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- Tango instrumental musics manuals#
- Tango instrumental musics driver#
- Tango instrumental musics portable#
Eduardo Arolas was the major driver of the bandoneón's popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, double bass, two violins, and two bandoneóns.
Tango instrumental musics portable#
The organito, a portable player-organ, broadened the popularity of certain songs. The music was played on portable instruments: flute, guitar, and violin trios, with bandoneón arriving at the end of the 19th century. The complex dances that arose from such rich music reflect how the men would practice the dance in groups, demonstrating male sexuality and causing a blending of emotion and aggressiveness. It took time to move into wider circles in the early 20th century, it was the favorite music of thugs and gangsters who visited brothels, in a city with 100,000 more men than women (in 1914). The first generation of tango players from Buenos Aires was called "Guardia Vieja" (the Old Guard). Villoldo himself recorded it in Paris (possibly in April 1908, with the Orchestre Tzigane du Restaurant du Rat Mort), as there were no recording studios in Argentina at the time.Įarly tango was played by immigrants in Buenos Aires and Montevideo. All sources stress the influence of African communities and their rhythms, while the instruments and techniques brought in by European immigrants in the 20th century played a major role in the style's final definition, relating it to the salon music styles to which tango would contribute back at a later stage.Īngel Villoldo's 1903 tango " El Choclo" was first recorded no later than 1906 in Philadelphia. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.Even though present forms of tango developed in Argentina and Uruguay from the mid-19th century, there are records of 19th and early 20th-century tango styles in Cuba and Spain, while there is a flamenco tango dance that may share a common ancestor in a minuet-style European dance.
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Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory.
![tango instrumental musics tango instrumental musics](https://images-na.ssl-images-amazon.com/images/I/51CmcyIuRaL.jpg)
Tango instrumental musics manuals#
Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements.
![tango instrumental musics tango instrumental musics](https://i1.sndcdn.com/artworks-000097886229-cee37d-t500x500.jpg)
Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1932-1955), and culminating with the "Music of Buenos Aires" today. Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations.