Music of Paraguay

The music of Paraguay has a long history.

The Paraguayan polka combines ternary and binary rhythms, whereas the European only uses binary. The most famous style of music is the Guarania, created by the Paraguayan musician José Asunción Flores in 1925. The Guarania accomplishes this by using a combination of slow rhythms and melodies of melancholia character. Other popular genres of traditional music in Paraguay are the zarzuela and the "Paraguayan Songs", which are derived from the Paraguayan polka. Examples of Paraguayan Guarania are Juan B. Mora - Imposible, Duo Ñamandu - Che Rope'a Vype, Lorenzo Perez - Mi Dicha Lejana, Los Indianos - Mis Noches Sin Ti and others.

The Spanish guitar and European harp are among the most popular instruments, while dances include the lively polka and distinctive bottle dance, which involves the performer twirling a bottle around her head. Composer and guitarist Agustín Barrios is perhaps the country's best known export.

The Paraguayan harp deserves special mention as a popular instrument with a national style associated with it. The harp in South America dates back to at least 1556-7, possibly as early as the beginning of the 16th century. These harps had 26 to 38 strings, though most typically no fewer than 36. It was frequently used in church music in place of the organ or harpsichord. The Paraguayan harp is a simplified variation of the instrument, with 38 strings tuned to one major diatonic scale.

Several world-popular genres of music, such as rock are fairly new in the Paraguayan music scene. This is because of the fierce dictatorship enforced by former President Alfredo Stroessner during his mandate from 1954 to 1989, in which he banned all forms of liberal expressions. Despite that, a few rock groups were formed in the 1970s such as The Aftermad's and The Blue Caps. It wasn't until Stroessner's downfall in 1989 that rock groups emerged. In the 1990s groups such as Chris Patik, Enemigos de la Klase, Deliverans, El Templo, Dogma, Shamán, Turkish Blend and Slow Agony became popular. In the new millennium, Paraguayan rock bands have gained a strong following thanks to the big rock festivals such as "Pilsen Rock" and "Quilmes Rock", which gather around 60,000 spectators for every edition. The bands have even gathered some international success by touring throughout Latin America and even making small gigs in the United States. The most popular rock bands as of now are Rolando Chaparro, Flou, Revolber, Ripe Banana Skins, Area 69, Paiko, Salamandra, Gaia, and NOD. The real rock bands are 220 Voltios, Sucios y Desprolijos, Steinkrug, Linaje, Black Manzana, and Alto Voltaje.

There is a small but vibrant jazz community in Paraguay. Key players include: Palito Miranda (alto sax), Remigio Pereira (trombone), Victor "Toti" Morel (drums), Oswal Gonzalez (drums), Riolo Alvarenga (drums), Jorge "Lobito" Martinez (piano), Carlos Schvartzman (guitar), Carlos Centurión (piano), Gustavo Viera (guitar), Eduardo "Tato" Zilli (bass), Nene Salerno (bass), Ariel Burgos (bass), Victor Morel Jr. (drums), German Lema (organ), Jose Villamayor (guitar), Bruno Muñoz (tenor and alto sax) and others.

The main exponents are Agustín Barrios Mangoré, José Asunción Flores and Juan Carlos Moreno. Silva studied abroad and reproduced, in the guarani vocal form, the indigenous music, based on the European technique. Moreno composed works inspired on popular themes in a romantic classical path.

Music of Panama - AH Smeets

Panama is a Central American country, inhabited mostly by mestizos (persons of mixed African, European and indigenous ancestry). The music of Panama was influenced first by the indigenous populations of Kunas, Teribes, Nobe Bugle and others, and then by the black population who were brought over, first as slaves from Africa, and also Colombia between the 16th century and the 19th century, and then voluntarily (especially from Jamaica, Barbados, Martinique, Guadeloupe, Trinidad, Saint Lucia) to work on the Panamanian Railroad and Canal projects between the 1840s and 1914.

With this heritage, Panama has a rich and diverse music history, and important contributions to Cumbia, Saloma, Pasillo, Punta, Tamborito, Mejorana, Bolero, Jazz, Salsa, Reggae, Calypso, Rock and other musical genres.

