【什么是拉丁音乐】
所谓的拉丁音乐（Latin music）指的是从美国与墨西哥交界的格兰德河到最南端的合恩角之间的拉丁美洲地区的流行音乐。
拉丁美洲是一个多民族的组合，因此拉丁音乐是以多种音乐的融合而形成的一种多元化的混合型音乐。无论是欧洲的白人音乐、非洲的黑人音乐还是美洲的印第安音乐，甚至是东方的亚洲音乐，都对拉丁音乐作出过不同的贡献。它们经过长期的沉淀，在以欧洲文化为主体的基础上，同时又大量的吸取了印第安文化和非洲黑人文化的各种因素，逐渐形成了一种多姿多彩的、充满活力的、充满动感的拉丁文化。那么，在拉丁美洲的众多国家中，以巴西和古巴为首的拉丁音乐，更是走在世界流行音乐的前列。
印第安文化
印第安人是美洲大陆的主人，他们的民族传统文化是现代拉丁音乐中的一个重要组成部分。印第安人的音乐文化，根据地域状况的不同，难以一概而论，但是大致可归纳为以下几点：
首先，它与生活密切相关，与宗教、劳动、舞蹈相结合。所以，他们所拥有的旋律单纯而富有独特的表情。这种特点尤其在当地的一些民歌中表现出来，没有半音的五声音阶形成独特的风格和趣味。另外在印第安人的传统音乐中，没有欧洲意义上的和声。再次，乐器方面，没有弦乐器是印第安人乐器的一大特点。虽然当今的印第安人音乐中经常采用吉他、小提琴、竖琴等弦乐器，但是这些都是后来由欧洲人带来的。
欧洲（伊比利亚）文化
欧洲伊比利亚半岛的西班牙、葡萄牙音乐，一方面具有和西欧音乐相通的一般共性，另一方面，受遗留下来的各民族音乐的影响而独具特色。无论是音阶、旋律或者是节奏、和声、演唱和发声，在多方面都表现出欧洲其他地区所没有的因素。特别是它的节奏，有很多三拍子的音乐，但又不像圆舞曲那样单调，而是更加细腻，更具动感。另外，像3/4拍和6/8拍交替，这样复杂而富有生气的节奏也是西班牙人和葡萄牙人所喜欢的，这样的伊比利亚节奏在拉丁美洲被原本不动地流传下来，进而和印第安节奏，特别是和非洲的黑人节奏相结合，产生出更加丰富而微妙的节奏感觉。
乐器方面，以被称为"西班牙国民乐器"的吉他为代表，在拉丁美洲的所有国家受到欢迎。演唱方面，因为歌词是西班牙语或者葡萄牙语，所以能够感觉到和英文歌曲的明显不同。
非洲黑人文化
拉丁美洲，在16世纪初到19世纪后半叶的奴隶制度中，吸收了大量的非洲黑人及其音乐。由非洲黑人带来的传统音乐文化，和在美国的布鲁斯、灵歌、爵士乐、索尔音乐中看到的那样，在拉丁音乐中也表现出了强烈的主体性。
在非洲黑人的音乐中，有和宗教相结合的，也有单纯、世俗的一面。无论哪一方面，其旋律、节奏、唱法都表现出显著的特色。旋律方面，旋律走向以自然的滑音、装饰音而独具特色，音阶更是丰富多彩（由于演唱时滑音的运用使音符出现很多的变化）。音色方面，黑人具有十分独特的音质，他们所表达的情感往往给人留下深刻的印象。唱法方面，独唱、合唱、齐唱通常是互相交替，以一呼一应的对答形式为特征。
非洲黑人音乐的最大特色是他们与生俱来的良好而丰富的节奏感。他们使用各种打击乐器，产生出复杂而丰富的节奏、节拍。这些非洲支系的美洲黑人音乐节奏，大致上是以二拍子为基础，但又不像进行曲那样的单纯、刻板。通常是以两种、三种，甚至还有三种以上的节奏型同时重叠进行的混合节奏，不断地加入切分，产生出充满活力的律动感。
综上所述，拉丁音乐主要是由以上三种文化结合而成。这三种文化的结合，如果从旋律、节奏方面来看：在旋律上，印第安人提供基本的五声音阶模式，欧洲音乐的影响表现在扩展音阶、增加和弦上，黑人则增加了更多的变化和修饰；在节拍和节奏上，印第安人坚持短句长休止，用单调的击鼓声作伴奏，欧洲人的节奏主要是西班牙的典型的3/4拍与6/8拍的双重节拍，非洲黑人的影响主要是在几乎不变的2/4拍内加入切分音。
从以上我们可以看出，拉丁音乐的发展大致可以分为四个阶段：①纯粹的印第安曲调，五声音阶；②印第安音乐的"混合化"，产生出类似欧洲大小调的印欧混血品种；③"混合再混合"，就是用非洲黑人的装饰音和变化装饰音使其进一步发展；④"三次混合"，就是在以上的基础上融进了现代化的乐器和制作，使其更加国际化。
1979年，格莱美颁奖晚会上出现了最佳拉丁唱片奖，后又分设各种拉丁音乐奖。从此，拉丁音乐开始遍布全球，使其真正的走向国际舞台。
从拉丁音乐的来源中我们可以明显看到，拉丁音乐是一种以节奏为中心的流行音乐。它的节奏所具有的不仅仅是简单的强弱规律，而是作为一种音乐的灵魂使其上升到主导地位。因此，在了解拉丁音乐的过程中，首先需要了解的就是它的节奏。下面着重介绍几种具有代表性的拉丁节奏及风格。
桑巴（Samba）
