Music of Argentina

From Wikipedia, the free encyclopedia

The music of Argentina includes a variety of traditional, classical and popular genres. According to the Harvard Dictionary of Music, Argentina also "has one of the richest art music traditions and perhaps the most active contemporary musical life.[1]

One of the country's most significant cultural contributions is the tango, which originated in Buenos Aires and its surrounding areas during the end of the 19th century.[2] Folk music was popular during the mid-20th century, experiencing a revival in popularity during the 1950s and 1960s with the rise of the Nuevo cancionero movement.[3] The mid-to-late 1960s also saw the rise of Argentine rock (known locally as rock nacional), which is considered one of the earliest incarnation of Spanish-language rock to have an autochthonous identity that prioritized original compositions in Spanish.[citation needed] Rock nacional was widely embraced by the youth and has become an important part of the country's musical identity.

Folk music[edit]

Atahualpa Yupanqui, 1934

Folk music—known as música folklórica or folklore in Spanish, from the English folklore—is a music genre that includes both traditional folk music and contemporary folk music, which emerged from the genre’s 20th-century revival. Argentine folk music comes in many forms and has Indigenous, European, and African influences.

Los Chalchaleros quartet, 1958

In the late 50s, Argentina experienced a "folklore boom."[4] Among the most influential groups of the time were Los Chalchaleros, from Salta; Los Fronterizos, also from Salta; and Los Hermanos Ábalos from Santiago del Estero.[citation needed] Composer Ariel Ramírez and guitarist Eduardo Falú were also notable figures during this period. Between 1960 and 1974, Leda Valladares created a documentary series, known as the Mapa musical argentino ("Musical Map of Argentina"), taping traditional folk music throughout the country. The recordings she made were funded by the National Endowment of the Arts and directed by Litto Nebbia for Melopea Records.[5][6]

Ariel Ramírez (at piano), President of the Argentine Society of Authors and Composers, with eminent folklore vocalist Mercedes Sosa, 1972

The Nuevo Cancionero movement was officially codified in Argentina in February 1963 with the Manifiesto Fundacional de Nuevo Cancionero (“Foundational manifesto of the New Songbook”). It was written by Armando Tejada Gómez, with the collaboration of artists like Mercedes Sosa, Oscar Matus, Tito Francia, and Eduardo Aragón.[7] Atahualpa Yupanqui was another important figure in the movement.[8]

Musician and folklorist Jorge Cafrune was killed in a hit-and-run shortly after defying the military dictatorship.

The 1976 dictatorship created a difficult environment for folk music. The military censored, blacklisted, and prosecuted artists, and many received anonymous phone calls warning them: “o te callas o sos tierra de cementerio” ("either you shut up, or you're cemetery land").[9] Many artists left the country, and their music was not distributed in Argentina at the time. The repressive actions and black lists against artists and intellectuals to be kidnapped or censored were known as "Operativo Claridad." [10]

The 1980s saw a resurgence of folk music after the Falklands War, which lead to the fall of the dictatorship. Popular artists included Sixto Palavecino and Facundo Cabral.[11]

Soledad Pastorutti ('La Sole") brought folk music to a new audience at the end of the 20th century, and in the early 21st century Juana Molina has proposed a fusion between electronic music and folk music with ambient sounds, a gentle voice and short zambas. In 2004 the album Cantor de Cantores, by Horacio Guarany, was nominated for the Latin Grammy Award for Best Folk Album.[12]

Notable folk music festivals[edit]

The Cosquín National Folklore Festival is an annual music festival held in Cosquín—a small town in Córdoba, Argentina. The festival first took place between January 21 and 29, 1961, and has grown to include musicians from across Argentina and neighboring countries.[13][14] The principal focus of the festival is traditional folk music, but other genres are presented.[15]

Though not an official partner, Cosquín en Japón ("Cosquín in Japan")—a three-day folk festival held in Kawamata, Fukushima, Japan—does derive its name from the Cosquín National Folklore Festival.[16]

The Cosquín National Folklore Festival typically includes representatives from musical genres developed in Argentina and its surrounding areas, including:

Variations of Argentine Folk Music By Region[edit]

Andean music[edit]

A quena, a traditional Andean instrument

Andean music refers to a group of musical styles from the Andes. In Northern Argentina, tarkeada is a popular style played on wooden flutes. Jaime Torres is a famous Argentine-Bolivian charango player.

