The music of Latin America refers to music originating from Latin America, namely the Romance-

speaking countries and territories of the Americas and the Caribbean south of the United
States.[1] Latin American music also incorporates African music from slaves who were transported to
the Americas by European settlers as well as music from the indigenous peoples of the
Americas.[2] Due to its highly syncretic nature, Latin American music encompasses a wide variety of
styles, including influential genres such as bachata, bossa
nova, merengue, rumba, salsa, samba, son, and tango. During the 20th century, many styles were
influenced by the music of the United States giving rise to genres such as Latin pop, rock, jazz, hip
hop, and reggaeton.

Geographically, it usually refers to the Spanish and Portuguese-speaking regions of Latin

America,[3] but sometimes includes Francophone countries and territories of the Caribbean and
South America as well. It also encompasses Latin American styles that have originated in the United
States such as salsa and Tejano.[1] The origins of Latin American music can be traced back to the
Spanish and Portuguese conquest of the Americas in the 16th century, when the European settlers
brought their music from overseas.[4] Latin American music is performed in Spanish, Portuguese, and
to a lesser extent, French.[5]

Popular music styles by country and territory[edit]

Argentina[edit]
Main articles: Music of Argentina, Tango music, Argentine rock, Milonga
(music), Chacarera, Chamam, and Southern cone music
The tango is perhaps Argentina's best-known musical genre, famous worldwide. Others styles
include the Chacarera, Milonga, Zambaand Chamam. Modern rhythms include Cuarteto (music
from the Cordoba Province) and Electrotango.
Argentine rock (known locally as rock nacional) was most popular during the 1980s, and remains
Argentina's most popular music. Rock en Espaol was first popular in Argentina, then swept through
other Hispanic American countries and Spain. The movement was known as the "Argentine Wave."
Europe strongly influenced this sound as the immigrants brought their style of music with them.

Bolivia[edit]
Main articles: Music of Bolivia and Andean music
Bolivian music is perhaps the most strongly linked to its native population among the national styles
of South America. After the nationalistic period of the 1950s Aymara and Quechuan culture became
more widely accepted, and their folk music evolved into a more pop-like sound. Los Kjarkas played a
pivotal role in this fusion. Other forms of native music (such as huayos and caporales) are also
widely played. Cumbia is another popular genre. There are also lesser-known regional forms, such
as the music from Santa Cruz and Tarija (where styles such as Cueca and Chacarera are popular).

Brazil[edit]
Main articles: Music of Brazil, Ax Music, Bossa Nova, Tropicalismo, Samba, Msica popular
brasileira, Msica sertaneja, and Funk carioca
 Atraente

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0:00
Choro "Atraente",
composed by Chiquinha
Gonzaga, recorded
by Pixinguinha (saxophone)
and Benedito Lacerda
(flute). Choro is a genre of
Brazilian instrumental
music

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help.

Brazil is a large, diverse country with a long history of popular-musical development, ranging from
the early-20th-century innovation of samba to the modern Msica popular brasileira. Bossa nova is
internationally well-known, and Forr (pronounced [fo]) is also widely known and popular in Brazil.
Lambada is influenced by rhythms like cumbia and merengue. Funk carioca is also a highly popular
style.

Chile[edit]
Main articles: Music of Chile, Andean music, Cueca, and Nueva Cancin
Many musical genres are native to Chile; one of the most popular was the Chilean
Romantic Cumbia, exemplified by artists such as Americo and Leo Rey. The Nueva
Cancin originated in the 1960s and 1970s and spread in popularity until the 1973 Chilean coup
d'tat, when most musicians were arrested, killed or exiled.
In Central Chile, several styles can be found: the Cueca (the national dance), the Tonada,
the Refalosa, the Sajuriana, the Zapateado, the Cuando and the Vals. In the Norte Grande region
traditional music resembles the music of southern Per and western Bolivia, and is known
as Andean music. This music, which reflects the spirit of the indigenous people of the Altiplano, was
an inspiration for the Nueva cancin. The Chilo Archipelago has unique folk-music styles, due to its
isolation from the culture centres of Santiago and Lima.
Music from Chilean Polynesia, Rapa Nui music, is derived from Polynesian culture rather than
colonial society or European influences.