桑巴源于巴西，它是以黑人所具有的美洲节奏为基础，大量地溶进欧洲旋律而产生的舞蹈音乐形式。其特征是2/4拍，音符短促地滚动节奏。传统桑巴可分为农村桑巴和城市桑巴两种。农村桑巴比城市桑巴切分性强，城市桑巴节奏变化较少，但快捷、灵巧。现代欧美所流行的桑巴，于1920年左右形成于巴西的里约热内卢。
伦巴（Rumba；Ruhmba）
伦巴，起源于非洲，19世纪初出现于古巴，于20世纪初发展并流行起来。30年代初，伦巴传入美国及欧洲各国，同时融入爵士乐成分，使其风靡一时，伦巴的基本节奏型为：×× ×× ×× ×× ，传入欧美后出现了 0 ×× ×× 0× 0× 的变体，并采用沙球、响棒、康加鼓等拉美打击乐器加强节奏。传统伦巴速度中庸，每分钟约40至50拍，通常为4/4拍，后来也出现快速的2/4拍的伦巴。
曼波（Mambo）
曼波，由伦巴与爵士乐中的摇摆乐相结合而成。形成于1940年左右，并在40至50年代风靡世界。演奏曼波音乐的乐队一般规模较大。乐队中有铜管、萨克斯管、钢琴、贝司等摇滚乐队中的常用乐器，也加入沙球、响棒、康加鼓等拉美打击乐器。音乐的构成常以固定低音及和弦序列为基础。
萨尔萨（Salsa）
萨尔萨，一种结合了古巴黑人音乐、美国爵士乐以及南美民间音乐的舞曲音乐。40年代起源于美国，经过50至60年代的演变和发展，于70年代中期形成流行高峰。萨尔萨的节奏乐器仍以拉美打击乐器为主，如沙球、响棒、康加鼓、邦戈鼓等。基本节奏型与曼波、恰恰相似，但萨尔萨中的一种两小节节奏型却独具特色：4/4拍，× × ×× | 0 ×× 0 0 |。传统的萨尔萨音乐，经常由一个不断反复的固定动机构成的曼波段落而组成。
恰恰 （Cha Cha）
继伦巴、曼波等拉丁舞曲之后，恰恰于50年代中后期在欧美各国风靡一时。恰恰，源自古巴的民间音乐恰朗加斯（Charangas）。其基本节奏型是 × × ×× × |， 演奏时用沙球、响棒等拉美打击乐器来加强最后的三个重音。
探戈（Tango）
探戈，起源于古巴的哈巴涅拉（Habanera）舞，作为阿根廷音乐的代表广为流传。其特点为2/4拍的摇曳节奏，通常由两个段落构成，第一段为小调式，第二段为大调式。探戈也有用吉他伴奏的歌唱形式。一般探戈的演奏乐队由小提琴、手风琴、钢琴、低音提琴等乐器组成，而按钮式手风琴是探戈乐队中不可缺少的一种乐器。它的基本节奏型是：××××× | / |。
以上介绍的六种风格，加上在爵士乐中介绍过的波萨诺瓦（BOSSANOVA)，作为拉丁音乐的代表，在全球范围内引起了一股拉丁狂潮，但是除了这七种大众性的类别之外，还有以下几种风格也都是极具个性的拉丁音乐，如波莱罗（Bolero）、瓜拉喳（Guaracha）、哈巴涅拉、崧（Son）、瓜希拉（Guajira）、坦桑（Danzon）等。这几种风格都来自于古巴，再加上前面的曼波、伦巴，因此古巴具有"拉丁节奏的宝库"之称。
下面提供几种拉丁风格的乐队模式以供参考。
古巴音乐是西班牙和非洲音乐的继承，原始的古巴节奏：萨尔萨，很多是传统的七重奏，例如哈瓦那七重奏、伊格纳西澳• 皮尼埃罗七重奏或者古老的圣地亚哥抒情歌曲和他的第八奇迹。著名的乐团有卡西诺乐团、索诺拉• 马坦塞拉乐团、阿塞尼奥• 罗德里盖斯乐团；或者是时代交响乐，如恰恰卡、阿拉贡、霍林或阿卡尼熬等。
桑塔纳（Santana）
在60、70年代，有一位音乐家对拉丁音乐的传播及发展作出过巨大的贡献，他就是卡罗斯·桑塔纳（Carlos Santana）。
桑塔纳，1947年出生于墨西哥，作为一名出色的吉他演奏家，他为拉丁音乐和流行音乐（特别是摇滚乐）的结合架起了一座桥梁。他吸收了布鲁斯和摇滚乐中的精华，同时又以自己独特的表达方式和充满拉丁韵味的吉他独奏以示对它们的反叛。
1966年以桑塔纳为核心在美国的旧金山成立了他们的乐队，取名为"桑塔纳布鲁斯乐队"（Santana Blues band）。1967年，他们开始发展拉丁音乐风格，不久将乐队改名为"桑塔纳"乐队。1969年，他们出现在伍德斯托克摇滚音乐节上，新颖的拉丁摇滚声音有了某些流露，同时也吸引了众多观众。70年代初，"桑塔纳"乐队创造了拉丁音乐的新型节奏和旋律，并将它们融进了摇滚乐中，桶鼓和拉美打击乐器形成了这种声音的核心，伴随着鼓手提供的更复杂的节奏，使他们的音乐更受欢迎。
在以后的25年中，17位音乐家或离或进，但桑塔纳却是永恒的倡导人，他指引着乐队的发展方向。那些年里，桑塔纳不断地寻找新的元素及影响力，使他们的风格不受拉丁音乐的限制。70年代早期他们对爵士乐产生兴趣，并将其渗透到乐队的作品中。1973年，桑塔纳与著名的爵士萨克斯管演奏家约翰·科尔特兰合作录制了专辑《给投降者的爱》（Love Devotion Surrender）。此后，桑塔纳不断地将摇滚乐、爵士乐和拉丁音乐相结合，使乐队的风格更加丰富多彩。
