Pepe Kalle

It's all but impossible to write coherently about the music of a continent covering over 50 independent nations, between 800 and 1600 languages (depending on your definition), and at least five major cultural groupings. Also, different circumstances have led to noticeably different levels of "Africanness" in contemporary pop styles. At the most "African" level, there's what happens when a whole culture falls in love with an overseas influence, as the Congolese did with Cuban music.... [+] Read More

It's all but impossible to write coherently about the music of a continent covering over 50 independent nations, between 800 and 1600 languages (depending on your definition), and at least five major cultural groupings. Also, different circumstances have led to noticeably different levels of "Africanness" in contemporary pop styles. At the most "African" level, there's what happens when a whole culture falls in love with an overseas influence, as the Congolese did with Cuban music. Sophisticated individual bands sometimes develop styles with an abnormally high proportion of overseas influence (Fela Kuti, Manu Dibango). When expatriate musicians form bands to play the music of their homeland, as did Osibisa in London, they come under different influences and produce a different mix. Different yet again are groups combining expatriate African musicians with Europeans, like the Germano-Ghanaian "Burger-Highlife" bands in Germany. Lastly, famous musicians with a local or expatriate African audience (Youssou N'Dour, King Sunny Ade, many others) have tried to "cross over" internationally, with mixed results. [-] Hide

Carlinhos Brown

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Chabuca Granda

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Banda Arkangel R-15

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Antonio Machin

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Los Tres Ases

The word "bolero" usually conjures up images of fiery Spanish dancing, or memories of French composer Maurice Ravel's classic piece of the same name. But, as a Latin American musical style, the bolero is a romantic, sentimental ballad that's given highly emotive performances. Couples can still dance to its sensuous beat, but the bolero is most often described as the Latin equivalent of a torch song. Bolero, in its Latin American form, first appeared in the Cuban city of Santiago around the... [+] Read More

The word "bolero" usually conjures up images of fiery Spanish dancing, or memories of French composer Maurice Ravel's classic piece of the same name. But, as a Latin American musical style, the bolero is a romantic, sentimental ballad that's given highly emotive performances. Couples can still dance to its sensuous beat, but the bolero is most often described as the Latin equivalent of a torch song. Bolero, in its Latin American form, first appeared in the Cuban city of Santiago around the end of the 19th century; the legendary vocalist Beny Moré did much to spread bolero's popularity around the rest of Latin America during the '40s and '50s. The music took especially strong root in Mexico, where most norteño and mariachi groups still devote at least some portion of their repertoires to the style. Artists like Trio Los Panchos (with their tight three-part harmonies and intricate guitar work) and Agustin Lara, who followed in Moré's immediate wake, are generally regarded as the peak of Mexican bolero. However, the '90s witnessed a full-fledged bolero revival, spearheaded by Colombia's Charlie Zaa and Mexico's Luis Miguel, both young pop stars who could make their music resonate with young people accustomed to pop ballads as well as older listeners who still loved the classic style. [-] Hide

Joe Bataan

The sound of Latin teenagers in and around New York during the mid- to late-'60s, Boogaloo was an Anglicized form of Latin music incorporating R&B, mambo, and rock & roll, among other forms. Often known as popcorn music or shing-a-ling, the style is also quite similar to Latin soul. In 1963, two Top 20 breakout hits -- "Watermelon Man" by Mongo Santamaria and "El Watusi" by Ray Barretto -- helped birth the boogaloo. Soon, dozens of groups were playing the same infectious rhythms, usually... [+] Read More

The sound of Latin teenagers in and around New York during the mid- to late-'60s, Boogaloo was an Anglicized form of Latin music incorporating R&B, mambo, and rock & roll, among other forms. Often known as popcorn music or shing-a-ling, the style is also quite similar to Latin soul. In 1963, two Top 20 breakout hits -- "Watermelon Man" by Mongo Santamaria and "El Watusi" by Ray Barretto -- helped birth the boogaloo. Soon, dozens of groups were playing the same infectious rhythms, usually featuring novelty songs in English, group vocals, and fierce conga playing. Latin veterans like Tito Puente andPerez Prado did boogaloos as well, and young (often teenaged) artists like Joe Bataan, Pucho & His Latin Soul Brothers, the Latinaires, the Latin Souls, and the Lat-Teens burst onto the scene. Still, very few artists devoted an entire album to the boogaloo, since the sound was so catchy as to be practically played out after just one or two songs. By 1970, Latin musicians began uniting around the banner of salsa, but even then many serious artists (including Willie Colon) did a boogaloo or two on their albums for comic relief. [-] Hide

Luiz Bonfá

Influenced by West coast jazz, in the 1950s composer Antonio Carlos Jobim helped to form Bossa Nova, a new music that blended together gentle Brazilian rhythms and melodies with cool-toned improvising; the rhythms are usually played lightly as 3-3-4-3-3 with beats 1, 4, 7, 11, and 14 being accented during every two-bars (played in 8/4 time). Joao Gilberto's soothing voice perfectly communicated the beauty of Jobim's music. The late '50s film Black Orpheus helped introduce Jobim's compositions... [+] Read More

Influenced by West coast jazz, in the 1950s composer Antonio Carlos Jobim helped to form Bossa Nova, a new music that blended together gentle Brazilian rhythms and melodies with cool-toned improvising; the rhythms are usually played lightly as 3-3-4-3-3 with beats 1, 4, 7, 11, and 14 being accented during every two-bars (played in 8/4 time). Joao Gilberto's soothing voice perfectly communicated the beauty of Jobim's music. The late '50s film Black Orpheus helped introduce Jobim's compositions to an American audience. Other important early exponents of bossa nova were guitarist Charlie Byrd, tenor saxophonist Stan Getz (Byrd and Getz teamed up for the highly influential Jazz/Samba), and housewife-turned-singer Astrud Gilberto -- who, along with her husband (Joao) and Getz, made "The Girl From Ipanema" a huge hit. The very appealing bossa nova's popularity peaked in the mid-'60s, but it has remained a viable music style. ~ Scott Yanow [-] Hide

Shabba Ranks

Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B and it was quite popular in the early '60s. However, during one very hot summer, it was too hot to either play or dance to ska, so the beat was... [+] Read More

Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B and it was quite popular in the early '60s. However, during one very hot summer, it was too hot to either play or dance to ska, so the beat was slowed down and reggae was born. Since then, reggae has proven to be as versatile as the blues, as it lends itself to a number of interpretations, from the melodic rock steady of Alton Ellis and the rock and folk-influenced songwriting of Bob Marley to the trippy, near-psychedelic soundscapes of dub artists like Lee "Scratch" Perry. It has crossed into the mainstream through the bright, bouncy "reggae sunsplash" festivals and pop-oriented bands like UB40, but more adventurous reggae artists, such as Marley and Perry, have influenced countless reggae, folk, rock and dance artists. Their contributions resonate throughout popular music.

Calypso is one of the other major music forms of the Caribbean. Calypso sprang from the Carnival of Trinidad around the beginning of the 20th century. Recordings of calypso (whose more uptempo contemporary form is called "soca," from the words "soul" and "calypso") feature a fairly standard formula of programmed drums and rhythm section, calypso guitar, occasional lead or tenor pans (steel drums), horns, and a syncopated bass guitar that gives the music its true soul. While the lyrical content and cleverness will differ dramatically from song to song, a calypso album will typically include some songs strong on lyrics and some that put lyrics secondary to a strong dance beat. The best of the lot are undoubtedly those that combine infectious dance beats with thoughtful or timely messages.