Costa Rica[edit]
The music of Costa Rica is represented by musical expressions as parrandera, the Tambito, waltz,
bolero, gang, calypso, chiquichiqui, mento the run and callera. They emerged from the migration
processes and historical exchanges between indigenous, European and African. Typical instruments
are the quijongo, marimba, ocarinas, low drawer, the Sabak, reed flutes, accordion, mandolin and
guitar.

Cuba[edit]
Main articles: Music of Cuba, Bolero, Cha-cha-cha (music), Danzn, Early Cuban bands, Habanera
(music), Mambo (music), Rumba, Salsa music, and Trova
See also: Son (music)
Cuba has produced many musical genres, and a number of musicians in a variety of styles. Blended
styles range from the danzn to the rumba.

Colombia[edit]
Main articles: Music of Colombia, Cumbia, Vallenato, and Colombian rock
Colombian music can be divided into four musical zones: the Atlantic coast, the Pacific coast, the
Andean region and Los Llanos. The Atlantic music features rhythms such as the cumbia, porros and
mapal. Music from the Pacific coast such features rhythms such as the currulao which is tinged
with Spanish influence and the Jota chocoana (along with many more afro-drum predominating
music forms)tinged with African and Aboriginal influence. Colombian Andean has been strongly
influenced by Spanish rhythms and instruments, and differs noticeably from the Indian music of Peru
or Bolivia. Typical forms include the bambuco, pasillo guabina and torbellino, played with pianos and
string instruments such as the tiple guitarra. The music of Los Llanos, msica llanera, is usually
accompanied by a harp, a cuatro (a type of four-string guitar) and maracas. It has much in common
with the music of the Venezuelan Llanos.
Apart from these traditional forms, two newer musical styles have conquered large parts of the
country: la salsa, which has spread throughout the Pacific coast and the vallenato, which originated
in La Guajira and Csar (on the northern Caribbean coast). The latter is based on European
accordion music. Merengue music is heard as well. More recently, musical styles such as reggaeton
and bachata have also become popular.

Dominican Republic[edit]
Main articles: Music of the Dominican Republic, Merengue music, Perico Ripiao, Bachata (music),
and Dominican rock
Merengue tpico and Orchestra merengue have been popular in the Dominican Republic for many
decades, and is widely regarded as the national music. Bachata is a more recent arrival, taking
influences from the bolero and derived from the country's rural guitar music. Bachata has evolved
and risen in popularity over the last 40 years in the Dominican Republic and other areas (such
as Puerto Rico) with the help of artists such as Antony Santos, Luis Segura, Luis Vargas, Teodoro
Reyes, Yoskar Sarante, Alex Bueno, and Aventura. Bachata, merengue and salsa are now equally
popular among Spanish-speaking Caribbean people. When the Spanish conquistadorssailed across
the Atlantic they brought with them a type of music known as hesparo, which contributed to the
development of Dominican music. A romantic style is also popular in the Dominican Republic from
vocalists such as Angela Carrasco, Anthony Rios, Dhario Primero, Maridalia Hernandez and Olga
Lara.

Ecuador[edit]
Main articles: Music of Ecuador and Andean music
Traditional Ecuadorian music can be classified as mestizo, Indian and Afro-Ecuadorian music.
Mestizo music evolved from the interrelation between Spanish and Indian music. It has rhythms such
as pasacalles, pasillos, albazos and sanjuanitos, and is usually played by stringed instruments.
There are also regional variations: coastal styles, such as vals (similar to Vals Peruano (Waltz))
and montubio music (from the coastal hill country).
Indian music in Ecuador is determined in varying degrees by the influence of quichua culture. Within
it are sanjuanitos (different from the meztizo sanjuanito), capishkas, danzantes and yaravis. Non-
quichua indigenous music ranges from the Tschila music of Santo Domingo(influenced by the
neighboring Afro-marimba) to the Amazonian music of groups such as the Shuar.
Black Ecuadorian music can be classified into two main forms. The first type is black music from the
coastal Esmeraldas province, and is characterized by the marimba. The second variety is black
music from the Chota Valley in the northern Sierra (primarily known as Bomba del Chota),
characterized by a more-pronounced mestizo and Indian influence than marimba esmeraldea. Most
of these musical styles are also played by wind ensembles of varying sizes at popular festivals
around the country. Like other Latin American countries, Ecuadorian music includes local exponents
of international styles: from opera, salsa and rock to cumbia, thrash metal and jazz.