无论是随乐队一道录音和演奏，还是作为一名吉他演奏家，桑塔纳时刻都在追求他音乐上的兴趣和个性，其理想主义的风格从未放弃。70年代后期，他暂时回到更具原始摇滚风格的音乐上，80年代又重拾对爵士乐的兴趣，80年代后期，他又热衷于像约翰·李·胡克那样的布鲁斯曲风。但是不管怎样，桑塔纳的音乐从未离开过拉丁音乐的根源，而且他的音乐演变历程不断地拓展着他的音乐视野和情趣。 拉丁音乐以其独具特色的节奏动感和历史悠久的文化背景使其倍受世界乐坛的关注，拉丁音乐家也层出不穷。近几年流行乐坛中出现的瑞奇·马丁（Ricky Martin）、马克·安东尼（Marc Anthony）、安立奎·依格莱西亚斯（Enrique Iglesias）等明星都是极具个性的新生代拉丁音乐代表。
古巴音乐是西班牙和非洲音乐的继承，原始的古巴节奏：萨尔萨，很多是传统的七重奏，例如哈瓦那七重奏、伊格纳西澳• 皮尼埃罗七重奏或者古老的圣地亚哥抒情歌曲和他的第八奇迹。著名的乐团有卡西诺乐团、索诺拉• 马坦塞拉乐团、阿塞尼奥• 罗德里盖斯乐团；或者是时代交响乐，如恰恰卡、阿拉贡、霍林或阿卡尼熬等。
在广阔的拉丁美洲，风土、人种极其多样，因此，在音乐方面也表现出各种各样不同的样式。如前所述，在人种方面，除了原住民之外，从地球上各个地方迁移过来的人种都在这里互相混杂，所以可以说，多元混合型文化是这一地区文化的最大特色。在这些混合因素中，最重要的有三：原住民印第安人的音乐文化；曾经征服和统治中、南美洲，以伊比利亚半岛人为主体的欧洲人的音乐文化；很早开始就作为欧洲人的农奴而被送到新大陆的非洲黑人的音乐文化。
在哥伦布发现新大陆的1492年以前，印第安人是美洲的原住民，因此，其音乐文化成为当时美洲音乐文化的主流。1492年以后，教会音乐由耶稣会教士传给美洲土著居民，殖民当局镇压土著音乐，当地的节奏、旋律与欧洲的节奏、旋律逐渐混合而成新的、有特色的拉丁美洲音乐形式。因此，至今，仍可在拉丁美洲的音乐中寻探出许多印第安因素。
印第安人的音乐文化，根据部落状况的不同，难以一概而论，但是大致可作如下归纳：
首先，印第安人的音乐很多是和生活密切相关，与宗教、劳动、舞蹈相结合的，所以，一般说来，他们所拥有的旋律单纯而带有独特的表情。这种特点尤其在安第斯地带以民歌为基础的南美民间音乐（采用印第安的乐器和吉他来演奏）名曲《神鹰飞翔》中表现出来，没有半音的五声音阶，以do、 re 、mi 、sol、la的五音构成的旋律，形成独特的风格、趣味。
其次，印第安人的音乐节奏比较单纯。但是根据记载，在西班牙人征服墨西哥以前，在墨西哥，为了适应宗教性的舞蹈，已经具有了非常复杂的、由打击乐器敲打的节奏。另外，在印第安人的传统音乐中，没有欧洲意义上的和声。
再次，乐器方面，没有弦乐器是印第安人乐器的一大特色。虽然在当今的印第安人音乐中经常采用吉他、小提琴、竖琴等弦乐器，但是这些都是16世纪以来由欧洲人带来的，或者是接受欧洲的影响而在新大陆制造出来的。印第安人的传统乐器是笛、奥卡里（埙）等管乐器，或者是鼓、摇响器等打击乐器。管乐器中，最流行的是竖笛，用竹、芦或粘土焙制，还有排箫、鼻笛等。印第安排箫，在秘鲁叫安塔拉箫，在哥伦比亚叫卡帕多箫，在厄瓜多尔叫龙达多箫，在玻利维亚叫西克斯箫。有人将各种排箫统称为桑波尼亚（zampona）。印第安人的打击乐器尤其丰富多彩。常用烧空的树干制鼓，如墨西哥的特波纳斯特尔、巴西的特罗卡诺；果壳可用作刮响器，也可用作空心摇荡器。摇荡器的统称是马拉卡斯。此外还有“地鼓”、丛林鼓等。印第安人通常赋予他们的笛和鼓以人性，有的属阴，有的属阳。例如，马拉卡斯是阴，吉伊洛是阳。巴拿马的古那印第安人有两种托洛笛，其中只有一孔是阳笛，四孔是阴笛。
在中、南美洲被欧洲人征服后的头几个世纪里，教会把印第安人的鼓和笛视作异教的设备而禁止使用，但是无效。土著音乐依然保存了下来，最后成为社会生活的一部分，甚至进入教堂。在中、南美洲城乡举行的节日或街头庆典中，基督教和原始宗教奇异古怪地结合在一起，欧洲音乐和印第安土著音乐两种成分并存。但是更多的情况下，是印欧混合而形成一种新的形式、体裁和风格特点。
综上所述，拉丁美洲音乐主要是由以上三种因素的结合而构成的。然而，最重要的是由这些因素的相互混合已经创造出了称为“拉丁美洲”的独特的个性，是“混血的音乐”，决不是许多文化的杂乱无章的并列，而是获得了具有个性的新的独创性。