In addition to the Reggae of Jamaica and the Calypso of Trinidad, other islands have developed their own traditions, including the jukanoo of the Bahamas, and the zouk and ceremonial Voudou music of Haiti. The Spanish speaking world of the Caribbean has produced a cornicopia of distinct music styles that share much in common with Latin music styles on the North and South American continents and therefore are collected under the umbrella of Latin music. [-] Hide

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The Boys of the Lough

Referring to the regions of Great Britain specifically outside England, Celtic music encompasses the folk music of Ireland and Scotland (plus the outlying areas of Wales and Cornwall), distinguished by stringed instruments, fiddles and pipes. It is a term that covers both classic, traditional folk and contemporary Celtic music, which often combines the instrumentation of the genre with ambient New Age production and spirituality.

Referring to the regions of Great Britain specifically outside England, Celtic music encompasses the folk music of Ireland and Scotland (plus the outlying areas of Wales and Cornwall), distinguished by stringed instruments, fiddles and pipes. It is a term that covers both classic, traditional folk and contemporary Celtic music, which often combines the instrumentation of the genre with ambient New Age production and spirituality. [-] Hide

Shivkumar Sharma

At the crossroads of several trade routes, including the famed Silk Road, and at the edges of the great civilizations of India, Persia and China, Central Asia has absorbed a myriad of influences over the years in its music. Encompassing the nations of Afghanistan, Kazakhstan, Kyrgystan, Tajikistan , Uzbekistan, and Turkmenistan, as well as the Republic of Tuva. The outside travelers and invaders who have come and gone from this region range from the armies of Alexander the Great to the... [+] Read More

At the crossroads of several trade routes, including the famed Silk Road, and at the edges of the great civilizations of India, Persia and China, Central Asia has absorbed a myriad of influences over the years in its music. Encompassing the nations of Afghanistan, Kazakhstan, Kyrgystan, Tajikistan , Uzbekistan, and Turkmenistan, as well as the Republic of Tuva. The outside travelers and invaders who have come and gone from this region range from the armies of Alexander the Great to the Soviet Union, each leaving its own cultural impact upon the area. Central Asia has also been an area where religion has traveled with invaders and traders, and Islam and Buddhism in particular have made their impact upon Central Asian music as well. The result is an amazingly diverse tradition that ranges from the classical music of Uzbekistan to the pastoral songs of Kazakhs and Kyrgys. The vocal traditions of the region are particularly fascinating, especially the throat singing of Tuva, which produces an almost inhuman, otherworldly sound. Other instruments reflect the impact of neighboring civilizations and include various forms of lutes, flutes and reed instruments, Jew's harp, drums and dulcimers. [-] Hide

Balatonia Gypsy Orchestra

The music of Central Europe reflects its dual heritage as a rural, pastoral area and as the center of the great European culture that was nurtured by the court of the Austro-Hungarian Empire. Classical music, opera, dance and theater all thrived in the cities of this region, while the people of the countryside retained a strong musical heritage of their own. The southern regions of Central Europe show the marked influence of Greek culture upon their musical traditions, while the more... [+] Read More

The music of Central Europe reflects its dual heritage as a rural, pastoral area and as the center of the great European culture that was nurtured by the court of the Austro-Hungarian Empire. Classical music, opera, dance and theater all thrived in the cities of this region, while the people of the countryside retained a strong musical heritage of their own. The southern regions of Central Europe show the marked influence of Greek culture upon their musical traditions, while the more northern areas feature more Germanic styles. More subtle evidence has been left in individual regional styles by a host of other traders and invaders, including the Ottomans and Russians, as well as the Gypsies who passed through this area as well as much of Southern Europe. [-] Hide

One of the most ubiquitous of Latin dance styles, the Cha-Cha (or chachachá) developed either from the Cuban danzón of the 1870s or from a slower version of the mambo (called the "double mambo") in New York. By the early '50s, important Cuban charangas (large dance orchestras) like Orquesta Aragón were playing the cha-cha, and as part of a Latin craze, the dance spread like wildfire through American musical culture until almost every populist band needed to add a cha-cha on their LPs.... [+] Read More

One of the most ubiquitous of Latin dance styles, the Cha-Cha (or chachachá) developed either from the Cuban danzón of the 1870s or from a slower version of the mambo (called the "double mambo") in New York. By the early '50s, important Cuban charangas (large dance orchestras) like Orquesta Aragón were playing the cha-cha, and as part of a Latin craze, the dance spread like wildfire through American musical culture until almost every populist band needed to add a cha-cha on their LPs. Even in the late '60s, when salsa began taking over the Americanized Latin community, many leaders were placing cha-cha's in their sets and on their albums. [-] Hide

Valerio Longoria, Sr.

It may be confusing to the uninitiated that the Spanish word Conjunto translates as "group," because not every band with the word "conjunto" in their name actually performs in the specific musical style also known as conjunto. Genuine conjunto is a small-group dance music, driven by accordion and bajo sexto, and is actually native to Texas and northern Mexico. Outside of Texas, conjunto music is generally referred to as "la musica norteña," or simply norteño, with the only real differences... [+] Read More

It may be confusing to the uninitiated that the Spanish word Conjunto translates as "group," because not every band with the word "conjunto" in their name actually performs in the specific musical style also known as conjunto. Genuine conjunto is a small-group dance music, driven by accordion and bajo sexto, and is actually native to Texas and northern Mexico. Outside of Texas, conjunto music is generally referred to as "la musica norteña," or simply norteño, with the only real differences being location and the preference of conjunto for the ranchera song form over the corrido; conjunto is also very similar to Tejano music, except that its sensibility is more rural and traditional than modern or urban. In addition to being primarily dance-oriented, conjunto has also had a historical role as the music of the working classes, its celebratory exuberance and often tough, rowdy lyrical themes setting it apart. The standard conjunto ensemble features an accordion (usually a simple diatonic model), bajo sexto (a baritone-range twelve-string guitar), bass, and drums, along with one or two expressive vocalists. This format solidified around the 1950s, but its roots date back to the late 1800s, when the Mexican population in the area was introduced to the accordion and to various European folk dances -- polkas, waltzes, redovas, mazurkas, schottisches -- by German and Czech immigrants living in southern Texas. Eventually, Mexican musical forms like huapango and cancion ranchera were fused with the European dance rhythms, producing a unique hybrid. The bajo sexto evolved into an important accompaniment for the accordion, especially when accordionist Narciso Martinez discovered in the 1930s that his partner, bajo sexto player Santiago Almeida, could play all of the accordion's bass parts; this freed Martinez to concentrate on virtuosic, upper-register melodic runs, and produced a lighter, cleaner interaction between the two. Santiago Jimenez introduced string bass in 1936, and Valerio Longoria began utilizing trap drums as percussive accompaniment in 1949 (although for a time they were considered too noisy for recording sessions); Longoria also began adding vocals, transforming what had previously been an entirely instrumental music. Conjunto's popularity exploded in the 1950s, as the Mexican-American population became more urbanized and reached out for familiar comforts in their new surroundings; as the music spread into larger dance halls, electric instruments and amplification followed. Although conjunto could encompass a variety of song forms and rhythms, its dominant mode of expression was a ranchera performed over a polka or waltz rhythm. During the 1960s, the virtuosic explorations of El Conjunto Bernal pushed the music's technical demands to new heights, and by the following decade, conjunto was solidly entrenched as the most popular style of music among the Mexican working classes in Texas and northern Mexico. At that point, conjunto's formal development essentially halted, although performers like Flaco Jimenez flirted with pop accessibility, and others introduced synthesizers to the sound during the 1980s. However, conjunto's popularity has only continued to spread through the '90s, attracting tremendous attention from Latinos all over America and other parts of Mexico, as well as fans in Europe and Japan. [-] Hide