The Saloma and Mejorana feature a distinctive vocal style said to derive from Sevillians. The most important native instruments used to play these musics are the mejoranera, a five-stringed guitar accompanying songs called mejoranas as well as torrentes, and the rabel, a violin with three strings used to play cumbias, puntos and pasillos in the central provinces of Coclé, Herrera, Los Santos and Veraguas.
Cumbia

Closely related to its more well-known Colombian cousin, Panamanian cumbia, especially amanojá and atravesao styles, are domestically popular. Another important music is punto and the salon dances like pasillo, danza and contradanza. During the nineteenth and 20th centuries, the Pasillo music was very popular.

A folk dance, called tamborito is very popular. Danced by men and women in costumes, the tamborito is led by a cantalante, a female lead singer, who is backed by a clapping chorus (the "estribillo") that sings four-line stanzas of copla (a lyrical form related to Spanish poetry) as well as three drums.


A somewhat similar genre called congo is popular among the black communities of the northern coast in Costa Arriba, which includes Portobelo, a province of Colón; it is distinguished by using upright drums and wild, lascivious movements and lyrics.
Tipico

Contemporary popular Panama folkloric music is generally called música típico, or pindín, which since the 1940s has included instruments such as the guiro, conga and especially the accordion, among others. Some famous Panamanian artists in this genre are Ulpiano Vergara, Lucho De Sedas y Juan De Sedas, Dorindo Cárdenas, Victorio Vergara, Roberto "Papi" Brandao, Nenito Vargas, Yin Carrizo, Abdiel Núñez, Manuel de Jesús Abrego, and Samy y Sandra Sandoval, just to name a few.


Panama's leading salsa musician, Ruben Blades, has achieved international stardom, after collaborating with other local musicians like Rómulo Castro and Tuira. Other world famous musicians from Panama included Luis Russell, who played with Louie Armstrong in the 1920s, Mauricio Smith, a noted saxophone and flute player who played with Chubby Checker, Charles Mingus, Dizzy Gillespie, Machito and Mongo Santamaría, among others. Victor "Vitin" Paz, a pillar of the Latin jazz trumpet, was a cornerstone of the Fania All Stars for many years.


Meanwhile, Panama has a long history in jazz, beginning with Luis Russell, pianist, composer and director, who travel to New Orleans in 1919 and made important contributions. By the 1940s the port city of Colón boasted at least ten local jazz orchestras. Legends of Jazz in Panama included pianist and composer Victor Boa, Bassist Clarence Martin, Singer Barbara Wilson and French Horn player John "Rubberlegs" McKindo. This Jazz legacy was recently reinvigorated when the US-based Panamanian pianist Danilo Perez organized the first Jazz Festival in January 2004.


Panama also boasts a vibrant history of Calypso and Mento music sung by nationally well-known musicians such as Lord Panama, Delicious, Two-Gun Smokey, Lady Trixie, Lord Kitty, and Lord Cobra and the Pana-Afro sounds.


By the 1960s, local doo-wop groups were evolving into what became known as the Combos Nacionales, five to ten musician groups using electric instruments and incorporating the diverse sounds of jazz, calypso, salsa, vallenato, doo wop, soul and funk. Famous Combos Nacionales included The Silvertones, The Exciters, The Fabulous Festivals, The Beachers, The Soul Fantastics, Los Mozambiques, The Goombays, Los Juveniles, Roberto y su Zafra and Bush y sus Magnificos. By 1970, the dynamic Combos Nacionales sound dominated Panamanian popular music, only winding down toward the late 1970s.

Reggae en Español originated in Panama, known as Spanish Reggae is very popular among youth, and spawned the Spanish language dancehall also known as Reggae en Español (Spanish dancehall) style known as the predecessor to Reggaeton, which originated with such artists as El General, Nando Boom, Renato, Aldo Ranks, Kafu Banton, Jam & Suppose, and Chicho Man, before becoming popular in Puerto Rico, the Dominican Republic and eventually amongst youth in the United States. As of 2006, Panama has become a major source and contributor to reggaeton and, especially as Reggaeton from Panama is on the rise and continues to dominate charts in the United States and abroad.