正如已经述及，拉丁美洲的居民大部分是混血儿，所以，音乐上也表现了从那个社会中自然产生的生活情感。在这里所谓的欧洲风格、非洲黑人风格，都是已经染上新大陆的色彩，获得了新的生命。与其说是原来的印第安人的音乐文化按照古代样式被传承下来，不如说是一方面吸收了种种影响，另一方面是作为表达生活于现实中的人们的情感，而加进了许多微妙的变化。这三种因素的混合，如果从旋律节奏方面来看，是可以引用尼-斯洛尼姆斯基《拉丁美洲的音乐》中的一段话来作说明的：在旋律上，“印第安人提供基本的五声音阶模式，欧洲殖民者的影响表现在扩展音阶、增加和弦上，黑人则增加了变化音的修饰。在节拍和节奏上，印第安人坚持短句长休止，用单调的击鼓声作伴奏。殖民者的节奏主要是西班牙的，典型的是3/4与6/8的双重节拍，结果在小节中央产生特征性的交错节奏。黑人影响是在几乎不变的2/4拍内加入切分音。”关于这三种因素的混合过程，上书引用达古的研究成果，把拉丁美洲民间音乐的发展分为三个阶段：1、纯粹印第安曲调，五声音阶；2、印第安音阶的所谓“混血化”，结果产生类同欧洲大小调的印欧混血种音阶；3、“混血再混血”，就是用非洲黑人的装饰音和变化装饰音使音阶进一步繁复。
必须指出的是在拉丁美洲，无论是哪个国家，也无论是哪个地区，人们都自豪地夸耀：“这是我们自己的音乐。”用心地保存着固有的音乐，且十分珍惜之。
【维基百科介绍】
Latin American music refers to the music of all countries in Latin America (and the Caribbean) and comes in many varieties. Latin America is home to musical styles such as the simple, rural conjunto music of northern Mexico, the sophisticated habanera of Cuba, the rhythmic sounds of the Puerto Rican plena, the symphonies of Heitor Villa-Lobos, and the simple and moving Andean flute. Music has played an important part recently in Latin America's politics, the nueva canción movement being a prime example. Latin music is very diverse, with the only truly unifying thread being the use of Latin-derived languages, predominantly the Spanish language, the Portuguese language in Brazil, and to a lesser extent, Latin-derived creole languages such as those found in Haiti.
Although Spain and Portugal are not part of Latin America, Spanish music and Portuguese music are closely connected.
Characteristics
There are many diverse styles of Latin music, some of which constitutes Afro-American musical traditions, meaning that elements of European, African, and indigenous music are fused. In the past, various authors have suggested extreme positions like Latin American music being bereft of African influence, or being purely African with no European or indigenous elements, but it is now generally accepted that Latin American music is syncretic. Specifically, Spanish song forms, African rhythms, and European and African/Afro-American harmonies are major parts of tropical Latin music as are the more modern genres such as rock, heavy-metal, punk, hip hop, jazz, reggae, and R&B.