Chacarera[edit]

Folk singer Mercedes Sosa was a prominent figure in the nueva canción movement.

Originating in Santiago del Estero, chacarera is accompanied by Spanish guitars and bombo legüero. The name originates from the word "chacra" ("farm"), as it was usually danced in rural areas, but it slowly made its way to the cities of that area.[citation needed] It is one of the few Argentine dances for couples where the woman has an equal opportunity to show off.[citation needed]

Chamamé[edit]

Accordion-based Chamamé arose in the northeastern region (provinces of Corrientes, Chaco, Formosa & Misiones) a mostly mestizo area with many settlers from Poland, Ukraine and Germany. Polkas, mazurkas and waltzes came with these immigrants, and soon mixed with the Spanish music already present in the area.[citation needed]

Chamamé was not very popular internationally in the 20th century, though some artists, such as Argentine superstar Raúl Barboza, became popular later in the century. In the early 21st century Chango Spasiuk, a young Argentine of Ukrainian descent from Misiones province, has once again brought chamamé to international attention.The main basis of all the music of this area on the banks of the Paraná River is its roots in the music of Paraguay across the water.[citation needed]

Popular music[edit]

Francisco Canaro and his Tango Orchestra, circa 1930.

Tango[edit]

Tango was developed in the bars and port areas of Buenos Aires, Argentina and Montevideo, Uruguay, by the cities' urban lower class.[17] It emerged as a fusion of various styles of music from across the globe including European styles such as flamenco, minuet, polka, mazurka, and contradanza; Argentine and Uruguayan folk music, including candombe, payada and milonga (considered a precursor to tango); and sub-Saharan African influences. [18][19][20][21]

Vocalist Carlos Gardel brought tango to new audiences in the 1920s and 30s.

The golden age of tango is generally considered to have been from 1935 to 1952. At this time, tango was generally performed by large orchestral groups known as orquestas típicas, which typically featured over a dozen performers.[22] Notable band leaders at the time included Francisco Canaro, Julio de Caro, Osvaldo Pugliese, Aníbal Troilo, Juan d'Arienzo, and Alfredo De Angelis. Notable vocalists from the era included Carlos Gardel, Roberto Goyeneche, Hugo del Carril, Tita Merello, Susana Rinaldi, Edmundo Rivero and Ignacio Corsini.

Astor Piazzolla

In the 1950s, Astor Piazzolla revolutionized tango with his nuevo tango, which incorporated elements of jazz and classical music.[23][24] Though his innovations were initially scorned by traditionalists, Piazzolla's compositions eventually earned him widespread recognition and celebration.[25] Many musicians who worked with Piazzolla went on to have their own successful carrers, including violinist Antonio Agri; fellow bandoneón virtuosi José Libertella and Rodolfo Mederos; and pianists Horacio Salgán and Pablo Ziegler.

Today, tango continues to enjoy popularity on both a local and international level. Buenos Aires is home to both professional demonstrations and local gatherings at bars and community centres across the city, and hosts the annual Campeonato Mundial de Baile de Tango, typically in August.[26] Groups like Tanghetto, Bajofondo, Gotan Project and Típica Messiez bring both nuevo tango and traditional tango to new audiences.[27] Finnish tango, an established variation of the Argentine tango but whose rhythm follows the ballroom tango, is also incredibly popular in Finland.[28]

Rock Music[edit]

Soda Stereo was one of the first Spanish-language rock groups to reach international audiences.

Rock music from Argentina, commonly known as Argentine rock or rock nacional ("national rock"), is one of the earliest incarnations of Spanish-language rock. Argentina was one of the major exporters of rock en español during the 1980s, with a number of Argentine acts achieving international success during the decade, including Soda Stereo, Virus, and Enanitos Verdes.