Reggae influences in Panama have also spawned several popular Reggae Roots bands, such as Pureza Natural, Raices y Cultura, Inspiración Mística, Panta Rey, among others.

A thriving and very popular Rock en español scene has produced such groups as Orquesta Garash, Radicales Libres, Filtro Medusa, Skamilonga, Los Rabanes, Xantos Jorge, Cage 9, Factor VIII, Os Almirantes, Nervial, Los 33, Señor Loop, Roba Morena, Out-Reazon, Lemmiwinks, Skraped Knees, Calibre 57 just to name a few.

This list would not be complete without mentioning Pedro Altamiranda and his historically popular music spanning several generations and political moments. Many popular phrases and slang used in Panama are lyrics from Altamiranda's songs.

Composer
Vicente Gómez Gudiño, pasillo
César Alcedo, pasillo
José Luis Rodríguez Vélez, cumbia, bolero, pasillo
Rodrigo Escobar Tamayo, cumbia, décimas, pasillo, vallenato
Carlos Cedeño, cumbia
Carlos Cleghorn, cumbia
Didio Borrero, cumbia, bolero
Mavin Moreno, cumbia
Ricardo Fábrega, bolero, pasillo
Eduardo Charpentier, pasillo
Alberto Galimany, pasillo
Luis "Lucho" Azcárraga, pindín
Ruben Blades, salsa
Omar Alfano, salsa
Lord Panama, calypso
Nando Boom, reggae
Luis Russell, jazz, swing
Danilo Perez, jazz
Roque Cordero, classical
Samuel Robles, classical (website)
Emiliano Pardo, classical (website)
Andrés Carrizo, Classical

Music Director
Aurelio Escudero
José Luis Rodríguez Vélez
Armando Boza
Luciano Muñóz
Luis Russell

Singers
Flex, reggaeton
Makano, reggaeton
Barbara Wilson, jazz
Sandra Sandoval, pindín
Catalina "Catita" Carrasco, cumbia
Lucho De Sedas

Accordion
Rogelio "Gelo" Córdoba
Ulpiano Vergara
Juan De Sedas
Dorindo Cárdenas
Victorio Vergara
Yin Carrizo
Samy Sandoval
Osvaldo Ayala
Ceferino Nieto
Roberto "Fito" Espino
Papi Brandao
Alfredo Escudero
Isaac De León

Trumpet
Victor "Vitin" Paz

Mejoranera
Juan Andrés Castillo

Organist
Luis "Lucho" Azcárraga

Guitar
Emiliano Pardo Tristán
Daniel Ritter

Violin
Samuel Ramos
Clímaco Batista

Music of Nicaragua

Music of Nicaragua is a mixture of indigenous and European, especially Spanish, influences. Musical instruments include the marimba and others that are common across Central America. Pop music includes Cuban, Brazilian, Mexican and Panamanian performers, as well as those from Europe and the United States.

Nicaraguans enjoys their local artist's music but also enjoy music from around the world. They enjoy the Dominican Republic's bachata and merengue, Jamaica's reggae, Panama's reggaeton and Colombia's Cumbia among other genres including pop. Among the younger crowds heavy metal and rock has become very popular.

Nicaraguan music is a mixture of different cultures from indigenous tribes, European conquerors, and slaves. Styles of music vary throughout the different regions in the country. In the Caribbean coast music with African and indigenous influence are heard, in the Pacific coast the music is considered to be a mixture of the indigenous and Spanish culture and in the North/Central region of Nicaragua the music has more of a European flavor, this is because of the significant wave of Europeans, mostly Germans, that live in the region. European influenced dances like the polka and Mazurka are also danced in this region.

The Caribbean coast of Nicaragua is known for its Palo de Mayo, which is a lively and sensual form of dance music that is especially loud and celebrated during the Palo de Mayo festival. The Garifuna community exists in Nicaragua and is known for its popular music called Punta. Also, Soca, Reggaeton and Reggae is popular throughout the country.

Rhythms like the trova became essential to writers in the post-war scenario of the 70s and 80s. Writers used trova to express social injustice, their hope for a better tomorrow, patriotism, and ecological conservation. This, in time, became a rhythm used in artistic Nicaraguan creations, and it therefore also became part of the culture. Well known in this category is Duo Guardabarranco, formed by the brothers Salvador and Katia Cardenal.