El Salvador[edit]
Main article: Music of El Salvador
Salvadoran music may be compared with the Colombian style of music known as cumbia. Popular
styles in modern El Salvador (in addition to cumbia) are salsa, Bachata and Reggaeton. "Political
chaos tore the country apart in the early 20th century, and music was often suppressed, especially
those with strong native influences. In the 1940s, for example, it was decreed that a dance called
"Xuc" was to be the "national dance" which was created and led by Paquito Palaviccini's and
his Orquestra Internacional Polio".[citation needed] In recent years reggaeton and hip hop have gained
popularity, led by groups such as Pescozada and Mecate. Salvadorian music has a musical style
influenced by Mayan music (played on the El Salvador-Guatemala border, in Chalatenango).
Another popular style of music not native to El Salvador is known as Punta, a Belizean, Guatemalan
and Honduran style.
Some of the leading classical composers from El Salvador include Alex Panam, Carlos Coln-
Quintana, and German Cceres.

French Guiana[edit]
Main article: Music of French Guiana

Guatemala[edit]
Main article: Music of Guatemala
Guatemala has a very long musical tradition.

Haiti[edit]
Main article: Music of Haiti
Haitian music combines a wide range of influences drawn from the many people who have settled
on this Caribbean island. It reflects French, African rhythms, Spanish elements and others who have
inhabited the island of Hispaniola and minor native Taino influences. Styles of music unique to the
nation of Haiti include music derived from Vodou ceremonial traditions, Rara parading
music, Twoubadouballads, Mini-jazz rock bands, Rasin movement, Hip hop Kreyl, the wildly
popular Compas,[6] and Mringue as its basic rhythm.
Evolving in Haiti during the mid-1800s, the Haitian mringue (known as the mereng in creole) is
regarded as the oldest surviving form of its kind performed today and is its national symbol.
According to Jean Fouchard, mereng evolved from the fusion of slave music genres (such as
the chica and calenda) with ballroom forms related to the French-Haitian contredanse
(kontradans in creole). Mereng's name, he says, derives from the mouringue music of the Bara, a
Bantu people of Madagascar. That few Malagasies came to the Americas casts doubt on this
etymology, but it is significant because it emphasizes what Fouchard (and most Haitians) consider
the African-derived nature of their music and national identity.
Very popular today is compas, short for compas direct, a modern mringue made popular
by Nemours Jean-Baptiste, on a recording released in 1955. The name derives from comps, the
Spanish word meaning rhythm or tones. It involves mostly medium-to-fast tempo beats with an
emphasis on electric guitars, synthesizers, and either a solo alto saxophone, a horn section or the
synthesizer equivalent. In Creole, it is spelled as konpa dirk or simply konpa. It is commonly spelled
as it is pronounced as kompa.[7]
Honduras[edit]
Main article: Music of Honduras
The music of Honduras varies from Punta (the local genre of the Garifunas) to Caribbean music
such as salsa, merengue, reggae and reggaeton (all widely heard, especially in the north).
Mexican ranchera music has a large following in the rural interior of the country. The country's
ancient capital of Comayagua is an important center for modern Honduran music, and is home to the
College for Fine Arts.

