Argentina - Culture - Music

Argentina can be described as a country displaying manifold identities and cultural traditions which are engraved in all of their artistic expressions. Music rises as one of the most proliphic of those expressions and it has undoubtedly been one of the major foundations so that this country can currently be regarded as part of the worlwide cultural scenario, with tango standing as the ultimate symbol of the Argentine culture. Even though this rhythm is thought to be the quintissential music genre when describing Argentina, the richness of its compositions reflected in other genres is equally significant.

The popular genres are those having endowed music with the greatest prestige; therefore, tango, folk, and rock rhythms have left their own imprint on the history of music, which can be clearly appreciated in their original compositions, combination of rhythms and new interpretations.

It can be argued that classical music has reached a stage of significant development. World renowned Interpreters have given performances at the Colon Theater of Buenos Aires. Furthermore, other musical genres and sub-genres–like jazz or latin rhythms- have gradually encountered reference models that can be said to enrich local music perspectives.
 
Tango
This combination of African, European and “criollas” roots is by far the best Argentine contribution to the worlwide culture. Described as a clearly popular style born in Buenos Aires suburbs, brothels and tenement houses, tango (meaning “a place for slaves to meet”) is intrincately embedded in its music and lyrics melancholic essence as well as in the sensuality and passion felt when dancing it.

At its early stages, which could arbitrarily be dated back to the middle of the XIX century, the main instruments played were the flute, the violin and the guitar. 

With the strong waves of immigration taking place in the 1900, a new instrument known as bandonneon gained popularity, and it has definitely played a major role up until today.

Carlos Gardel, the “Zorzal Criollo”, was the musician who popularized tango as a song during the XX century´s first decades and it has certainly become a worlwide icon in this genre and a symbol of the Argentine culture.

Since the 40s, when local cultural industries have grown stronger, above all that of TV and radio, tango reached its golden age and since then it has been interpreted by composers and singers like Osvaldo Pugliese, Aníbal Troilo, Enrique Cadícamo, Tita Merello, Virgilio and Homero Expósito, Alberto Castillo, Enrique Santos Discépolo, Horacio Salgán and Homero Manzi, to mention just a few.

Roberto Goyeneche began his music carrer in the mid 50s. Nevertheless, he is still regarded as one of the most versatile tango composers and master of a unique tango style and phrase, which assign him a transversal place throughout the history of tango. He was reivindicated by all generations until his death in 1994. Moreover, the “Polaco” Goyeneche as he came to be known, sponsored the carrer of Adriana Varela, a talented singer currently standing as one of the 2X4 female voices

Tango went through a stage of transition between the 60s and the 70s, with Astor Piazola, who with his compositions and bandonneon, took it to the acme of musical frontiers together with other music styles like jazz. The most traditional tango style was interpreted by a group of singers such as the Sexteto Mayor, or by solo singers like Julio Sosa, Leopoldo Federico and Mariano Mores, whose music is still played nowadays.

Another tendency of contemporary tango development can be associated with the combination of this rhythm with other genres, as young musicians have revitalized tango by including other types of music such as electronic and rock.

Some of the projects reflecting the above mentioned combinations of music styles are the Gotan Project, Bajo Fondo Tango Club and Tanghetto.

Three events held in Buenos Aires have gained momentum in the international agenda: the Tango Championship, the Tango World Cup and the Tango Festival, which have attracted visitors from all over the world since the last decade.

Folk Music
The “national folk music” is known as the genre embracing more sub-genres, nuances, styles and expressions. Each region of the country  stands out as it imprints a distinctive touch to its own music, thus resulting in an even greater variety of styles.

Since colonial times, folk music has been regarded as the music genre having achieved the combination of rhythms regarded as closest to its native populations, and colonizing influences.  Zamba,  chacarera, chamamé, baguala, carnavalito or copla represent sub-genres that have gained greater popularity in many of the Argentine provinces, which have in turn found revitalized as a result of the exchanges with bordering countries. The musical instruments that clearly excell are bombo legüero, caja, sicu, charango and the guitar.

Its most oustanding exponent is Atahualpa Yupanqui who was an author, composer, guitar player and singer who knew how to portray the identity and reality of each region by becoming familiar with native indians´ ancient cultures. He managed to accurately and poetically describe the political situation of rural inhabitants by referring to the exploitation and poverty historic conditions. “El Arriero” and “Luna tucumana” are, perhaps, considered as his most famous songs.