Banda Cuisillos

The corrido is a popular Mexican song form found in the repertoires of groups who perform in the small-group, folk-based conjunto and norteño styles, although it's especially preferred in the latter (other popular song forms in these styles include the ranchera, cumbia, and bolero). Corridos are storytelling ballads (in the folk-music sense of the word) that are usually performed to waltz (or sometimes polka) rhythms, and whose subject matter often (though certainly not exclusively) focuses... [+] Read More

The corrido is a popular Mexican song form found in the repertoires of groups who perform in the small-group, folk-based conjunto and norteño styles, although it's especially preferred in the latter (other popular song forms in these styles include the ranchera, cumbia, and bolero). Corridos are storytelling ballads (in the folk-music sense of the word) that are usually performed to waltz (or sometimes polka) rhythms, and whose subject matter often (though certainly not exclusively) focuses on heroes and great deeds, usually providing social commentary in the process. The exact details of what constitutes a hero or a great deed have shifted over time along with Mexican culture: when the corrido first became popular in the early part of the 20th century, around the time of the Mexican Revolution, it naturally gravitated toward war heroes. During the middle of the century, corridos tended to glorify rebellious spirits defiant of white America, and became one of the most popular song forms in northern Mexico and among Latinos living in Texas and the American Southwest. That popularity only increased with the advent of the civil rights movement during the '60s, although when that furor died down toward the end of the decade, many American conjunto groups de-emphasized the corrido in their repertoires. During the '70s, however, the Mexican group Los Tigres del Norte broke new ground when they began recording corridos dedicated to drug smuggling and illegal border crossings. This approach became wildly popular -- and controversial -- through the '90s, although other groups, Los Tigres included, took a more socially conscious route and addressed political injustice and problems faced by Mexican immigrants to the U.S. [-] Hide

In the northern countries of the continent of South America, specifically Venezuela and Colombia, various small, guitar-like instruments have their names derived from the number of strings they possess. Many of these small guitars are quite popular for accompanying songs; they are quite common. Cuatros are the types of guitars that have four strings but each course may contain two or three strings. Some descriptions of cuatros, therefore, include ten strings. In these cases there are... [+] Read More

In the northern countries of the continent of South America, specifically Venezuela and Colombia, various small, guitar-like instruments have their names derived from the number of strings they possess. Many of these small guitars are quite popular for accompanying songs; they are quite common. Cuatros are the types of guitars that have four strings but each course may contain two or three strings. Some descriptions of cuatros, therefore, include ten strings. In these cases there are undoubtedly similar voicings for the various strings. Other examples of these small, Venezuelan and Colombian guitars include the cinco (five strings), the seis (six strings), the cuatro y medio (four strings with one resonance string), and the cinco y medio (five strings with one resonance string). ~ Keith Johnson [-] Hide

Carlos Vives

The term Cumbia refers to both a style of Colombian folk-dance music, which originated on the country's northern Atlantic coast, and its dominant rhythm, which was assimilated into a great deal of Latin-American music in the Northern Hemisphere. Cumbia was a synthesis of the traditions of three separate cultures: former slaves of African descent, who contributed the rhythms and percussion instruments; descendants of European colonists, primarily Hispanics, who influenced the music's melodic... [+] Read More

The term Cumbia refers to both a style of Colombian folk-dance music, which originated on the country's northern Atlantic coast, and its dominant rhythm, which was assimilated into a great deal of Latin-American music in the Northern Hemisphere. Cumbia was a synthesis of the traditions of three separate cultures: former slaves of African descent, who contributed the rhythms and percussion instruments; descendants of European colonists, primarily Hispanics, who influenced the music's melodic progressions; and native Americans descended from Andean tribes, who affected cumbia's melodic and harmonic sense and also contributed the flutes on which cumbia was initially played. Additionally, the geographical location of Colombia's northern coast left the area open to influences from the Caribbean, which probably accounts for cumbia's resemblance to other styles from the region; the most notable similarity is its steady backbeat, which is closer to Jamaican popular music than to the fluid, shifting rhythms of Latin jazz and salsa. In its purest, most folk-derived form, cumbia is played on a combination of African drums and native American flutes, but the accordion eventually became the most popular lead instrument; organ and harp have also found favor in some quarters. Cumbia's infectious, highly danceable beat found its way overseas, beginning around the 1960s, and became an indispensable tool for many Latin bands and orchestras; it achieved special popularity in Mexico, where many groups incorporated it into their repertoire of popular songs. The cumbia tradition helped give rise to vallenato, a similar style that became Colombia's signature sound during the late 20th century; the main differences are that vallenato is usually played at a slower tempo, places a great deal more emphasis on the poetry of its lyrics, and draws from several different rhythms instead of one signature beat. [-] Hide

The Cuban dance style Danzon traces its origins to the Spanish contradanza, itself a product of English country dancing of the 16th century. Upon the contradanza's arrival in Cuba during the 18th century, it quickly rose to prominence as the island's national dance. At the close of the 19th century, the Cuban contradanza became freer and more spontaneous, giving way to its evolution into the danzon; originally played by brass bands ("tipicas"), by the 1920s performances were dominated by... [+] Read More

The Cuban dance style Danzon traces its origins to the Spanish contradanza, itself a product of English country dancing of the 16th century. Upon the contradanza's arrival in Cuba during the 18th century, it quickly rose to prominence as the island's national dance. At the close of the 19th century, the Cuban contradanza became freer and more spontaneous, giving way to its evolution into the danzon; originally played by brass bands ("tipicas"), by the 1920s performances were dominated by charangas, ensembles featuring violin, cello, piano, guiro, clarinet, flute, bass, and double drums. By the late '30s, the danzon had given birth to the mambo. [-] Hide

Klezmer Conservatory Band

While it contains people from a variety of linguistic and cultural heritages, Eastern Europe has long been defined by its domination by the Russian Empire (and later by the Soviet Union). Largely rural and pastoral in character, Eastern Europe felt the influence of its Slavic rulers for generations, while still maintaining the strong traditional base in villages and towns that had existed for centuries. The influence of the orthodox church permeated most facets of everyday life and helped... [+] Read More

While it contains people from a variety of linguistic and cultural heritages, Eastern Europe has long been defined by its domination by the Russian Empire (and later by the Soviet Union). Largely rural and pastoral in character, Eastern Europe felt the influence of its Slavic rulers for generations, while still maintaining the strong traditional base in villages and towns that had existed for centuries. The influence of the orthodox church permeated most facets of everyday life and helped produce great choral traditions in Georgia, Bulgaria and Russia, among other places, while the isolation of Jewish communities gave birth to sacred music in Yiddish, as well as Klezmer. Music was also one of the great anchors of the gypsy community, and many of the music styles of Southeastern Europe show their impact. [-] Hide

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The Afro-Brazilian dance of love known as Lambada was very popular in Europe in 1989. Couples dance in extremely close proximity to one another and with ever so tight embraces accompanied by Afro-Brazilian-Caribbean rhythms. The lambada was considered to be a provocative dance of passion and in its own context remains so. People of Europe and the States used the dance in a faddish manner, losing sight of its "proper" meaning and derivation.