Mexico[edit]
Main articles: Mexican music, Mariachi, Ranchera, Bolero, Cumbia, Norteo (music), Banda
(music), Huapango, and Son Jarocho
Mexico is perhaps one of the most musically diverse countries in the world. Each of its 31 states, its
capital city and each of Mexico City's boroughs claim unique styles of music. The most
representative genre is mariachi music. Although commonly misportrayed as buskers, mariachis
musicians play extremely technical, structured music or blends such as jarabe. Most mariachi music
is sung in verses of prose poetry. Ranchera, Mexico's country music, differs from mariachi in that it is
less technical and its lyrics are not sung in prose. Other regional music includes: son jarocho, son
huasteco, cumbia sonidera, Mexican pop, rock en espaol, Mexican rock and canto nuevo. There is
also music based on sounds made by dancing (such as the zapateada).
Northeastern Mexico is home to another popular style called nortea, which assimilates
Mexican ranchera with Colombian cumbia and is typically played with
Bavarian accordions and Bohemian polka influence. Variations
of nortea include duranguense, tambora sinaloense, corridos and nortec (norteo-techno). The
eastern part of the country makes heavy use of the harp, typical of the son arocho style. The music
in southern Mexico is particularly represented by its use of the marimba, which has its origins in
the Soconusco region between Mexico and Guatemala.
The north-central states have recently spawned a Tecktonik-style music, combining electro and
other dance genres with more traditional music.

Martinique and Guadeloupe[edit]

Main articles: Music of Martinique and Music of Guadeloupe

Nicaragua[edit]
Main articles: Music of Nicaragua and Palo de Mayo
The most popular style of music in Nicaragua is palo de Mayo, which is both a type of dance music
and a festival where the dance (and music) originated. Other popular music
includes marimba, punta, Garifuna music, son nica, folk music, merengue, bachata and salsa.

Panama[edit]
Main article: Music of Panama
The music of Panama is the result of the mestizaje, It has occurred during the last five hundred
years between the Iberian traditions, especially those of Andalusia, American Indians and those of
West Africa. Mestizaje that has been enriched by cultural exchange caused by several waves of
migrations originating in Europe, in various parts of the Caribbean (mostly Barbados, Trinidad,
Jamaica and Saint Lucia) in Asia and several points in South and North America. These migrations
were due to the Spanish colonization of America, which was forced to use the Royal Route of
Panama as an inter-oceanic trade route, which included the slave trade (an institution abolished in
Panama in 1851); To the traffic, product of the exploitation of the silver mines in the Viceroyalty of
Peru during centuries XVI and XVII; To the legendary riches of the Fair of Portobelo, between
centuries XVII and XVIII; To the construction of the Transsmico Railroad, begun in 1850, and the
Interoceanic Canal, initiated by France in 1879, concluded by the United States in 1914 and
expanded by Panama from 2007.
With this rich cultural heritage, Panama has contributed significantly to the development of Cumbia,
Decima, Panamanian saloma, Pasillo, panamanian bunde, bullerengue, Punto
Music, Tamborito, Mejorana, Panamanian Murga, Tamborera (Examples: Guarare and Tambor de la
Alegria), bolero, jazz, Salsa, reggae and calypso, through composers like Nicolas Aceves Nez
(hall, cumbia, tamborito, Pasillo), Luis Russell (jazz), Ricardo Fbrega (bolero and Tamborera), Jos
Luis Rodrguez Vlez (cumbia and bolero), Arturo "Chino" Hassan (bolero), Nando Boom (reggae),
Lord Cobra (calypso), Rubn Blades (salsa), Danilo Prez (jazz), Vicente Gmez Gudio (Pasillo),
Csar Alcedo, among many others.

Paraguay[edit]
Main articles: Music of Paraguay, Guarania (music), and Danza Paraguaya
Paraguayan music depends largely upon two instruments: the guitar and the harp, which were
brought by the conquistadors and found their own voices in the country. Polka Paraguaya, which
adopted its name from the European dance, is the most popular type of music and has different
versions (including the galopa, the krye and the cancin Paraguaya, or "Paraguayan song"). The
first two are faster and more upbeat than a standard polka; the third is a bit slower and slightly
melancholy. Other popular styles include the purahi jaheoand the compuesto (which tell sad, epic
or love stories). The polka is usually based on poetic lyrics, but there are some emblematic pieces of
Paraguayan music (such as "Pjaro Campana", or "Songbird", by Flix Prez Cardozo).
Guarania is the second-best-known Paraguayan musical style, and was created by musician Jos
Asuncin Flores in 1925.