Another popular musical genre in Nicaragua is the Chicheros, often consisting of a trumpet and trombone or other brass instruments, with additional musicians playing various percussions. This is often to be heard in private parties around the country.

The marimba of Nicaragua distinguishes itself from the other forms of marimba in Central America by the way it is played. Nicaragua's marimba is played by a sitting performer holding the instrument on his knees. They are usually accompanied by a bass fiddle, guitar and guitarrilla (a small guitar similar to a mandolin). This music is played at social functions as a sort of background music. The marimba is made with hardwood plates, placed over bamboo or metal tubes of varying lengths. It is played with two or four hammers.

Indigenous theater groups performed with music and dance. Theatrical manifestations include the Elegant Knights of Huaco Bull and the UNESCO proclaimed masterpiece, "El Güegüense", among many others.
Nicaraguans in Music

The most prominent Nicaraguan composers are José de la Cruz Mena (1874-1907), a classical composer born in León, creator of varied romantic waltzes and sounds inspired by everyday experiences like The Nacatamal, The Turkeys, or Ruins; by Bible characters like Loves of Abraham; or by his aristocratic patrons' wives and daughters like Beautiful Margaret, Rosalía, etc. Mena's became famous in America where it influenced other American composers. It reached Europe, and Asia in the late 1800's and became so popular, particularly in Germany, and Italy that inspired composer Giacomo Puccini for his opera La Boheme. Luis Abraham Delgadillo, with several symphonies, stage works, orchestral pieces, chamber music, songs, and piano music to his credit, and Camilo Zapata, creator of the Nicaraguan Sound. Erwin Krüger, creator of Barrio de Pescadores (Fisherman's District). Justo Santos creator of La Mora Limpia (A Clean Coffee Bean), considered Nicaragua's popular anthem.

Other prominent national musicians, groups, and songwriters include Carlos Mejia Godoy, Luis Enrique Mejia Godoy, Luis Enrique Mejía López (known as Luis Enrique), Sergio Tapia, Hernaldo Zúñiga, Macolla, Dimension Costeña, Los Mokuanes, Lía Barrios, Norma Elena Gadea, Catia Cardenal, Salvador Cardenal and from Somoto Nicaragua Marcio Brenes Mejia.

Of the younger generation of Nicaraguan singer-songwriters there are a few notable such as Latin Grammy Nominee Ramon Armando Mejia (Perrozompopo), Arturo Vaughan, Moisés Gadea, Junior Escobar, Elsa Basil, Cecilia Ferrer, Alejandro Carlos Mejia, Clara Grun, Noel Portocarrero, Duo Guardabarranco, Juan Solorzano, and Marcio Brenes JR.. Also, rock bands such as Necrosis, Grupo Armado, Crisis, Monroy y Surmenage, Mano de Vidrio, Contrapeso, Q69K, Kerfodermo, Carga Cerrada and Cecilia & The Argonauts.

Hip Hop and Reggaeton artist include Torombolo, J Smooth, Mr. Meli, Nello Style, Nica and Lingo Nicoya.

Nicaragua's Caribbean coast is home to prominent reggae singers and groups such as Philip Montalban, Carlos de Nicaragua, Kali Boom, Sabu, Sabu Sr. and Osberto Jerez y los Gregory's

Also notable instrumentalists such as guitarists Tony Melendez, Arturo Vaughan, Roberto Vaughan, Eduardo Araica, Omar Suazo, Arnulfo Oviedo, Saulo Pérez, and Andrés Sánchez, marimba player Carlos Luis Mejia, batterists Jorge Lanzas, Bikentios Chávez, and percussionist José Areas who was inducted in the Rock & Roll Hall of Fame with the band Santana.

Smeets Music of Mexico

The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably indigenous Mexican and European, since the Late Middle Ages. Many traditional Mexican songs are well-known worldwide, including Bésame Mucho (Kiss Me a Lot), La Bamba (The Bamba), Solamente una vez (English version "You Belong to My Heart"), La Bikina (The Bikina), Cielito Lindo (Beautiful Sweetheart), Somos Novios (We Are Lovers; English version "It's Impossible"), El Rey (The King), María Bonita (Pretty María), México Lindo y Querido (Beautiful, Beloved Mexico).