The Afro-Brazilian dance of love known as Lambada was very popular in Europe in 1989. Couples dance in extremely close proximity to one another and with ever so tight embraces accompanied by Afro-Brazilian-Caribbean rhythms. The lambada was considered to be a provocative dance of passion and in its own context remains so. People of Europe and the States used the dance in a faddish manner, losing sight of its "proper" meaning and derivation. [-] Hide

Huayucaltia

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Jon Secada

Latin Pop became the most popular form of Latin music in the United States during the '80s and '90s, even achieving massive crossover success among non-Latino listeners during the late '90s. While not restricted to America by any means, Latin pop was profoundly affected by production techniques and other styles of music -- both Latin and otherwise -- that originated primarily in the United States. Tejano music, centered in Texas and the U.S./Mexico border region, had begun to introduce... [+] Read More

Latin Pop became the most popular form of Latin music in the United States during the '80s and '90s, even achieving massive crossover success among non-Latino listeners during the late '90s. While not restricted to America by any means, Latin pop was profoundly affected by production techniques and other styles of music -- both Latin and otherwise -- that originated primarily in the United States. Tejano music, centered in Texas and the U.S./Mexico border region, had begun to introduce synthesizers, slicker production, and a more urban sensibility to formerly rootsy styles like norteño and conjunto. Moreover, New York and Miami were home to thriving Latin club scenes, which during the '80s led to the rise of Latin freestyle, a club-oriented dance music that was rooted in Latin rhythms but relied on synthesizers and drum machines for most of its arrangements. Both of these sounds influenced the rise of Latin pop, which retained Latin rhythms in its uptempo numbers but relied more on mainstream pop for its melodic sense. Latin pop's first major crossover star was Gloria Estefan, who scored a succession of non-club-oriented dance-pop hits during the mid- to late '80s, but who eventually became known more as an adult contemporary diva with an affinity for sweeping ballads. This blend of Latinized dance-pop and adult contemporary balladeering dominated Latin pop through the '90s; most of its artists sang in Spanish for Latino audiences, although Latin pop's similarity to the mainstream helped several performers score crossover hits when they chose to record in English. Jon Secada landed several pop hits during the mid-'90s, and Tejano pop star Selena's album Dreaming of You actually debuted at number one on the album charts upon its 1995 release (although, sadly, her success was posthumous). However, that was nothing compared to Latin pop's commercial explosion in 1999, thanks to well-crafted, mostly English-language crossover albums by ex-Menudo member Ricky Martin (already a star among Spanish-speaking audiences) and actress Jennifer Lopez. [-] Hide

Pérez Prado

This Afro-Cuban dance genre was quite popular during the 1940s and became part of the big band sound of the 1950s. It was performed by the Cuban conjunto, which included an ensemble of voice, trumpets, and rhythm sections. The rhythm sections would include a bass, conga drum, and timbale or cowbell. Rhythmic content of the mambo varied from instrument to instrument, but each of the eighth notes would receive a beat but not necessarily an accent. Moderate to rapid tempos are indicated by the... [+] Read More

This Afro-Cuban dance genre was quite popular during the 1940s and became part of the big band sound of the 1950s. It was performed by the Cuban conjunto, which included an ensemble of voice, trumpets, and rhythm sections. The rhythm sections would include a bass, conga drum, and timbale or cowbell. Rhythmic content of the mambo varied from instrument to instrument, but each of the eighth notes would receive a beat but not necessarily an accent. Moderate to rapid tempos are indicated by the mambo rhythm, and the music is especially open to brass and or reed riffs played during the dance music. ~ Keith Johnson [-] Hide

Alberto Vazquez

Mariachi is an urban style of son jarocho that originated in the central part of Mexico and was found from the city of Guadalajara to the south-central state of Michoacan. The origin of the name has been attributed to its being a derivation of the French word "marriage," but it may be a combination of the name "Maria" with the Nahuatl diminutive suffix "chi" (Nahuatl was an indigenous Indian language widely spoken in the area). The original ensemble consisted of two violins, a vihuela (also... [+] Read More

Mariachi is an urban style of son jarocho that originated in the central part of Mexico and was found from the city of Guadalajara to the south-central state of Michoacan. The origin of the name has been attributed to its being a derivation of the French word "marriage," but it may be a combination of the name "Maria" with the Nahuatl diminutive suffix "chi" (Nahuatl was an indigenous Indian language widely spoken in the area). The original ensemble consisted of two violins, a vihuela (also known as guitara de golpe -- a regional name for a small guitar with five strings), jarana (a slightly larger five-string guitar), and harp. In the 20th century, guitarron (a large, acoustic bass guitar with four strings) replaced the harp, which was awkward to transport. In the 1930s, two trumpets were added, and the resulting ensemble -- two trumpets, two violins, jarana, vilhuela, and guitarron -- has been popularized through films, radio, TV, and sound recordings. There are professional and semi-professional mariachi groups, but the main purpose of these groups is to make a living playing music rather than being attached to particular community functions. Aside from the sound of a mariachi band, they are most recognizable for their "uniform," which is quite ornate. Because mariachis usually make their living by strolling from place to place in search of good money -- on street corners or restaurants -- their instruments are portable. Mariachis are a common sight in the Zona Rosa and the Plaza Garibaldi in Mexico City. ~ Keith Johnson [-] Hide

Khalèd

The music of the Mediterranean reflects both its long-standing civilizations and its history as a center for trade for Europe and beyond. The influence of Arabic, African and Asian civilizations has long been absorbed into the Mediterranean cultures of Europe, producing a music which has a richness not always found further to the north. For the purposes of this definition, Mediterranean Europe consists of the nations whose identities are most strongly tied to the sea, including Spain,... [+] Read More

The music of the Mediterranean reflects both its long-standing civilizations and its history as a center for trade for Europe and beyond. The influence of Arabic, African and Asian civilizations has long been absorbed into the Mediterranean cultures of Europe, producing a music which has a richness not always found further to the north. For the purposes of this definition, Mediterranean Europe consists of the nations whose identities are most strongly tied to the sea, including Spain, Portugal, Italy, Malta, Greece, Cyprus, Albania and Corsica. In each of these places, the evidence of trade is obvious in the diversity of music styles and available instruments, especially traditional string instruments, but the music also reflects the pastoral nature of life in the Mediterranean countryside. Modern Mediterranean music reflects an increasingly global exchange of cultures, as migration brings in new influences from neighboring countries and former colonies, and western pop music becomes increasingly popular in the region. [-] Hide

Hossam Ramzy

The traditional music of the Middle East shows the heavy influence of Arabic culture, left behind as Arabic herdsmen expanded the territories that they inhabited, and as Arabic rulers conquered huge swaths of land that reached from Africa to Europe and deep into Asia. Music in traditional Middle Eastern societies serves a variety of purposes - to tell stories, enrich traditional poetry, to celebrate holidays, weddings and other ceremonial occasions, and as a consistent part of religious... [+] Read More

The traditional music of the Middle East shows the heavy influence of Arabic culture, left behind as Arabic herdsmen expanded the territories that they inhabited, and as Arabic rulers conquered huge swaths of land that reached from Africa to Europe and deep into Asia. Music in traditional Middle Eastern societies serves a variety of purposes - to tell stories, enrich traditional poetry, to celebrate holidays, weddings and other ceremonial occasions, and as a consistent part of religious life, especially amongst Muslims.



Muslim religious music is overwhelmingly vocal, and indeed instrumental accompaniment has been occasionally banned. However, professional singers of religious songs have used instrumental accompaniment for a century at least, and in some communities musical instruments even accompany the singing in mosques. Sufi music -- exemplified by the Outes and drums of Turkey's Mevlevi dervishes, the oboes and percussion of their Moroccan counterparts and the chanting of men at the Sufi dhikrs or ceremony of remembrance around the world -- forms another important component of Muslim musical culture.