Subgenres of Argentine rock may include:

1960s[edit]

Sandro y Los de Fuego was heavily influenced by Elvis Presley.

Early Argentine rock and roll was heavily influenced by Anglophone artists. Singer and actor Sandro initially styled himself after Elvis Presely, and even earned the nickname "the Argentine Elvis." His music is often considered a precursor to Argentine rock.[29] At the same time, the variety show El Club del Clan hoped to compete in the domestic rock and roll market by offering young people a mixture of pop music, rock and roll, bolero and cumbia. The show was extremely popular and turned its cast—including Palito Ortega, Leo Dan, Billy Caffaro, Violeta Rivas, and Cachita Galán—into the first national teen idols.[30][31] Both Sandro and El Club del Clan offered young Argentines the opportunity to listen to rock and roll in Spanish at a time when the market was dominated by music in English.

Beatlemania reached Argentina during the early 1960s and inspired many local cover bands who sang predominately in English.[32] A definitive shift occurred with Los Gatos' 1967 single "La balsa," which established the distinctive sound and emphasis of Spanish-language lyrics that have defined Argentine rock.[32] The 1960s also saw the rise of groups like Almendra, Vox Dei, Manal, and Pedro y Pablo, and singer-songwriters like Tanguito, Moris, and Javier Martinez.

1970s[edit]

Sui Generis

By 1970, Argentine rock had become established among middle class youth with groups like Almendra, Pescado Rabioso, Color Humano, Arco Iris, Sui Generis and Serú Girán.

Band lineups were often tenuous, with members frequently leaving or dissolving bands and forming new ones. Notable examples include Luis Alberto Spinetta, who founded Almendra, Pescado Rabioso and Invisible during the decade, and would form additional bands during the 80s, and Charly García, who formed part of Sui Generis, PorSuiGieco, La Máquina de Hacer Pájaros, and Serú Girán over the course of the 1970s.

Artists often faced pushback from the military dictatorship, and were often forced to censor their music, or utilize metaphors to bypass the government.[33]

1980s and 90s[edit]

Las Viuda e Hijas de Roque Enroll were part of a wave of música divertida that became popular in Argentina after the fall of the dictatorship.

During the Falklands War, the dictatorship banned music in English from playing on the radio, giving Argentine musicians additional exposure on the air waves.[34] This, paired with the fall of the dictatorship in 1983, allowed Argentine rock to grow and reach new audiences in Argentina and abroad. Several Argentine groups were able to achieve international recognition during this period, and were featured in the Rock en tu idioma publicity campaign. [35]

In the 80s, Argentine rock moved away from the folk style that had dominated the 70s, and embraced new production styles and irreverent sounds and lyrics with groups like Soda Stereo, Virus, Los Twists, Viuda e hijas de Roque Enroll, and Los Abuelos de la Nada gaining popularity.[36][37][38] Of course, this música divertida ("fun music") wasn't the only music being created during the decade. Sumo and Los Fabulosos Cadillacs brought ska influences into the fold; Riff, La Torre, V8, and Rata Blanca were all notable heavy metal bands; and rock rolinga, a style heavily influenced by The Rolling Stones, was popular with groups like Los Ratones Paranoicos.[39][40][41] Other important acts included Charly García (now a successful solo artist), Fabiana Cantilo, Celeste Carballo, Sandra Mihanovich, Los Violadores, and Patricio Rey y sus Redonditos de Ricota.