La Cucaracha (The Cockroach), although popularized during the Mexican Revolution, is a Spanish corrido.

Banda music was created with the imitation of military bands that were imported during the Second Mexican Empire, headed by emperor Maximillian I of Mexico in the 1860s. Banda sounds very similar to polka music. Polish immigrants established themselves in the state of Sinaloa. It was further popularized during the Mexican Revolution when local authorities and states formed their own bands to play in the town squares. Revolutionary leaders like Pancho Villa, also took wind bands with them wherever they went. Banda has to this day remained popular throughout the central and northern states. It has, however, diversified into different styles due to regions, instruments and modernization. Today people associate banda with Sinaloense. This originated in the 1940s when the media distributed Banda el Recodo repertoire as exclusively from Sinaloa when it was actually regional music from all over Mexico.

Although banda music is played by many bands from different parts of Mexico, its original roots are in Sinaloa, made popular by bands such as Banda el Recodo from Sinaloa.

Banda Sinaloense experienced international popularity in the 1990s. The most prominent band was Banda el Recodo which is renowned as "the mother of all bands". Unlike tamborazo Zacatecano, Sinaloense's essential instrument is the tuba. Sometimes an accordion is also included.

Tamborazo Zacatecano originated in the state of Zacatecas and translates to drum-beat from Zacatecas. This banda style is traditionally composed of 2 trumpets,2 saxophone, a trombone and the essential bass drum. La Marcha de Zacatecas (The March of Zacatecas) by Genaro Codina is a perfect example of this type of music. La March de Zacatecas is a Mexican patriotic song, the anthem of the State of Zacatecas and considered the 2nd national anthem of Mexico.

In recent years the genre has been tainted with blood and violence, with the deaths of: Valentín Elizalde (known as "El Gallo de Oro" (golden rooster)), Sergio Vega "el shaka", and the lead singer of the band K-paz de la Sierra, Sergio Gomez. All these murders have been linked to drug dealers bands.

The Mariachi-style of music originated in the state of Jalisco, particularly in the city of Cocula, near Guadalajara, as well as surrounding states of western Mexico. Mariachi is now popular throughout Mexico and the Southwest United States, and is considered representative of Mexican music and culture. This style of music is played by a group consisting of five or more musicians that wear charro suits.

Origins of the word Mariachi: There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music played at weddings, other refute this theory (apparently the word was in use in Mexico before the arrival of the French). Others claim that it comes from a native language, Coca; in this language mariachi is the name of the type of wood used to make the platform on which musicians would stand to perform.

Mariachi instruments: The traditional mariachi band was made up of at least two violins, a guitar, a guitarrón (large bass guitar) and a vihuela (similar to a guitar but with a round back that plays at a higher pitch than the traditional guitar). Nowadays mariachi bands also usually include trumpets, and sometimes a harp.

Honduras Music

The music of Honduras is very varied, Punta is the main "ritmo" de Honduras, to Caribbean music like salsa, merengue, reggae, and reggaeton all widely heard especially in the North, to Mexican rancheras heard in the interior, rural part of the country. The country's ancient capital of Tegucigalpa is an important center for modern Honduran music, and is home to the College for Fine Arts.

The Garifuna came from and escaped Island Caribs who were deported from St. Vincent to Central America (especially Honduras, Belize, Guatemala, and also in Nicaragua in 1802) by the British when they conquered St. Vincent. The Garifunas kept themselves apart from the social system then dominant, leading to a distinctive culture that include chumba and hunguhungu, a circular dance in a three beat rhythm, which is often combined with punta. There are other songs typical to each gender, women having eremwu eu and abaimajani, rhythmic a cappella songs, and laremuna wadauman, men's work songs. Other forms of dance music include matadfgmuerte, gunchei, charikawi and sambai.