There is a countless number of folk musicians made up of internationally renowned artists. Some of them are Horacio Guarany, Jorge Cafrune, Mercedes Sosa, Eduardo and Juan Falú, Alfredo Ábalos, Sixto Palavecino, Liliana Herrero, Los Fronterizos, the Dúo Salteño, Peteco Carabajal, Los Chalchaleros, Chango Spasiuk, Teresa Parodi, Raúl Carnota and Soledad Pastorutti, to mention just a few.

The major Latinamerican folk festival has been celebrated in the city of Cosquín in the province of Córdoba, in summer time for over 50 years.

Rock
Argentina did not remain immune to the cultural revolution that rock and roll music brought about in the world. Since the early 60´s, the urban centres- Buenos Aires, Rosario, and La Plata–have been avid recipients of this emerging music style. And what characterized the acceptance of this music style was the rapid assimilation and transformation as from the local origins.

Los Gatos–a rosarino group led by Lito Nebbia–were the ones that “started” writing rock songs at a local level. Their first hit was “La Balsa” composed by Tanguito. Other groups appeared in the open scenario: Almendra–headed by Luis Alberto Spinetta–and Manal–led by Javier Martínez. They created their own music style based upon the beat music which was gaining popularity at a worldwide level.

By the end of the 60s, other solo singers and their bands enlarged the list of rock musicians and in turn broadened the scope of styles and sub-genres existing at that time: Pappo’s Blues, La Pesada del Rock and Roll, Arco Iris (founded by Gustavo Santaolalla) and Vox Dei which imbued that time sound features with tougher nuances.

The 70´s began with the emergence of two anthological bands whose leaders  came to be the greatest Argentine rock stars:  Pescado Rabioso lead by Luis Spinetta, and Sui Generis, a duo which comprised Charly García and Nito Mestre. Pescado Rabioso, a heavier rock band, and Sui Generis, which broadened the acoustic rock horizons, stood as revitalized music works accompanied by poetic lyrics.

This period lay the foundations for national rock to be heard at a mass audience level in shows where several bands took part. Sui Generis´ farewell show in 1975, which attracted thousands of young people,was viewed as a paradigmatic phenomenon.

The strong political mobilization and the beginning of a bloody military dictatorship resulted by mid 70s  in the emergence of the most resistant and anti-cultural feelings in young music. Thus, groups like La Máquina de hacer Pájaros and Serú Girán–both of them led by Charly García– Invisible –headed by Luis Spinetta–and solo singers such as León Greco became rock symbols, not only because of the social committment reflected in their lyrics, but also because of the music renovation movement they brought about.

At the beginning of the 80s, the national rock gained momentum as a result of an unfortunate event: when Malvinas War broke out in 1982 the military government censored English music. Such circumstances led radios to be forced to broadcast Spanish music, which therefore implied a benefit for local artists, such as Lito Nebbia, Moris, Piero, León Giego and Miguel Cantilo.

With the return of democracy in 1983, artistic expressions were put back at the forefront after years of censorship and persecution.Thus, there appeared bands and solo singers who, through their lyrics, criticized the violent years of and warned listeners against the social problems existing at that time. García and Spinetta continued being the top rock music leaders and writing unique rock songs characterized by the blending of genres and styles. The Platense group Patricio Rey and his Redonditos de Ricota–headed by Carlos “Indio” Solari and Skay Beillinson–came to light with its more visceral type of rock style and songs displaying a high degree of lyricism and social criticism. Yet,  he was also a popular star because his name did not reach the communication mass media (something quite unusual at a worlwide level) and he himself had his own records edited. Music bands such as “Virus”, “Los Abuelos de la Nada”–made up of Miguel Abuelo and the young singer Andrés Calamaro–and “The Twist” gave a thrust to modern music. Furthermore, other bands such as “Los Fabulosos Cadillacs” or “Los Pericos” delved into other rhythms including ska, reggae and dub. “Los Violadores” adopted the punk style and Riff, founded by Pappo, the outstanding guitar player, which emulated the heaviest type of rock style.

