948, with multiple trumpets and piano.

Cuba's mambo, "invented" (or, better, imported from Congo) by bassist Israel "Cachao" Lopez and by his brother pianist Orestes of the Antonio Arcano's Orquesta Radiofonica with El Danzon Mambo (1937), fused rumba rhythms with big-band jazz, and was epitomized by Damazo Perez Prado's Mambo Jumbo (1948). Basically, the mambo was a danzon for the working class. The chachacha was a midtempo mambo figure that, after the 1953 recording of Enrique Jorrin's La Enganadora (1948) and especially Perez Prado's Cherry Pink And Apple Blossom White (1955), became a genre of its own, still performed by charangas (unlike the mambo, that was performed by smaller combos).

Tropicalia
Tropicalia
If bossanova was the reactionary sound of the decade, "tropicalismo" was the idealistic movement of the 1960s in Brazil. It introduced foreign elements into Brazilian music (both jazz and rock) and it replaced the traditional instruments with modern instruments such as the electric guitar. The birth date of tropicalismo was the 1967 festival of the Musica Popular Brasileira (MPB): Caetano Veloso's Alegria Alegria and Gilberto Gil's Domingo no Parque defied the conventions of Brazilian music and were interpreted as a challenge to the dictatorship of Tropicalismo soon spread to poetry, the visual arts, theater and cinema, and, in turn, musical tropicalismo absorbed elements from the other arts. Veloso's and Gil's album Tropicalia ou Panis et Circensis (1968) became a dividing line in Brazilian culture. The three queens of Brazilian pop music were also influential in publicizing the new generation of songwriters: Gal Costa (a sort of Brazilian hippy), Maria Bethania (a sort of Brazilian androgynous husky Edith Piaf) and Elis Regina (perhaps the most gifted).
On his own, Gilberto Gil concocted a pop-samba-jazz-rock fusion on Expresso 2222 (1972).
Caetano Veloso (3), the most literate and daring of the tropicalista, expanded the horizons of Brazilian music by turning it into a highly personal experience. Caetano Veloso (1969) and Transa (1972) introduced an austere, vulnerable and introverted voice who was not afraid to experiment with the sound of the anglosaxon music of the (psychedelic) era. Muito (1978), the lush,eclectic albums Estrangeiro (1989) and Livro (1998) were experimental works that continued to upgrade Veloso's stylistic hybrid..The other great poet of the movement, Milton Nascimento (2), coined a hybrid style that combined elements of pop, samba and jazz with progressive-rock arrangements and erudite lyrics. His fluid and energetic vocal style peaked with the double-album Clube Da Esquina (1972) and its cycle of sophisticated ballads, and lent itself naturally to jazz, as proven by Milagre Dos Peixes (1973), the ultimate manifestation of his soundpainting (percussion, piano, strings, guitar, falsetto vocals, jungle sounds), Minas (1975), Geraes (1976) and collaborations with Airto Moreira, Herbie Hancock and Wayne Shorter.
Classically trained, Brazilian multi-instrumentalist Egberto Gismonti (guitar, flute, piano), who had already composed the song O Sonho (1968) for a 100-piece orchestra, fused European classical music, jazz-rock, bossanova and Brazilian choro folk music on albums such as Sonho 70 (1970), inspired by the movie soundtracks of the 1960s, Academia De Dancas (1974), with strings, and especially the suite Dance Das Cabecas (november 1976) for guitar, piano, flute (all played by Gismonti) and percussion (Nana Vasconcelos). salsa salsa son son son son tropicalia tropicalia tango tango

PERCUSSION INSTRUMENTS
CABASA
BONGO DRUMS
CONGO DRUMS
MARACAS
CLAVES
STEEL DRUMS

PERCUSSION INSTRUMENTS
CHARANGO
CUATRO
TIPLE
WIND INSTRUMENTS
TRUMPETS
PANPIPES
PERCUSSION INSTRUMENTS
CABASA
BONGO DRUMS
CONGO DRUMS
MARACAS
CLAVES
STEEL DRUMS

PERCUSSION INSTRUMENTS
CHARANGO
CUATRO
TIPLE
WIND INSTRUMENTS
TRUMPETS
PANPIPES

RUMBA
RUMBA
MERENGUE
MERENGUE
Samba Samba
Cabasa
Cabasa

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