Though American music has produced most of the popular music in modern Honduras, the country has produced several well-known musicians such as; Curtis Jackson, Diablos Negros and Victors Cereal Band (A.D.N.), Delirium, Sueño Digviana, Pez Luna, Sol Caracol, Khaoticos,ANIMA, URANIA, Ytterbium, Karpenter's Kids, El Pez, Montuca SoundSystem and Evolucion Neutra. A few famous bands originally from Honduras are The Dung Beetles, The Fruit Loops, and Extreme Latino Rock!

Reggaeton has also been growing in popularity in recent years, and Honduras has emerged as a leading producer of artists. Notable artists include Raggamofin Killas, El Pueblo, Los Bohemios Del Reggaeton and DJ Slyfox.

Smeets Haiti

Haiti has a rich blend of African and European music; Cuban and Dominican influences also blend to create Haiti's diverse music. The most notable styles are Kompa and méringue. Evolving in Haiti during the 1850s, the Haitian merengue (known as the mereng in Haitiean Creole and méringue in French) is regarded as the oldest surviving form of merengue performed today and is a national symbol. According to Jean Fouchard, mereng evolved from the fusion of slave music genres (such as the chica and calenda) with ballroom forms related to the French contredanse. Mereng's name, he says, derives from the mouringue music of the Bara, a Bantu people of Madagascar. That few Malagasies came to the Americas casts doubt on this etymology, but it is significant because it emphasizes what Fouchard (and most Haitians) consider the African-derived nature of their music and national identity. Dominican merengue, Jean Fouchard suggests, developed directly from Haitian mereng.

Dominicans are not inclined to highlight African and Haitian influences on their culture. As ethno-musicologist Martha Davis points out, many Dominican scholars "have, at the least, ignored African influence in Santo Domingo. At the worst, they have bent over backwards to convince themselves and their readers of the one hundred percent Hispanic content of their culture. This is not an uncommon Latin American reaction to the inferiority complex produced by centuries of Spanish colonial domination"

The Music of Guatemala

The music of Guatemala is diverse. Music is played all over the country, even in the remotest corners. Towns also have wind and percussion bands -week processions, as well as on other occasions. The Garifuna people of Afro-Caribbean descent, who are spread thinly on the northeastern Caribbean coast, have their own distinct varieties of popular and folk music. Cumbia, from the Colombian variety, is also very popular. Dozens of Rock bands have emerged in the last two decades, making rock music quite popular among young people.

Guatemala also has an almost five-century-old tradition of art music, spanning from the first liturgical chant and polyphony introduced in 1524 to contemporary art music. Much of the music composed in Guatemala from the 16th century to the 19th century has only recently been unearthed by scholars and is being revived by performers.

The marimba's first documentary evidence of existence comes from an account of a performance in front of the cathedral of Santiago de Guatemala, present-day Antigua Guatemala, in 1680. Later, historian Juan Domingo Juarros mentioned and described it in his Compendium of the History of Guatemala. The instrument however may be probably much older, as an attempt at recreating an older West African instrument, and could have been introduced by Afro-Caribbean slaves as early as 1550. The arch marimba was probably the first, followed by a simple instrument with a diatonic row of wood bars played with mallets, with gourd resonators, placed on a wooden a stand. In 1894 came a major breakthrough, when Julián Paniagua Martínez and Sebastián Hurtado developed the chromatic marimba, by adding to the diatonic row of sound bars, comparable to the white keys of the piano, a second row equivalent to the black keys. By the early 20th century, wooden-box resonators had replaced the gourd resonators. Modern marimba bands include a smaller marimba for three players, a larger marimba for four players, plus a drum kit or other percussion and a string bass. Some bands have occasionally employed one or two saxophones, as well as one or two trumpets and a trombone. Much of the older repertoire of salon music was learned and adopted by the marimba bands, while a sizable amount of new dance pieces was newly composed for the marimba by such composers and marimba players as Domingo Bethancourt (1906–82), the Ovalle brothers, the Hurtado brothers, as well as the famous Mariano Valverde (1884–1956), Wotzbelí Aguilar (1897–1940) and Belarmino Molina (1879–1950), to name but a few. Singer Paco Pérez (1917–1951) was catapulted to fame with his waltz "Luna de Xelajú", one of best-known marimba pieces which is regarded by many Guatemalans as a sort of unofficial national anthem.