Like the 1980s, the 1990s saw a continued diversification of influences in Argentine rock. Heavy metal bands like A.N.I.M.A.L., Tren Loco and Horcas gained more mainstream success; Fito Páez and Los Rodríguez achieved popularity with pop influenced styles; and Iguana Lovers and Babasónicos were important groups of the movida sónica ("sonic movement"), which was a local interpretation of alternative rock.[42]

After the separation of Soda Stereo in 1997, Gustavo Cerati launched a successful solo carrer in the 90s and 2000s

2000s–present[edit]

While rock is no longer the dominant genre in Argentina, it continues to play an important role in Argentine national identity. Graffiti of influential artists like Luis Alberto Spinetta, Charly García, and Gustavo Cerati can be spotted around Buenos Aires, and the Cosquín Rock music festival has brought local and international acts to Cosquín, Córdoba since 2001.[43][44][45][46]

Notable acts have included: Él Mató a un Policía Motorizado, Airbag, Árbol, Los Espíritus, Marilina Bertoldi, Eruca Sativa, Fidel Nadal, Tersivel, and Triddana.

Electronic[edit]

Argentine electronic music experienced a surge of popularity in the 1990s.[47] Rock musician Gustavo Cerati helped pioneered electronica in South America and the genre heavily influenced his 1999 album Bocanada.[48][49] Electronic dance parties and festivals like Creamfields BA were heavily attended.[50]

Notable artists include DJ Hernán Cattáneo,[47] indietronica band Entre Ríos, electropop band Miranda!, and tango fusion bands Bajofondo Tango Club and the Gotan Project.[51][full citation needed]

From the Zizek Club in Buenos Aires, ZZK Records began in 2007 to create a fusion of electronica and cumbia.[52]

Pop[edit]

Pop musician Lali

Pop bands have seen great popularity, topped by Bandana, the most popular. Other artists in this genre include Alejandro Lerner, Axel (singer), Valeria Lynch, María Jimena Pereyra.

In the 2010s, Lali Espósito became the biggest exponent of pop music in Argentina.[53] Following her debut in 2013, many artists have incursed in the genre, including Tini, Oriana, J Mena, and Emilia.

Cuarteto[edit]

Cuarteto, or Cuartetazo, is a form of dance music similar to Merengue. It became popular in Argentina during the 1940s, beginning with the genre's namesake and innovator, Cuarteto Leo.[citation needed] The genre underwent a revival in the 1980s, especially in Córdoba.[citation needed] Two of the genres most prominent singers are Rodrigo and La Mona Jiménez.[citation needed]

Cumbia[edit]

Cumbia is an important part of contemporary Argentine music, originally derived from the Colombian cumbia. This genre become popular slowly from the 1960s with the irruption in Argentina of the important Colombian bands Los Wawancó and Cuarteto Imperial. Argentine bands and soloists of cumbia originated in the north of the country and in Santa Fe province, the first regions where cumbia become popular. In the next decades cumbia widespread by all the country, becoming in the late 1990s the most popular music in the lower class. In 1999, in the north of the Greater Buenos Aires, originated a lyric style of cumbia named cumbia villera (slum cumbia), who is aggressive and explicit (similar to punk rock or gangsta rap). From the 2000s to nowadays, cumbia become the most listened music genre among the youth.

Current popular acts include Los Palmeras, Los del Fuego, Damas Gratis, Agapornis, La Nueva Luna, Amar Azul, Mala Fama, Ráfaga, Jambao, Antonio Ríos, Daniel Agostini, Karina, Dalila, and Mario Pereyra. Popular defunct bands and deceased solo acts include: Los Wachiturros, Yerba Brava, Pibes Chorros, La Base Musical, Grupo Sombras, Leo Mattioli and Gilda.

Urbano music[edit]

Urbano music (Spanish: música urbana) derives its name from its English-language counterpart urban music. Like urban music, urbano covers a range of genres and styles, many with Black roots or influences, such as trap, dembow, and reggaeton.[54][55][56]

Cachengue[edit]

Cachengue, also known as Cumbiatón or Cumbia turra, is a form of Argentine cumbia that is heavily influenced by reggaeton which became popular in Argentina during the 2010s. Artists and groups such as Los Wachiturros, Nene Malo and others became popular in mid-2011 foreign countries spreadly popularity in countries such as Bolivia, Chile and Uruguay. L-Gante started releasing new songs of this style such as "L-Gante Rkt" with Papu DJ and "L-Gante: Bzrp Music Sessions, Vol. 38" with Bizarrap.[57] DJ Fer Palacio would start bundling up famous Reggaeton songs and would remix it to make it his own version in his "Previa and Cachengue" containing Cumbiatón with EDM influences which his video reached millions of views. Following new producers such as Facu Vazquez, DJ Alex and many others would start creating this sound in Argentina.[58]