By the midpoint of the 20th century, Middle Eastern musicians began incorporating Western music. Though their approaches may be quite different, many of these revolutionary artists retained the sense of ecstasy that Middle Eastern music treasures. By the '90s, Western labels began to license and repackage albums by Middle Eastern pop stars, particularly Algerian rai artists who combine the melismatic fervor of their heritage with the glitz and drive of Western rock. Labels like Lyrichord, CMP, Playasound, and Rykodisc, on the other hand, have released their own high-quality recordings of traditional and classically oriented styles. These albums offer an excellent introduction to the Middle Eastern aesthetic, not only because they provide easy-to-grasp explanations of the music in the liner notes, but because the labels choose to present musicians on the basis of consummate artistry, high production standards, and relative accessibility. Many of the younger artists, in fact, temper their mastery of ancestral styles with their appreciation of and exposure to modern Western techniques. Turkish ney (flute) player Kudsi Erguner, Galilee-born oud virtuoso Simon Shaheen, and Lebanese multi-instrumentalist Ali Jihad Racy are three "rising stars" in the West who walk that fine line between tradition and innovation in some satisfying new ways. [-] Hide

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Joe Cuba

During the 1970s, New York was the site of a creatively fertile Salsa scene which helped revitalize the city's status as a center of artistically ambitious Latin music. Puerto Rican salsa had developed into an eclectic blend of Latin American roots styles during the '60s, and the strong Puerto Rican presence in New York City meant that the music was readily available. While the New York salseros were somewhat influenced by Latin jazz and the mambo orchestras of the '40s and '50s, salsa was... [+] Read More

During the 1970s, New York was the site of a creatively fertile Salsa scene which helped revitalize the city's status as a center of artistically ambitious Latin music. Puerto Rican salsa had developed into an eclectic blend of Latin American roots styles during the '60s, and the strong Puerto Rican presence in New York City meant that the music was readily available. While the New York salseros were somewhat influenced by Latin jazz and the mambo orchestras of the '40s and '50s, salsa was really about consciously returning to traditional Afro-Latin forms, and finding new ways to unite and blend them. To a certain extent, this was a specific reaction against the pop orientation of boogaloo and the crossover rock of Santana, but more importantly, it was a part of the generalized artistic intent that had overtaken much American music -- including rock and jazz -- during the '60s. The flagship label of New York salsa was the highly prolific Fania, founded by multi-instrumentalist Johnny Pacheco with Jerry Masucci; Fania helped create a strong, collaborative community of New York salsa musicians, partly through projects like the Fania All-Stars, which featured dozens of top players and actually headlined a concert at Yankee Stadium in 1973. Other major figures in the New York salsa movement included trombonist Willie Colón, percussion veteran Ray Barretto, singer Rubén Blades, pianist Joe Bataan, and Latin-jazz pianist Eddie Palmieri. [-] Hide

From the earliest Native American bands who traveled across the Bering Strait and into North America to the influx of immigrants that made the journey to the U.S. and Canada in the 19th and 20th centuries, each group has made its unique impact on North American culture and music. Some traditions grew huge enough to require their own space in the collective consciousness, like blues, jazz and rock, Cajun and Latin, but within North America, the music of indigenous people, culturally or... [+] Read More

From the earliest Native American bands who traveled across the Bering Strait and into North America to the influx of immigrants that made the journey to the U.S. and Canada in the 19th and 20th centuries, each group has made its unique impact on North American culture and music. Some traditions grew huge enough to require their own space in the collective consciousness, like blues, jazz and rock, Cajun and Latin, but within North America, the music of indigenous people, culturally or physically isolated communities and long-standing settlements also deserve recognition. Such music is tied strongly to a particular group of people or place, and is only now beginning to be performed by outsiders like the new age musicians who have appropriated Native American traditions, or the musicians in cities who study Appalachian folk. [-] Hide

Nueva Cancion ("New Song") isn't exactly a distinct musical style, but a conglomeration of South American songwriters placing a renewed emphasis on intelligent (usually political) commentary within their songs. Given the explosive climate of most governments south of Mexico from the 1960s to the '80s, it shouldn't be surprising that numerous songwriters attempted to get the word out concerning oppressive dictatorships through music. If it had a home, it was in Chile, where new president... [+] Read More

Nueva Cancion ("New Song") isn't exactly a distinct musical style, but a conglomeration of South American songwriters placing a renewed emphasis on intelligent (usually political) commentary within their songs. Given the explosive climate of most governments south of Mexico from the 1960s to the '80s, it shouldn't be surprising that numerous songwriters attempted to get the word out concerning oppressive dictatorships through music. If it had a home, it was in Chile, where new president Salvadore Allende took his position in 1970 behind a banner reading "You can't have a revolution without songs." Two Chileans, Violeta Parra and Victor Jara, were the leaders of the movement, though Jara was killed less than three years later after a vicious military coup destroyed most of what Allende's revolution had wrought. (Two other important Chilean groups, Quilapayun and Inti-Illimani, remained in exile for many years.) Nevertheless, nueva cancion spread across South America, however, leading to parallel movements in Cuba (termed "nueva trova") led by Pablo Milanés and Silvio Rodríguez, as well as in Nicaragua and El Salvador. [-] Hide

Onda Grupera identifies the larger audience of music clustered around several Latin communities, including tejano, banda, and ranchera music.

Onda Grupera identifies the larger audience of music clustered around several Latin communities, including tejano, banda, and ranchera music. [-] Hide

The pachanga was a brief dance craze centered on the teenaged Latin population of New York City, though it probably originated in Cuba. Charangas of the time (led by everyone from Arsenio Rodriguez to Tito Puente to Charlie Palmieri to Joe Quijano) often worked in the quick-time rhythms of pachanga, though the dance was so frenetic that it died a quick death from the sheer lack of participators.

The pachanga was a brief dance craze centered on the teenaged Latin population of New York City, though it probably originated in Cuba. Charangas of the time (led by everyone from Arsenio Rodriguez to Tito Puente to Charlie Palmieri to Joe Quijano) often worked in the quick-time rhythms of pachanga, though the dance was so frenetic that it died a quick death from the sheer lack of participators. [-] Hide

So named in honor of the Quechua Indians of Peru -- descendants of the Incas -- this traditional music is typified by the huayno, an energetic, waltz-like dance.

So named in honor of the Quechua Indians of Peru -- descendants of the Incas -- this traditional music is typified by the huayno, an energetic, waltz-like dance. [-] Hide

Paco Barron y sus Norteños Clan

In the literal definition of the term a Ranchera is a ranch song. They were sung in Mexico between "acts of nation"-centered plays, and became quite commercially oriented after 1910. The lyrics of the rancheras are quite straightforward, with the last notes of the verses, lines, and stanzas being extended by the performers. They typically included some glissandos that became a stereotype for Mexican music in "American" short-sightedness. Rancheras were very powerful songs for expressing...