The Spanish décima song form, in which there are ten lines of eight syllables each, was the basis for many styles of Latin American song. The African influence is, however, central to Latin music and is the basis for the Dominican- Merengue, and Dominican Bachata Cuban rumba, the Puerto Rican Salsa, Bomba, and Plena, the Colombian cumbia, the Brazilian samba, the Ecuadorian Bomba del Chota and marimba music, the candombe and murga rhythms from the River Plate, or Afro-Peruvian rhythms such as Festejo, Landó, Panalivio, Socabón, Son de los Diablos, or Toro Mata. In Perú there are regions where African musical influence meet and mingled withat that of the Gypsy (Roma People). Examples of this mixture are found all over the central and northern coast of Perú in rhythms such as that of the Zamacueca or Marinera and the Resbalosa. In the most rare of musical mestizages the African and Gypsy (Roma People) influence met the Andean, for example the Tondero, the Cumanana, and the Peruvian Vals from the northern coast.
Other African musical elements are most prevalent in the religious music of the multifarious syncretic traditions, like Brazilian candomblé and Cuban santería.
Syncopation, a musical technique in which weak beats are accented instead of strong ones, is a major characteristic of Latin music. The African emphasis on rhythm is also important in Latin music, and is expressed through the primacy given to percussion instruments. The call-and-response song style which is common in Africa, is also found in Latin American; in this style of song, two or more elements respond to each other, musically or lyrically, one at a time. Author Bruno Nettl also cites as essentially African characteristics of Latin music the central position of instrumental music, the importance of improvisation and the "tendency to use a variety of tone colors... especially harsh, throaty singing".