Trap[edit]

Trap is a subgenre of rap that developed in the early 2000s in Atlanta, Georgia in the Southern United States. The genre derives its name from trap houses, where drug dealers sell illegal narcotics, and is influenced by G-funk, house, and techno.[59] It typically features drum machines like the Roland TR-808 and its lyrics will focus on gritty depictions of drug use and urban violence.[60]

Trap first gained popularity in Argentina through freestyle rap battles like El Quinto Escalón, which was first held in March 2012 at Rivadavia park in Buenos Aires.[61] Argentine rapper Duki won at El Quinto Escalón in 2016 and his song, “No Vendo Trap,” became the first in the battle’s history to hit 1 million views on YouTube.[62] Other artists who got their start at these battles include Nicki Nicole,[63] Trueno,[64] Ecko,[65] Tiago PZK,[66] and Paulo Londra.[67] Producer and DJ Bizarrap got his start uploading compilations of these freestyle battles onto his Youtube channel.[68]

Cumbia pop[edit]

By mid-2015, the Uruguayan and Argentine band Agapornis of the emerging subgenres "cumbia cheta" and "cumbia pop" enjoyed great success all over Latin America even before publishing their first albums; particularly in their home country and in Argentina, where in a given moment they had together nine songs at the Spotify Top Ten ranking.[69]

Art music[edit]

Jazz[edit]

Jazz guitarist Oscar Alemán

Jazz is an American music genre that originated in the Black communities of New Orleans, Louisiana, in the United States. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation.

Early days[edit]

Like much of the world, jazz was first introduced to Argentina in the 1920s and 30s. The 1930s and 40s additionally saw a number of publications dedicated to jazz such as Síncopa y Ritmo, Swing, and Jazz Magazine.[70]

The most notable Argentine jazz musician from this period was guitarist Oscar Alemán, who played with the likes of Josephine Baker, Django Reinhardt, Louis Armstrong, and Duke Ellington.[71] [72]

1950s[edit]

Tito Alberti, 1957.

Jazz drummer Tito Alberti founded the Jazz Casino orchestra in 1950. Jazz Casino toured internationally and was known for its fusion of jazz, melódicos and tropical music.[73] Alberti's eldest son—Charly Alberti—is best known as the drummer of Soda Stereo.[74]

During the 1950s, Astor Piazzolla introduced nuevo tango to the world, and began to incorporate jazz and classical music elements into his tango compositions.[23][24][75]

Lalo Schifrin began his carrer during this decade.[76]

1960s[edit]

Gato Barbieri, 1970.

Jazz tenor saxophonist Leandro "Gato" Barbieri first came to fame during the free jazz movement in the 1960s, and his work with artists like Don Cherry, Charlie Haden, and Carla Bley. Barbieri would later move to the Latin jazz movement in the 1970s.[77][78]

1970s[edit]

Jazz fusion gained traction during the later part of the decade. Influenced by the work of Astor Piazzolla, among others, Rodolfo Mederos released Fuera de broma in 1976. The album fused jazz, tango, folk, and rock.[79] On the back cover of the album, Rodolfo wrote that:

A friend once told me, referring to all those musicians who fear 'contaminating' themselves with other music: 'Every border that prevents entry, also prevents departure.' I always remembered that. My modus operandi was for a time tango. One day I felt as though I were touching a limit. I realized that I had reached a threshold, and from then on I would either stay inside or try to get out by expanding it, growing. I recalled that issue of the borders. I reviewed then, carefully, my relationship with all music and I understood that, without a doubt, I enjoyed, in some way, certain aspects of jazz, of rock, of soul, of 'pop' music, and obviously tango in its new forms (Astor Piazzolla), and some traditional forms (O. Pugliese, H. Salgán). I got to work with joy and without preconceptions. Later, I thought in the group that should play this music and, in this natural way, arose the idea of the bandoneon block and rhythm section. Then I added the color of the saxophone and flute, and it was set. We rehearsed, performed live and recorded this LP. I made sure we all liked it and that we had fun and I somehow understood that we had taken a step beyond the famous limit. 'Generación Cero' does not exist today as an established group, but it leaves this document for the consideration of those who also feel the need to expand those limits, their own limits." [80]