The 80’s also witnessed the appearance of two bands known as Soda Stereo and Sumo, which would set a precedence in rock history. The former was a trio made up of Gustavo Ceratti, Zeta Bosio and Charly Alberti, which introduced new sounds and careful aesthetic parameters, thus turning the band into an undisputed Latinamerican leader. Sumo, created by the Italian-English-Argentine- Luca Podán, delved deeply into sounds which had never been heard in Argentina to that point, therefore causing many people to refer to it as “the best local reggae” music. When Sumo fell apart, two other bands were formed, Divididos and Las Pelotas, which are regarded as undeniable role models even up until today.

During those years there appeared another band of musicians originally from Rosario, made up of Juan Carlos Baglietto, Silvina Garré and Fito Paéz who would bring about a change in the rock world.

Generally speaking, the widespread nature and industrialization stages may be dated back to the 90s, when mega concerts were institutionalized as famous events for musicians. Apart from García, Páez, Spinetta, Calamaro, Los Redondos de Ricota and Soda Stereo which were already famous, other bands also gained popularity such Los Piojos and Bersuit Vergarabat that focused on the combination of latin and rioplatense sounds; La Renga, regarded as a more primitive rock band and attracting a large number of fans; Viejas Locas, symbolizing the so-called neighborhood rock; and finally Babasónicos with a more alternative type of music.

Classical Music
Argentina was strongly influenced by the European culture. The advent  of academic music and its instruments took place in early stages, though it was only in the XVIII century that its popularity began to grow until becoming deep-rooted as it still is today.

The 1810-1816 emancipation period counted on figures such as the Spanish Blas Parera, the composer of the National Anthem. Other creators such as Juan Esnaola, or Juan Bautista Alberdi were the first ones to be born in the Argentine territory. The period extending from 1850 to the beginning of the XX century was marked by experimenting with folk music styles. The most renowned figure from that time is that of Carlos López Buchardo, who in 1924, founded the National School’s of Music and Performing Arts currently bearing his name. Between the 40s and the 50s, local songs were composed by the above mentioned School first graduates and it can be argued that Alberto Ginastera and Carlos Guastavino undoubtedly excelled during that period. The most oustanding figures during the 60s were Alicia Terzian, Gerardo Gandini and Waldo de los Ríos, an ecclectic musician who gained acknowledgment  because he modernized pieces of classical music thus imbuing them with a popular style.

Nowadays, Argentine classical musicians are world-renowned thanks to the talent displayed by Daniel Barenboim, Martha Argerich, Bruno Gelber and Gabriel Senanes.

In addition, there exists a tradition consisting in building large theaters to disseminate classical music, lyric style and ballet- with its respective and prestigious staff members- who can account for the early devotion from Argentine urban centers to this music genre. Some of the buildings exemplifying this devotion are the Colon Theater in Buenos Aires, which according to experts- is provided with the best accoustics in the world, - the Argentine Theater in La Plata and the Great Theater of Córdoba.

It is important to highlight that there exist several music bodies, most of them  state-run and enjoying great prestige like the National Symphonic Orchestra, the National Music Orchestra and the Buenos Aires Philharmonic Orchestra.

Other genres
There exist other genres, which though not regarded as predominant, have developed significantly over the years and are worthy of being mentioned. Jazz, cumbia and electronic music are some of the styles which have managed to become deeply rooted in local culture and have gained worldwide popularity.

Local artists such as Oscar Alemán, Mono Villegas, Gato Barbieri, Roberto Fats Fernández, Hugo Pierre and Jorge Navarro, Gustavo Bergalli, among many others, have put jazz at the forefront, above all in Buenos Aires. Furthermore, they have given rise to new sounds and nuances by combining jazz with tango and rioplaense music.

Cumbia is a rhythm originating in Colombia. However, upon reaching Argentina it acquired its own individual features to be subsequently recognized as an autonomous music style. When it was first combined with the ways to compose Folk music in every province, through its simple, dance and cheerful tunes, it gave rise to individual cadences and a long list of bands and solo singers that would  sing it later on

Cumbia gained popularity at the same time a local mix process involving Central-American rhythms such as bolero, rumba, salsa, and hip hop took place. The Cuarteto, originally from Cordoba, is probably the most renowned style and the one that has strenghtened its distinctive features the most  all over Latinamerica

Electronic music was given a warm boost in Argentina. Its urban centres, above all Buenos Aires and Rosario are well-known at an international level regarding the wide scope of night disco options they offer. This is why Djs such as Diego Ro-K, Hernán Cattaneo, Villa Diamante or Romina Cohn, have gained acceptance at the worlwide rave party scenario.