In the literal definition of the term a Ranchera is a ranch song. They were sung in Mexico between "acts of nation"-centered plays, and became quite commercially oriented after 1910. The lyrics of the rancheras are quite straightforward, with the last notes of the verses, lines, and stanzas being extended by the performers. They typically included some glissandos that became a stereotype for Mexican music in "American" short-sightedness. Rancheras were very powerful songs for expressing sentimentality associated with a person's love for their country. ~ Keith Johnson [-] Hide

Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B and it was quite popular in the early '60s. However, during one very hot summer, it was too hot to either play or dance to ska, so the beat was... [+] Read More

Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B and it was quite popular in the early '60s. However, during one very hot summer, it was too hot to either play or dance to ska, so the beat was slowed down and reggae was born. Since then, reggae has proven to be as versatile as the blues, as it lends itself to a number of interpretations, from the melodic rock steady of Alton Ellis and the rock and folk-influenced songwriting of Bob Marley to the trippy, near-psychedelic soundscapes of dub artists like Lee "Scratch" Perry. It has crossed into the mainstream through the bright, bouncy "reggae sunsplash" festivals and pop-oriented bands like UB40, but more adventurous reggae artists, such as Marley and Perry, have influenced countless reggae, folk, rock and dance artists. Their contributions resonate throughout popular music. [-] Hide

Johnny Pacheco

Salsa is one of the most dynamic musical styles to come out of the western hemisphere. "Salsa" means "sauce," but the term should not be taken to mean simply hot and vibrant, nor should the music be regarded as such. Salsa is a term much like the word "swing" as it was applied to the jazz swing bands of the 1930s and 1940s. It describes a feeling that covers a wide range of emotions and musical expression. Salsa is not always fast-paced and vivid -- it can be slow and romantic or anything in... [+] Read More

Salsa is one of the most dynamic musical styles to come out of the western hemisphere. "Salsa" means "sauce," but the term should not be taken to mean simply hot and vibrant, nor should the music be regarded as such. Salsa is a term much like the word "swing" as it was applied to the jazz swing bands of the 1930s and 1940s. It describes a feeling that covers a wide range of emotions and musical expression. Salsa is not always fast-paced and vivid -- it can be slow and romantic or anything in between. The basic sound of salsa was intact before the term was applied to the music. In the 1940s and '50s, the Cuban sonero Arsenio Rodrigues, a blind tres player, became the dominant trendsetter in Latin music. His ensemble included a piano, a second trumpet, sometimes a saxophone, and an expanded rhythm section that included timbales, conga, and a cowbell. Instrumental parts were standardized and tight pre-set compositions were used. Salsa is also characterized by syncopated bass patterns. The ensembles of Rodrigues became the standard for Cuban dance bands and formed the basis for salsa. Salsa is influenced by many Latin musical forms, like the Puerto Rican plenas, the Dominican merengue, and the Colombian cumbia, but its backbone is the Cuban son. The primary difference between salsa and Cuban music is that salsa has largely developed outside of Cuba. Although salseros are found in most Latin American countries, it is primarily associated with Puerto Rican musicians. The term "salsa" did not come into use until the 1960s. It was applied to the music of Tito Puente and others who had been playing the music for at least 25 years. The term was made popular primarily by Jerry Masucci, the New York-based founder of Fania Records (the largest producer of Latin dance music recordings until the 1980s). The best years for salsa were the 1970s, when Latin Americans were looking back to their roots. This showed in the attitude of salsa musicians looking for stylistic purity. They did so by using smaller band sizes like that of the Cuban conjunto, consisting of a rhythm section with a front line of three to five horns and one or two singers. Although salsa is a Cuban-based musical form (and a commercial form as well), it has served as a rallying point for Puerto Ricans and as an icon of pan-Latin consciousness. Nonetheless, salsa is still a form of dance music subject to the whims of public tastes, and it suffered a decline in popularity in the 1980s as the Dominican merengue became fashionable. Salsa survived in all its dynamism but in a more diffuse environment, as other styles of Latin music become popular on a mass level. ~ Keith Johnson [-] Hide

Simone

The most common form of typically Afro-Brazilian music is the Samba. The term, however, means different things throughout portions of Brazil. For example, in the north it refers to the place where any type of dance is held; around Bahia it means the batuque; in the folk music of South America the samba distinguishes music in duple rhythm devoid of typical Negro syncopation; and, in Rio de Janeiro it stands for that rhythmical genre of popular dance music associated with carnival. The Bahia is... [+] Read More

The most common form of typically Afro-Brazilian music is the Samba. The term, however, means different things throughout portions of Brazil. For example, in the north it refers to the place where any type of dance is held; around Bahia it means the batuque; in the folk music of South America the samba distinguishes music in duple rhythm devoid of typical Negro syncopation; and, in Rio de Janeiro it stands for that rhythmical genre of popular dance music associated with carnival. The Bahia is loosely called the "rural samba," a generic term for circle dance music of Bantu derivation, of which the samba da roda ("of the circle") is a variety. Although often identified with the batuque and probably derived from the music and dancing of candomble, it is somewhat milder in tempo with fewer accents than its prototype. The technique of responsorial singing continues in the rural samba, and syncopation is employed. The in of the Bahian samba occasionally includes instruments a step away from the more African batuque, such as the pandeiro, tamviolao or guitar, a rattle, and at times the berimbau. The Rio de Janeiro variety is called the "urban samba," and it exists in two forms, the samba de morro ("of the hill") and the "downtown samba." The former is the genre associated with the inhabitants of the favelas or slums of Rio (located on the hills overlooking the commercial and middle to upper class residential areas), who each year prior to carnival learn the new sambas and marchas (marches) in the escolas de samba (samba schools). During the typical meetings of the escola de samba, a dance and music master teaches the new movements and songs for that year's carnival, while the percussion section provides the dance rhythms. The melodies are usually sung in unison chorus by all the dancers after the song leader sings a verse (the style is not responsorial). They are strikingly European, or more correctly, Brazilian European, but not African in their contour, although they are syncopated. The rhythms of the percussion, however, are very complex and extremely sonorous with the added use of double bells, rattles, tambourines, and the puita, a friction drum. Many of the other drums are Western military side drums. The samba of the "elite," the so-called downtown samba, is popular music. The songs, sung in unison chorus, are arrangements accompanied by a typical salon orchestra of brasses and reeds, with a trap drummer providing rhythms that only occasionally demonstrate Africanisms. With this type of music, and others like it farther down the African heritage scale, the point is reached where it is nearly impossible to see the derivations. ~ Keith Johnson [-] Hide

La Sonora Dinamita

If trova was the first native Cuban folk music, then son was the first Afro-Cuban musical form. Son was essentially a marriage of syncopated African rhythms and percussion with trova's Spanish-derived melodies and string instruments. The music and its accompanying dance moves developed in eastern Cuba, particularly the Oriente province, around the beginning of the 20th century, and by the end of World War I, son had become quite popular in Havana despite its lower-class, multi-ethnic origins.... [+] Read More

If trova was the first native Cuban folk music, then son was the first Afro-Cuban musical form. Son was essentially a marriage of syncopated African rhythms and percussion with trova's Spanish-derived melodies and string instruments. The music and its accompanying dance moves developed in eastern Cuba, particularly the Oriente province, around the beginning of the 20th century, and by the end of World War I, son had become quite popular in Havana despite its lower-class, multi-ethnic origins. In its most commonly accepted form, son was performed by a septet featuring trumpet, guitar, bass, tres (a nine-string guitar-like instrument), bongos, maracas, and the all-important time-keeping clavés; usually, at least one or two of the musicians doubled as vocalists. The clavé pattern of the son form typically covered two measures of four beats apiece, striking three times during the first measure and twice in the second (or, sometimes, vice versa). As son's popularity grew among higher social classes during the '30s, musicians began to move toward a more smoothed-out, genteel sound; around the same time, composer Moisés Simóns scored a huge international hit with his son "El Manisero" ("The Peanut Vendor"), igniting a passion in the United States for Afro-Cuban dance music. (Much of what Americans referred to as "rumba" during this time was actually son.) In the early '40s, son bandleader and tres player Arsenio Rodriguez invented a variation on the form called the son montuño, which often reversed the typical clavé pattern, was taken at a slightly more deliberate tempo, and (similar to the guaracha) added a section called the montuño, which featured call-and-response improvisation by the lead vocalist over a chorus vamp (plus, sometimes, instrumental solos). The spontaneity of son montuño renewed the spark of the original form, and laid the groundwork for the mambo explosion that was to come shortly; it was also a central component of both Afro-Cuban jazz and salsa. Although son is rarely performed exclusively anymore, it remains a strongly rooted tradition that Latin musicians still look to in order to refresh and renew their music. [-] Hide

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South Asia encompasses the music of Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka. India is truly the musical giant of South Asia, with two different traditions of classical music -- Karnatak from southern India, and Hindustani from the north. Compositions in Indian classical are ragas (or raags), often played on tabla, tamboura, sitar, sarod, and sarangi.