Mederos has enjoyed critical success during his carrer and has toured internationally; worked with the likes of Astor Piazzolla, Mercedes Sosa and Joan Manuel Serrat; and composed music for several films and stage plays.[81] His group, Generación Cero, continues to perform, though with different musicians and instrumentation.[82]

Other notable musicians who came to prominence during the decade are Pocho Lapouble and Dino Saluzzi.

1980s–Present[edit]

Alto saxophonist Andrés Boiarsky gained prominence for his contributions to the score of the 1986 film Hombre mirando al sudeste.[83][84] Melopea Discos—a record label founded by Argentine musician Litto Nebbia—was founded in the 1980s and has distributed a number of jazz albums from both Argentine and international artists.[85]

Today, there are jazz clubs across the nation's capital.[86] Buenos Aires is also home to the annual Jazzología jazz festival, established by Carlos Inzillo in 1984 and one of the country's longest running music festivals; The Festival Internacional de Jazz Django Argentina (International Django Jazz Festival Argentina), established in 2003 as part of the Jazzología jazz festival; and the Festival Internacional Buenos Aires Jazz (Buenos Aires International Jazz Festival). [87][88][89][90]

Classical music[edit]

The Buenos Aires Philharmonic Orchestra performing in Mar del Plata during its first season (1947).

The Orquesta Filarmónica de Buenos Aires ("Buenos Aires Philharmonic") was established in 1946 under the name Orquesta Sinfónica del Teatro Municipal ("Municipal Theater Symphony Orchestra"). It was the first official, exclusively symphonic, orchestra of the city of Buenos Aires, and was housed in the Teatro Municipal. The orchestra was moved to the Teatro Colón in 1953, and was renamed the Orquesta Filarmónica de Buenos Aires in 1958.[91] The Orchestra has toured internationally, and performed with established national and international soloists, including Astor Piazzolla, Martha Argerich, Paco de Lucía, Luciano Pavarotti, Yehudi Menuhin, Itzkak Perlman, and Joshua Bell.[92][91] Enrique Diemecke has lead the orchestra since 2007.[92]

Another prominent orchestra is the Orquesta Sinfónica Nacional ("Argentine National Symphony Orchestra"). It was founded in 1948 as the Orquesta Sinfónica del Estado. The Orquesta Sinfónica Nacional has toured internationally and won several distinctions within Argentina, including the Asociación de Críticos Musicales de la Argentina's award for "Best Orchestra" for the 1996, 2000 y 2002 seasons. [93] Pedro Ignacio Calderón lead the orchestra from 1994 to 2015.[94]

Martha Argerich, widely regarded as one of the greatest pianists of the second half of the 20th century[95]

Notable Argentine musicians include composers Juan José Castro, who served as the director of the National Symphony in Buenos Aires from 1956 to 1960;[96] Alberto Williams, one of the first Argentine composers to achive international fame; [97] Carlos Guastavino, whose compositions were heavily influenced by Argentina's folk music;[98] Judith Akoschky; Daniel Barenboim, who has directed the Orchestre de Paris, the Chicago Symphony Orchestra and the Berlin State Opera;[99] and Alberto Ginastera, considered Argentina’s leading composer of the 20th century. [100]

Other celebrated musicians include pianist Martha Argerich, violinist Alberto Lysy, classical guitarist María Isabel Siewers, tenor José Cura, and mezzo-soprano Margherita Zimmermann.

Other artists[edit]

Soul/Funk[edit]

Rap[edit]

Reggae[edit]

Other[edit]

Multimedia[edit]

1.