Peru[edit]
Main articles: Music of Peru, Msica criolla, and Andean music
Peruvian music is made up of indigenous, Spanish and West African influences. Coastal Afro-
Peruvian music is characterized by the use of the cajn peruano. Amerindian music varies according
to region and ethnicity. The best-known Amerindian style is the huayo (also popular in Bolivia),
played on instruments such as the charango and guitar. Mestizo music is varied and includes
popular valses and marinera from the northern coast.

Puerto Rico[edit]
Main article: Music of Puerto Rico
The history of music on the island of Puerto Rico begins with its original inhabitants, the Tanos. The
Tano Indians have influenced the Puerto Rican culture greatly, leaving behind important
contributions such as their musical instruments, language, food, plant medicine and art. The heart of
much Puerto Rican music is the idea of improvisation in both the music and the lyrics. A
performance takes on an added dimension when the audience can anticipate the response of one
performer to a difficult passage of music or clever lyrics created by another. When two singers,
either both men or a man and a woman, engage in vocal competition in msica jbara this is a
special type of seis called a controversia. Of all Puerto Rico's musical exports, the best-known
is reggaeton. Bomba and plena have long been popular, while reggaetn is a relatively recent
invention. It is a form of urban contemporary music, often combining other Latin musical styles,
Caribbean and West Indies music, (such as reggae, soca, Spanish reggae, salsa, merengue
and bachata.[8] It originates from Panamanian Spanish reggae and Jamaican dancehall, however
received its rise to popularity through Puerto Rico.[9][10][11][12]Tropikeo is the fusion of R&B, Rap, Hip
Hop, Funk and Techno Music within a Tropical musical frame of salsa, in which the conga drums
and/or timbales drums are the main source of rhythm of the tune, in conjunction with a heavy salsa
"montuno" of the piano. The lyrics of the song can be rapped or sung, or used combining both styles,
as well as danced in both styles. Aguinaldo from Puerto Rico is similar to Christmas carols, except
that they are usually sung in a parranda, which is rather like a lively parade that moves from house
to house in a neighborhood, looking for holiday food and drink. The melodies were subsequently
used for the improvisational dcima and seis. There are aguinaldos that are usually sung in
churches or religious services, while there are aguinaldos that are more popular and are sung in the
parrandas. Danza is a very sophisticated form of music that can be extremely varied in its
expression; they can be either romantic or festive. Romantic danzas have four sections, beginning
with an eight measure paseo followed by three themes of sixteen measures each. The third theme
typically includes a solo by the bombardino and, often, a return to the first theme or a coda at the
end. Festive danzas are free-form, with the only rules being an introduction and a swift
rhythm. Plena is a narrative song from the coastal regions of Puerto Rico, especially around Ponce,
Puerto Rico.[13] Its origins have been various claimed as far back as 1875 and as late as 1920. As
rural farmers moved to San Juan, Puerto Rico and other cities, they brought plena with them and
eventually added horns and improvised call and response vocals. Lyrics generally deal with stories
or current events, though some are light-hearted or humorous.

Venezuela[edit]
Main article: Music of Venezuela
Llanera is Venezuelan popular music originating in the llanos plains, although a more upbeat and
festive gaita version is heard western Venezuela (particularly in Zulia State). There are also African-
influenced styles which emphasize drumming and dance, and such diverse styles as music from the
Guayana region (influenced by neighboring English-speaking countries) and Andean music from
Mrida.

Uruguay[edit]
Main article: Music of Uruguay
Uruguayan music has similar roots to that of Argentina. Uruguayan tango and milonga are both
popular styles, and folk music from along the River Plate is indistinguishable from its Argentine
counterpart. Uruguay rock and cancion popular (Uruguayan versions of rock and pop music) are
popular local forms. Candombe, a style of drumming descended from African slaves in the area, is
quintessentially Uruguayan (although it is played to a lesser extent in Argentina).[14] It is most popular
in Montevideo, but may also be heard in a number of other cities.

Popular styles[edit]
Zampoa, of type Siku.

Nueva cancin[edit]
Main article: Nueva cancin

Salsa[edit]
Main article: Salsa music
Based on Cuban music (especially Cuban son and son montuno) in rhythm, tempo, bass line, riffs
and instrumentation, Salsa represents an amalgamation of musical styles including rock, jazz, and
other Latin American (and Puerto Rican) musical traditions. Modern salsa (as it became known
worldwide) was forged in the pan-Latin melting pot of New York City in the late 1960s and early
1970s.

