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Latin American music also incorporate the indigenous music of Latin America. [2] Due to its highly syncretic nature, Latin American music encompasses a wide variety of styles, including influential genres such as cumbia, bachata, bossa nova, merengue, rumba, salsa, samba, son, candombe and tango.
It characteristically talks about poverty, empowerment, imperialism, democracy, human rights, religion, and the Latin American identity. Nueva canción draws heavily upon Andean music, música negra, Spanish music, Cuban music and other Latin American folklore. Most songs feature the guitar, and often the quena, zampoña, charango or cajón.
The modern classical guitar and its baroque predecessor were invented in Spain. In Spain, music has a long history. It has played an important role in the development of Western music, and has greatly influenced Latin American music. Spanish music is often associated with traditional styles such as flamenco and classical guitar. While these ...
The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar. In the 20th century, many non-guitarist composers wrote for the instrument, whereas previously only players of the instrument had done so.
For example, in Leo Brouwer's Étude No. 20, he supplies a series of melodies that increase in length, and he invites the player to play each section of the melody as many times as he or she chooses. Regional styles are also prevalent in modern guitar music, such as the music of Latin America, where unique harmonies and fresh material can be found.
1. The huge number of lyric compositions which have been used in all areas of Latin-American popular music. 2. Unforgettable musical compositions which became latin standards. 3. The bolero, the musical form most closely associated with the trova, and its relative the canción. 4. The development of guitar technique in popular music. 5.
Duets with the Spanish Guitar is an album by Brazilian guitarist Laurindo Almeida with vocalist Salli Terri and flautist Martin Ruderman. It was released by Capitol Records in 1958. On the recording, Almeida arranged classical and folk repertoire with Latin musical forms.
I believe that Carlos Barbosa-Lima is a genius of transcriptions of Latin American music for guitar." [24] Barbosa-Lima later recorded for the Zoho music record label and released five recordings under this label and the direction of Barbosa-Lima's recordings as well as his concert programing have a definite Latin American concept. [25]