Those African musical techniques that were similar to European techniques were kept in Latin America, while the more dissimilar elements abandoned; in addition, the most specialized aspects of African music, such as polyrhythms, remain a part of Latin music, while the less central aspects of African music, like scale and form, have been replaced by European features. Some elements of African music, most commonly the emphasis on rhythm, have been suggested as having a biological basis, though this is no longer generally accepted among scholars and has been refuted by several studies. Bruno Nettl instead suggests that African techniques were retained because music played a central role in daily life and because African music was "in several ways more complex and more highly developed in Africa than in the Indian and Western folk cultures".
Very little can be known for sure about music in what is now Latin America prior to the arrival of Europeans. Though there are extremely isolated people in the Amazon Basin and elsewhere that have had little contact with Europeans or Africans, Latin music is almost entirely a synthesis of European, African and indigenous elements. The advanced civilizations of the pre-contact era included the Mayan, Aztec and Incan empires.
The ancient Meso-American civilizations of the Maya and Aztec peoples played instruments including the tlapitzalli (a flute), teponatzli, a log drum, the conch-shell trumpet, various rattles and rasps and the huehuetl, a kettle drum. The earliest written accounts by Spanish colonizers indicate that Aztec music was entirely religious in nature, and was performed by professional musicians; some instruments were considered holy, and thus mistakes made by performers were punished as being possibly offensive to the gods.
Pictorial representations indicate that ensemble performance was common. Similar instruments were also found among the Incas of South America, who played in addition a wide variety of ocarinas and panpipes. The tuning of panpipes found in Perú has similarities to instruments played in the Pacific islands, leading some scholars to believe in contact between South American and the Oceanic cultures.
Indigenous Music in the andean countries of Ecuador, Perú and Bolivia tends to have the prominent use of flutelike and wind instruments usually made from wood and canes as well as animal bones and wings. The rhythm is usually kept with drums made out of wood and animal skins with simple rhythmic patterns of varying tempos. This is usually accompanied with rattlelike sounding instruments made out of animal claws, smalls stones or seeds. String instruments of European and Mediterranean origin have influenced local adaptations such as the Bolivian charango or the Ecuadorian mandolina. Genres in andean music are many within each country depending on region and Indian community and ethnicity within them. In Ecuador for instance, there are sanjuanitos and capishkas. In Perú there is Huaynos and in Bolivia there are Tinkus, chuntuquis and morenadas.
The arrival of the Spanish and their music heralded the beginning of Latin American music. At the time, parts of Spain were controlled by the Moors of North Africa, who tolerated many ethnic groups. These people, like the Roma, Jews and Spanish Christians, each had their own styles of music, as did the Moors, that contributed to the early evolution of Latin music. Many Moorish instruments were adopted in Spain, for example, the North African nasal, high-pitched singing style and frequent use of improvisation also spread to all the peoples of Iberia, as did the Roma vocal trill that characterizes Roma music. From continental Europe, Spain adopted the French troubadour tradition, which by the 16th century was a major part of Spanish culture. Both ethnic Spaniards and Moors contributed to the troubadour tradition, which spawned the décima song form, which features ten lines of eight syllables each. The décima format remains an important part of Latin music, include in corridos, bolero, and vallenato.
Some modern peoples of Latin America are essentially purely African, such as the Garifuna of Central America, and their music reflects their isolation from European influence. However, in general, the African slaves brought to the Americas modified their musical traditions by either adapting African performance style with European songs or vice versa, or simply learning both European song and performance style.
Popular music styles by country
The tango is perhaps Argentina's most famous music, becoming famous all around the world. Others include the Chacarera, Cueca, Zamba and Chamamé. More modern rhythms include El Cuarteto, and Argentine Cumbia. Argentine rock was most popular during the 60s, and still remains Argentina's most popular music. Rock en Español became first popular in Argentina, then it swept through other Latin American countries. That movement is called the "Argentine Wave."