Tejano music[edit]
Main article: Tejano music
Tejano music may be categorized as a blend of country music, rock, and R&B born in Texas and
performed in both Spanish and English with a variety of cultural influences.
Most Tejanos today reside in South Texas and have a form of folk and popular music, greatly
influenced by (yet quite distinctive from) both traditional genres of Mexican music and mainstream
genres of American music. Texan star Selena Quintanilla-Prez is credited with bringing Tejano
music to the forefront of popular music. The tejano is a form of hiphop dance.

Reggaetn[edit]
Main article: Reggaetn
Reggaeton has become a Latin American phenomenon and is no longer classifiable as a
Panamanian (or even a Puerto Rican) genre. It blends the Jamaican musical influences
of reggae and dancehall and Trinidadian soca with Latin American music (such as the Puerto
Rican bomba and plena) and American hip hop and rap. The music is also combined with rapping,
generally in Spanish.

Latin ballad[edit]
Main article: Latin ballad
The Latin (or romantic) ballad is a Latin musical genre which originated in the 1960s. This ballad is
very popular in Hispanic America and Spain, and is characterized by a sensitive rhythm. A
descendant of the bolero, it has several variants (such as salsa and cumbia). Since the mid-20th
century a number of artists have popularized the genre, such as Julio Iglesias, Luis Miguel, Enrique
Iglesias, Alejandra valos, Cristian Castro, and Jos Jos.

Imported styles[edit]
See also: Spanish Tinge
Imported styles of popular music with a distinctively Latin flavor include Latin
jazz, Argentine and Chilean rock and Cuban and Mexican hip hop, all influenced by styles from the
United States (jazz, rock and roll and hip hop). Music from non-Latin parts of the Caribbean are also
popular throughout Latin America,
especially Jamaican reggae and dub, Trinidadian chutney, calypso
music and soca. Flamenco, rumba, pasodoble and fados from the Iberian peninsula are well-known
due to the Iberian heritage in Latin America.

Language Spanish

English title "Slowly"

Released January 12, 2017

Digital download
Format
CD single

Recorded 2016

Genre Reggaeton-pop

Length 3:47

Label Universal Latin

Songwriter(s) Luis Rodrguez

Erika Ender

Ramn Ayala

Producer(s) Andrs Torres

Mauricio Rengifo
 HISTORY OF LATIN MUSIC

The history of the Moorish empire prior to

Spain extends from the ancient Moabites, and
extends across the great Atlantic into north,
south and Central American thus the Moorish
domination of the seas. It is important to point
out that as time goes on what is now known as
Latin America is highly influenced by
European colonization and the slave trade with
Africa. Currently, Latin America, the countries of the
Western Hemisphere south of the United States, include the Caribbean
Islands, Mexico, Central and South America and contain an amalgamation
of cultural influences, namely European, The Moors, Mexican, and other
African tribes. Europe contributed the religions two main languages,
Spanish and Portuguese. Much of the native Moorish culture, which was
in place before the arrival of the Spaniards and Christopher Columbus,
was suppressed due to forced assimilation; the rest was combined with the
arrival of slaves and other cultures in the 16th century. Through this rich
cultural mix, a distinct Moorish or commonly referred to as Afro-
Caribbean culture has emerged.

The element in Moorish, African & Caribbean music

that many find most distinctive, is its rhythms are
derived from Moorish, and other Africans via the slave
trade (1550-1880), which is believed to have brought
an estimated two million people of Moorish descent,
while in fact the Moors had domination and inhabitation for over 2000
years in what is now know as the west into the Caribbean Islands. Unlike
the Moors of North American and some that were enslaved, who in 1776
were forbidden from playing drums (except for areas such as New Orleans
Congo Square), Caribbean slaves were liberally allowed to play their
drums, which of course were not only for recreation and entertainment,
but used as a means of communicating. These were considered talking
drums, carrying current, as well as timeless messages; message of history,
struggle, and unspeakable joy. All this was accomplished through the
replaying of these traditional Moorish and African rhythms, sung on a
drum.
 During the eighteenth and nineteenth centuries these
rhythms spread, developed, and canonized throughout
the Caribbean, around the same time that another
American art form was beginning its conception. This
North American art form was also going to contain a rich
cultural mix. It would incorporate blues intonation,
African drums and rhythms, Indian cymbals, European instruments,
harmony, and musical forms with a syncopated beat namely jazz.