South Asia encompasses the music of Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka. India is truly the musical giant of South Asia, with two different traditions of classical music -- Karnatak from southern India, and Hindustani from the north. Compositions in Indian classical are ragas (or raags), often played on tabla, tamboura, sitar, sarod, and sarangi. [-] Hide

Though the huge swath of islands that make up the South Pacific have an amazing diversity of cultures and languages, two distinct influences can be seen upon its music. The first would be the cultural heritage of the Polynesians, who make up the dominant ethnic group in the region, and whose trade routes began to cross the ocean between islands hundreds of years ago. The second major force impacting the music of the South Pacific is colonialism. Music from Hawaii would be hard to imagine... [+] Read More

Though the huge swath of islands that make up the South Pacific have an amazing diversity of cultures and languages, two distinct influences can be seen upon its music. The first would be the cultural heritage of the Polynesians, who make up the dominant ethnic group in the region, and whose trade routes began to cross the ocean between islands hundreds of years ago. The second major force impacting the music of the South Pacific is colonialism. Music from Hawaii would be hard to imagine without slack-key guitar or ukelele, but both of those instruments have European origins. Tahitian music in the 20th century shows a French influence, while modern Fijian music reflects the large number of Indians who live on the island, who came as indentured servants under British rule. Because colonialism in most cases pre-dates recording technology, very few examples of pre-colonial music from the South Pacific exist. The smallness of the islands also has meant that few islanders escaped contact with European traders and colonists, leading to a higher level of cultural exchange and a greater absorption of European forms than what has occurred amongst traditional societies on larger bodies of land. However, much of the music of the South Pacific still retains a traditional feel, despite the adaptation of outside instruments, and the number of distinct island societies spread across a large geographic area has produced a great diversity of unique musical styles. [-] Hide

Horacio Salgan

The tango, a musically synthesized dance form, is the Argentinean samba. Couples dancing the tango meet in a close embrace and dance seemingly violently across the floor. The music is often in a minor mode and the meter is 2/4. Rhythms are syncopated, sharply distinguished, and highly accentuated, and include some interruptions in the beats. Conventional performances of the music include a solo voice and guitar accompaniment. Words of the songs take the form of lengthy narratives about... [+] Read More

The tango, a musically synthesized dance form, is the Argentinean samba. Couples dancing the tango meet in a close embrace and dance seemingly violently across the floor. The music is often in a minor mode and the meter is 2/4. Rhythms are syncopated, sharply distinguished, and highly accentuated, and include some interruptions in the beats. Conventional performances of the music include a solo voice and guitar accompaniment. Words of the songs take the form of lengthy narratives about sentimental, emotion-ridden themes. Once the rage of World War I America and Europe, the tango reveals African influence in its name and choreography, English origin in its relationship to the habanera (which can be traced to the country dance of 17th-century Britain), Spanish background with its similarity to the Andalusian tango, and most important, Argentinean sentiment with texts that often emphasize aspects of life in that country. In spite of its great popularity, negative attitudes were common ranging from condemnation by such political leaders as the Queen of England and the Kaiser of Germany to damnation by the Pope. ~ Keith Johnson [-] Hide

La Mafia

Tejano is a modernized, hybrid Latin style strongly rooted in the conjunto and norteño music popular in the region near the U.S./Mexico border, although it isn't quite the same thing. It was developed by working-class Mexican-Americans living in Texas -- hence the name, which is the Spanish word for "Texan" and became the accepted term for the music in the early '80s. Bandleader Beto Villa was a pivotal figure in the music's birth, adding instrumentation and song structures (i.e. ranchera,... [+] Read More

Tejano is a modernized, hybrid Latin style strongly rooted in the conjunto and norteño music popular in the region near the U.S./Mexico border, although it isn't quite the same thing. It was developed by working-class Mexican-Americans living in Texas -- hence the name, which is the Spanish word for "Texan" and became the accepted term for the music in the early '80s. Bandleader Beto Villa was a pivotal figure in the music's birth, adding instrumentation and song structures (i.e. ranchera, cumbia, polka, etc.) from conjunto/norteño music to his orchestra, which drew upon a regional synthesis of Mexican folk music and big-band swing. The most important contributor, though, was Isidro López, who added vocals, mariachi style, and early rock & roll rhythms while aggressively playing up his conjunto influences. The result was a combination of rural folk and urban sophistication that appealed mightily to young Mexican-Americans in search of a music to call their own, just as rock and R&B were taking over other youth markets during the mid-'50s. During the early '60s, the Tejano ensemble shrank from a large orchestra to a medium-sized group more reliant on electric instruments, although horn sections and accordions remained important parts of the music. Many of these groups played English-language Top 40 rock & roll covers in addition to their Spanish repertoire. In the early '70s, Tejano music (then known as la onda chicana) really came into its own, borrowing freely from other musical traditions present in Texas -- blues, country, R&B, pop, rock, jazz -- and blending them with Mexican folk as it saw fit. The most important artist of this period was Little Joe (aka José María DeLeón Hernández) Y La Familia, whose music reflected the emerging political consciousness of disillusioned Chicano youth. During the mid-'70s, Tejano lost much of its audience to more traditional Mexican music, but staged a comeback in the mid-'80s thanks to a new infusion of mainstream musical hybrids, as well as major-label interest in the growing Latino market. Bands like Mazz and La Mafia expanded their stage shows to reflect the glitz and excitement of English-language performers, and Selena's pop sensibilities helped make her a superstar in the Latin community. The early '90s saw the greatest creative fertility and diversity of Tejano music to date, but just as those qualities were beginning to wane, Selena was murdered in 1995, touching off a mass media explosion that brought Tejano to the top of the album charts with her posthumous smash Dreaming of You. When the Selena phenomenon leveled off, revitalized norteño had once again captured much of the Mexican-American audience heading into the next millennium. [-] Hide

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Ilegales

Tropical is essentially a catch-all term for modernized Latin music emanating from the Caribbean -- places like Cuba, Puerto Rico, and the Dominican Republic (though not the inland areas of Mexico). Salsa, merengue, and cumbia are the most popular rhythms in tropical music, although there's room for ballads as well as uptempo dance numbers. While tropical draws on traditional musical forms, its sound and sensibilities are contemporary -- it may employ electronic instruments like synthesizers...