Bolivia
Bolivian music is perhaps the most strongly linked to its native population amongst national styles of South America. Following the nationalistic period of the 50s, Aymara and Quechua culture became more widely accepted, and these styles of folk music gradually fused in a more pop-like sound. Los Kjarkas played a pivotal role in this fusion. Other forms of native music, such as huaynos and caporales are also widely played. cumbia is another music enjoyed today. Theres regional forms less known internationally such as the music from Santa Cruz and Tarija where music such as Cueca and Chacarera is popular.
Brazil is a large and diverse country with a long history of popular musical development, ranging from the early 20th century innovation of samba to the modern Música Popular Brasileira. Bossa nova is internationally well-known. and Forró (pronounced /fo'hɔ/) are also well known and loved in Brazil.
The Chilean music might be argued not as diverse as elsewhere in the Americas, however, there are four main trends:
Cuba
Cuba has produced many of the world's most famous musical genres, and a number of renowned musicians in a variety of styles. Creolized styles range from the danzon to the rumba.
Colombian music can be divided into four musical zones: The Atlantic coast, the Pacific coast, the Andean region and Los Llanos.
The Caribbean (Atlantic) music vibrates with hot rhythms, such as the cumbia, porros and mapalé.
The music from the Pacific coast, such as the currulao, with a strong use of drums, is tinged with Spanish influence.
The Colombian Andean music has been strongly influenced by Spanish rhythms and instruments, and differs noticeably from the Indian music of Peru or Bolivia. Among the typical forms are the bambuco, pasillo guabina and torbellino, played with string instruments like tiple guitarra, and also with piano.
The music of Los Llanos, "música llanera", is usually accompanied by a harp, cuatro (a sort of four-string guitar) and maracas. It has much in common with the music of the Venezuelan Llanos.
Apart from these traditional forms, two newer musical styles have conquered large parts of the country. These are "la salsa" which has spread throughout the Pacific coast, and the "vallenato", which emanated from La Guajira and Cesar (northern part of the Caribbean coast). The latter is based on the European accordion.
Merengue tipico and Orchestra merengue has been popular in the Dominican Republic for many decades, and is widely regarded as the national music.
Bachata is a more recent arrival taking influences from the Bolero and derived from the country's rural guitar music. Bachata has evolved and risen in popularity over the last 40 years in the Dominican Republic and other countries such as Puerto Rico, with the help of artists such as Antony Santos, Luis Segura, Luis Vargas, Teodoro Reyes, Yoskar Sarante, Alex Bueno, and Aventura. Bachata, Merengue and Salsa are now equally popular among Spanish speaking Caribbean people. When Spanish Crusaders sailed over the Atlantic they brought with them a new type of music called Hesparo, which contributed to the development of Dominican music.
Ecuadorian music can be classified in mestizo, Indian and black musics.
Mestizo music comes out of the interrelation between Spanish and Indian music. In it there are rhythms such as pasacalles, pasillos, albazos and sanjuanitos and is usually characterized by the use of string instruments. There is also regional variations such as more Coastal styles such as vals (similar to Vals Peruano (Waltz)) and montubio music. Indian music in Ecuador is determined in varying degrees by the influence of inca quechua culture. Within it we find sanjuanitos (different form the meztizo sanjuanito), capishkas, danzantes and yaravis. Non-quechua indigenous music ranges from Tsachila music of Santo Domingo which is influenced by the neighboring afro marimba; or Amazonian music of groups such as the Shuar. Black Ecuadorian music can be classified in two main forms. The first type is black music from the coastal Esmeraldas province and is characterized by the use of the marimba. The second variety is black music from the Chota Valley in the northern Sierra, mainly known as Bomba del Chota, and is characterized by a more pronounced mestizo and Indian influence than marimba esmeraldeña. Most of these musical styles can also be played by windbands of varying sizes in popular festivals all around the country. .
Rich blend of African and European sounds; along with Cuban and Dominican influences, come together to create Haiti's diverse music. The most notable styles are Kompa and Méringue.
Mexican pop, Mariachis, Rancheras, Boleros
Mariachi is the most famous and one of the many regional types of Mexican music. Trio is three voices with two or three guitars, singing the most romantic music in Mexico, Conjunto Jarocho, with the happiest music of the Tropic as The Bamba, etc. Tropical places like Veracruz' music, have alot of Cuban influence. Mexico' composers include Agustin Lara (Lara's Theme, Granada etc.), Armando Manzanero (Somos novios), Jose Alfredo Jimenez (The best Ranchera Music), Juan Gabriel, etc. - It's Impossible). Another popular style called Norteña originates in the Northeast part of the country. There also exist Mexican versions of many other types of music, including rock, Duranguense, Rancheras, cumbia, Danzon, Cha Cha Cha, etc.