Every country and every island in the Caribbean developed its own unique
musical culture, be it folk idioms or a national conservatory styles. Four
countries, namely Cuba, Brazil, Argentina, and Mexico have had the most
significant influences on music in the United States (Cuba having the
most enduring). These influences included Latin rhythms and/or dances
that infatuated the United States, like the habanera, bolero (Cuba),samba,
bossa nova (Brazil), tango (Argentina), and mariachi (Mexico).

As these rhythmic structures and their dances canonized, they began

effecting music making everywhere, from the concert hall, to the New
Orleans Street parade, to Broadway and Tin Pan Alley. As goods including
people, were traded through the convenient and busy port of New Orleans,
Louisiana, musically inclined workers on Caribbean ships were afforded
the opportunity to exchange new rhythms, dances, and songs with the
various Creole and African dancers and musicians at public performance
spaces ice Congo Square. It didnt take long for composers to begin writing
Latin-influenced works. For example, American Louis Moreau Gottschalk
(1829-1869), who hailed from Louisiana, and studied composition in
France with Aaron Coplands teacher Nadia Boulanger, toured Cuba in
1857 performing his Latin-influenced works. Some of the most famous
compositions of this nature include George Bizets hababera from his opera
Carmen (1875); Scott Joplins Mexican serenade, Solace (1902); Maurice
Ravels Rapsodie Espagnole (1907), and his Bolero (1928), Jelly Roll
Morton, the famed New Orleans jazz composer and pianist, spoke to Alan
Lomax of the Library of Congress on the importance, even in the earlier
days of jazz (the end of the nineteenth century) of the jazz musician being
able to work with the Spanish tinge. He said, In fact, if you cant manage
to put tinges of Spanish in your tunes, you will never be able to get the
right seasoning, I call it, for jazz.

What is Latin Music?

Latin music is a popular art form

developed in various Latin American
countries, mainly Cuba, and is unique
for the type of rhythmic structures it
builds upon. It is vocal and instrumental music,
originally derived from African religious
ceremonies, however viewed today primarily as
dance music. Its strongest characteristic, however, is its rhythm, which is
highly syncopated (when the various rhythms being played at one time,
create counterpoint against each other in exciting cross rhythms). It is
traditionally played by native percussion and string instruments, namely
the timbales, congas, bongo, guitar, and the tres (nine-string Cuban
guitar). Over time, the piano replaced the guitar as the choral instrument,
while the bass, woodwinds, trumpets and trombones were added to play
melodies and riffs (repetitions of sound). Most Latin music is based on a
rhythmic pattern known as the clave. Clave is the basic building block of
all Cuban music, and is a 3-2 (occasionally 2-3) rhythmic pattern. Claves
are also the name for the two sticks that play this 3-2 (clave) pattern.

Latin music generally uses a three form with (1) a long introductory verse,
followed (2) by a montuno section where the band plays a vamp (a two- or
three chord progression), building intensity with devices like the mambo
(where members of the front line play contrasting riffs) before (3)
returning back to the verse and closing out the selection, generally with
some type of coda (a short predetermined way of ending a piece; like a
postscript at the end of letters). Some important characteristics of Latin
music are:

Clave: a syncopated rhythmic pattern played with two sticks, around

which everything in the band revolves.
 Call And Response Inspiraciones: a musical exchange between two
voices inspiratons, improvised phrase by lead vocalist or
instrumentalist.

Bajo-Tumbao-bass: repeated rhythmic pattern for the bass or conga

based on the clave.

REFERENCES:

http://www.revels-bey.com/history_of_latin_music.htm

History of Latin Music pdf

REFERENCES:

http://cantaremusic.com.hostbaby.com/files/Teacher_Resources/History_of_Latin_Music.pdf