Selections:

  • Fuga y misterio. Ástor Piazzolla, music. Dancers: Vincent Morelle and Marilyne Lefor. (New Tango)
  • Por una cabeza. Carlos Gardel, music and vocals; Alfredo Le Pera, lyrics. (Classic Tango)
  • Medley. John Michel, cello and Mats Lidstrom, piano. (Milonga)

See also[edit]

References[edit]

  1. ^ The Harvard Dictionary of Music. Belknap Press. 28 November 2003. pp. 53–54. ISBN 978-0674011632.
  2. ^ Geographic, National (9 August 2018). "¿Cuáles son los orígenes del tango?". National Geographic en Español (in Spanish). Retrieved 26 February 2024.
  3. ^ Gazzo, Por Walter (11 February 2023). "60 años del "Nuevo Cancionero", toda una revolución en la música popular argentina". infobae (in European Spanish). Retrieved 26 February 2024.
  4. ^ "Paper: The Argentine Folklore Boom: Ethnicity and Class Identities in Post-Peronist Argentina. (125th Annual Meeting (January 6-9, 2011))". aha.confex.com. Retrieved 7 March 2024.
  5. ^ Orquera, Fabiola (December 2015). "El proyecto musical de Leda Valladares: del sustrato romántico a una concepción ancestral-vanguardista de la argentinidad" [Leda Valladares' Musical Project: From a Romantic Substratum to an Ancestral, Avant-garde Conception of Argentine Identity]. Corpus (in Spanish). Santa Rosa, Argentina: Centro Científico y Tecnológico-CONICET, Universidad Nacional de La Pampa. 5 (2): 1–30. doi:10.4000/corpusarchivos.1479. hdl:11336/55035. ISSN 1853-8037. OCLC 5948908129. Retrieved 13 June 2020.
  6. ^ "Leda Valladares se erige como la célula primaria del folclore argentino" [Leda Valladares Stands as the Primary Cell of Argentine Folklore]. El Litoral (in Spanish). Santa Fe, Argentina. 19 December 2019. Archived from the original on 14 June 2020. Retrieved 14 June 2020.
  7. ^ Jáuregui, Ernesto (April 2016). "Manifiesto del Nuevo Cancionero: Vigencia e Influencia en la Carrera de Música popular." Retrieved March 7, 2024.
  8. ^ Girolami, Natalia (15 November 2022). "A brief history of the Nueva canción movement - Berkeley B-Side". Retrieved 7 March 2024.
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  10. ^ "Decile como quieras. Censura en el arte: ¿qué fue el Operativo Claridad?". La Izquierda Diario - Red internacional (in Spanish). Retrieved 7 March 2024.
  11. ^ "Facundo Cabral: Musician whose work inspired opponents of South". The Independent. 11 July 2011. Retrieved 7 March 2024.
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  17. ^ "UNESCO - Tango". ich.unesco.org. Retrieved 4 March 2024.
  18. ^ MasterClass (7 June 2021). "Guide to Tango Music: A Brief History of Argentine Tango".
  19. ^ News, A. B. C. "Candombe: Afro-Uruguayan Drums and the Roots of Tango". ABC News. Retrieved 4 March 2024. {{cite web}}: |last= has generic name (help)
  20. ^ Edición Instituto Nacional contra la Discriminación, la Xenofobia y el Racismo, et al. "Argentina también es Afro". Retrieved February 26, 2024.
  21. ^ "Tango Negro: The African Roots of Tango". HuffPost. 6 August 2015. Retrieved 28 February 2024.
  22. ^ "The Golden Age". Los Angeles Tango Academy | Tango Classes. Retrieved 4 March 2024.
  23. ^ a b "Astor Piazzolla at 100: Argentina's nuevo tango pioneer is honored worldwide for his still-electrifying music". San Diego Union-Tribune. 12 March 2021. Retrieved 4 March 2024.
  24. ^ a b "The Birth of Nuevo Tango | Arizona Opera". azopera.org. Retrieved 4 March 2024.
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  27. ^ "Típica Messiez".
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