The most popular style of music in Nicaragua is Palo de Mayo which is a dance and genre of music, as well as a festival in which the dance and music originated. Other popular music includes marimba, punta, Garifuna music, son nica, and folk music.
The popular style of music in Panama is reggaeton. Reggaeton is a style of music that originated here in 1977 and continues to the present, even though it has strong Puerto Rican influences such as the island's bomba and plena. Salsa, bachata, and merengue can be heard as well throughout the nation. Other Hispanic and Latino styles can be heard as well as Caribbean and West Indian music.
Polka Paraguaya, which adopted the name from a European beat, is the most typical type of music and has relatively different versions including the Galopa, the Krye’ÿ and the Canción Paraguaya, or Paraguayan Song. The first two are faster and more upbeat than the standard polka, and the third, a slight bit slower and melancholic. Other popular styles include the Purahéi Jahe’o and the Compuesto, which generally tell sad, epic or love stories.
The Polka usually is based on poetic lyrics, but there are some emblematic pieces of Paraguayan music that exist, such as Pájaro Campana, or Songbird, by Félix Pérez Cardozo. Guarania is the second best known Paraguayan music style and was created by the great musician José Asunción Flores in 1925. Paraguayan music depends largely upon two instruments: the guitar and the harp, whose first copies were brought by the conquistadors and found their own style in the country.
Peruvian music is marked by Indian, Spanish and West African influences. Coastal Afro-Peruvian music is characterized by the use of the Cajón peruano. Amerindian music varies according to region and ethnicity. The most well known Amerindian style is the huayno, also popular in Bolivia, played on instruments such as the charango and guitar. Mestizo music is varied and within it we find as most popular valses and marinera from the northern coast.
Out of all of Puerto Rico's musical exports, it is known for its worldwide famous salsa music and reggaeton. Bomba and plena have been popular in Puerto Rico for a long time, while reggaetón is a relatively recent invention. Reggaeton is a form of urban contemporary music, which often combine other Latin musical styles together, most commonly salsa and bachata.
Llanera is Venezuelan popular music originated in the "llanos" plains, although you'll find the more upbeat and festive Gaita beat in the western area, specifically in the state of Zulia. There is also African influenced styles which emphasize drumming and dance and such diverse styles as music from the Guayana region influenced by the neighboring English speaking countries as well as andean music from Merida.
Nueva canción is a Latin American music genre which emphasize social progressive themes and social commentary along with influences of the trovadour tradition and singer-songwriter confessionalism. It can range from more folk styles such as groups like Inti Illimani from Chile to individual Nueva trova acts such as Silvio Rodriguez from Cuba.
Originating with Cuban influence, Salsa is an amalgamation of Latin musical styles, especially Puerto Rican, created in the pan-Latin melting pot of New York City in the early 1970s.
Tejano music can be categorized as a blend of country music, rock, and R&B born in Texas and performed in both Spanish and English with a variety of cultural influences.
Most Tejanos today reside in South Texas and have their own unique form of folk and popular music, greatly influenced by yet quite distinctive from both traditional Mexican music and mainstream genres of American music. Latina Superstar Selena brought Tejano music to the mainstream and is credited frequently for bringing it to the top.
Reggaetón has become an Latin American phenomenon and is no longer classifiable merely as a Panamanian or even Puerto Rican genre. It blends Jamaican musical influences of reggae and dancehall with those of Latin America, such as the Puerto Rican bomba and plena, as well as that of American hip hop and rap. The music is also combined with rapping (generally) in Spanish.
Imported styles of popular music with a distinctively Latin style include Latin jazz, Argentine rock and Chilean rock, and Cuban and Mexican hip hop, all based on styles from the United States (jazz, rock and roll and hip hop). Music from non-Latin parts of the Caribbean are also popular, especially Jamaican reggae and dub, Trinidadian calypso music and Antiguan Soca. See also Spanish tinge. Flamenco, rumba and paso doble from Spain is popular in some segments due to the Spanish heritage of Latin-America.
[ 本帖最后由 酱油小子 于 2009-9-30 19:37 编辑 ]
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