Tropical is essentially a catch-all term for modernized Latin music emanating from the Caribbean -- places like Cuba, Puerto Rico, and the Dominican Republic (though not the inland areas of Mexico). Salsa, merengue, and cumbia are the most popular rhythms in tropical music, although there's room for ballads as well as uptempo dance numbers. While tropical draws on traditional musical forms, its sound and sensibilities are contemporary -- it may employ electronic instruments like synthesizers and drum machines, and it is generally geared toward Latin pop radio and/or dance clubs. [-] Hide

Gal Costa

In the late '60s, a new Brazilian popular music arose in direct reaction to social complacency stemming from the coup of 1964 and the musical clichés of pop music. The music that arose, Tropicalia, is bound together more by an ideology of social awareness and the drive to be musically creative than by any single set of musical characteristics. Comparing the songs of tropicalia musicians, it can be discerned that the greatest common bond is in the lyrics, which are well thought-out, keyed to... [+] Read More

In the late '60s, a new Brazilian popular music arose in direct reaction to social complacency stemming from the coup of 1964 and the musical clichés of pop music. The music that arose, Tropicalia, is bound together more by an ideology of social awareness and the drive to be musically creative than by any single set of musical characteristics. Comparing the songs of tropicalia musicians, it can be discerned that the greatest common bond is in the lyrics, which are well thought-out, keyed to musical events of the accompaniment, poetic, elegant, and above all, socially aware. But tropicalia lasted for only a few years -- the style expanded and is better known today as musica popular Brasileira (MPB) . ~ Keith Johnson [-] Hide

Trova was one of the earliest popular song traditions to originate in Cuba, emerging around the late 1800s and remaining popular through the first half of the 20th century. The style's practitioners, called trovadores, lived very much like medieval troubadours, traveling the country and supporting themselves with the meager monetary rewards that came from performing. Trova music actually encompassed a variety of native Cuban song forms and rhythms, including the guaracha, the punto, the... [+] Read More

Trova was one of the earliest popular song traditions to originate in Cuba, emerging around the late 1800s and remaining popular through the first half of the 20th century. The style's practitioners, called trovadores, lived very much like medieval troubadours, traveling the country and supporting themselves with the meager monetary rewards that came from performing. Trova music actually encompassed a variety of native Cuban song forms and rhythms, including the guaracha, the punto, the habanera, the rumba, the son, the clave, and the Latin American bolero, as well as a melodic influence from European opera. These songs were initially performed with guitar (and, usually, clavé) accompaniment and one or two vocalists, a format which became popular in Santiago and other eastern towns. Income-seeking trovadores found their way to Havana and worked as street performers, spreading the style to audiences who began to think of it as the sound of their nation. The four most important early trovadores were Sindo Garay, Rosendo Ruiz [Suarez], Alberto Villalon [Morales], and Manuel Corona [Raimundo]. These and other trova performers, like Maria Teresa Vera, made their first recordings during the 1910s, both in Havana and New York City. During the '20s, the son form became wildly popular and tended to dominate the other, more traditional components of trova; it provided a great deal of exposure for most of the original trova singers and gave rise to the popular sexteto group format. However, six-member bands cost more to book, which led to a return to trova's early trio format ("trio" referring more to the three essential parts of the song -- two voices and guitar accompaniment -- than the specific number of group members, which varied according to whether the vocalists could play guitar or percussion while singing). However, these arrangements were more elaborate, often including a second guitar and extra percussion (the latter to emphasize the music's increasing dance orientation). The '30s brought an unprecedented level of popularity for Cuban music, with the crossover success of "The Peanut Vendor" ("El Manisero") in the U.S. and the bolero song form in Mexico, and while traditional trova compositions were still very much in evidence, new musical innovations and commercial considerations contributed to trova's gradual decline and near-disappearance over the next two decades. However, Castro's government encouraged the revival of traditional Cuban music, subsidizing the creation of an ambitious, folk-based form known as nueva trova, which drew heavily from trova while updating and expanding its sensibilities. [-] Hide

Carlos Vives

A product of Colombia's northern coastal region, Vallenato -- a folk tradition that originated as recreational music performed by cattle-ranching cowboys -- is among the country's most popular and influential musical exports. Created via a combination of three basic musical instruments -- most commonly the accordion, bongo, and güiro -- vallenato is also typified by its four basic rhythms: son (the slowest), paseo (the most common and most marketed), merengue (faster and more joyous), and... [+] Read More

A product of Colombia's northern coastal region, Vallenato -- a folk tradition that originated as recreational music performed by cattle-ranching cowboys -- is among the country's most popular and influential musical exports. Created via a combination of three basic musical instruments -- most commonly the accordion, bongo, and güiro -- vallenato is also typified by its four basic rhythms: son (the slowest), paseo (the most common and most marketed), merengue (faster and more joyous), and puya (the fastest and most complex of them all). Lyrically, vallenato is chiefly concerned with romance, with most songs detailing either the singer's love of a woman or his affection for his hometown. [-] Hide

Pepe Habichuela

European monarchies helped foster a great classical music tradition over hundreds of years that has grown to influence music around the world. Western European folk music, however, is even older, and flourished in the rural villages that dotted the farmlands of Western Europe, including Britain, France, Belgium, the Netherlands, Switzerland, Luxembourg and Germany. This area was heavily influenced by Germanic culture, with pockets of other ethnic groups like the Celts adding their own... [+] Read More

European monarchies helped foster a great classical music tradition over hundreds of years that has grown to influence music around the world. Western European folk music, however, is even older, and flourished in the rural villages that dotted the farmlands of Western Europe, including Britain, France, Belgium, the Netherlands, Switzerland, Luxembourg and Germany. This area was heavily influenced by Germanic culture, with pockets of other ethnic groups like the Celts adding their own regional influences. Early traveling musicians helped introduce a variety of instruments into the region and songs developed both as part of the oral tradition and for entertainment. A number of traditional Western European folk songs do exist which commemorate holidays, especially Christmas, however, most European sacred music cannot really be classified as folk -- there was little regional variation in early church music and much later sacred music fell under the umbrella of classical styles. [-] Hide

David Byrne

The term worldbeat refers not to one specific style of music, but to a certain sensibility -- namely, the fusion of disparate musical styles in ways that are only possible from a globalized, multicultural perspective. The results can range from Westernized pop or dance music to wild, genre-hopping experimentalism, but the central, unifying feature of worldbeat is that it's a conscious attempt to bring world music to a wider audience. Frequently, this involves modernizing traditional sounds... [+] Read More

The term worldbeat refers not to one specific style of music, but to a certain sensibility -- namely, the fusion of disparate musical styles in ways that are only possible from a globalized, multicultural perspective. The results can range from Westernized pop or dance music to wild, genre-hopping experimentalism, but the central, unifying feature of worldbeat is that it's a conscious attempt to bring world music to a wider audience. Frequently, this involves modernizing traditional sounds with up-to-date technology, or borrowing the most relevant elements from Western pop and rock, which have spread all over the world and affected other nations' pop-music scenes to varying degrees. At its best, worldbeat can produce utterly unique hybrids and amazing eclecticism; other times, worldbeat artists have been savaged for uprooting traditional styles and diluting them for mass consumption. Although the rock world was by no means closed to outside influence, the Western audience for world music really started to take shape in the mid-'80s, when rock artists like Peter Gabriel, Paul Simon, Mickey Hart, and David Byrne began to incorporate ethnic sounds into their recordings, and enthusiastically pursued high-profile collaborations with world-music artists. With the commercial possibilities presented by a greatly expanded potential audience, some artists began to tailor their music for international appeal. Although there were many exceptions, the majority of the worldbeat artists who achieved a measure of popularity in the West came from Africa, a continent whose music -- to make a broad generalization -- had already exerted a tremendous influence on Western popular music throughout the 20th century. Thus, the sounds of artists like Mory Kante, Salif Keita, and Youssou N'Dour were familiar enough to be appealing, yet different enough to be striking and intriguing. Other worldbeat performers use their broad range of musical knowledge to find similarities and common ground among different indigenous traditions from around the world -- sort of the musical equivalent of comparative literature studies. Most Western-born worldbeat artists fall under this category, but a few -- like England's 3 Mustaphas 3 -- take a less academic approach, trumpeting their freewheeling eclecticism and accentuating the contrasts between the various styles of music they've assimilated. Worldbeat has never been a commercial blockbuster in the West, but some of the better-known styles include the popular music of West Africa and South Africa, North African rai, Bulgarian choral music, Scandinavian folk, Tuvan throat singing, various forms of Indian music (raga, dance, and film music), Pakistani qawwali, Spanish flamenco, Brazilian samba, and Argentinian tango, to name just a few that have made an impact among adventurous critics and record buyers. [-] Hide