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From the 1920s onwards, Chilean folk music or "Música Tipica" (traditional music) experienced a rebirth. This rebirth brought rural music and folklore into the cities, on to the radios and caught the attention of a flourishing music industry, which took some of the more refined versions of Chilean "Tonada" and transformed them into a spectacle ...
The original group was formed in April 1937 by Carlos Morgan, the brothers Pedro and Ernesto Amenábar, and Mario Besoaín. The four friends, who at the time were students at the Pontificia Universidad Católica de Chile in Santiago, styled themselves as Los Quincheros; [1] in English their name means "those who use the quincha," a construction of wood and cane used to contain the livestock ...
The Chilean New Song movement was spurred by a renewed interest in Chilean traditional music and folklore in the late 1950s and early 1960s. Folk singers such as Violeta Parra and Víctor Jara traversed the regions of Chile both collecting traditional melodies and songs and seeking inspiration to create songs with social themes. These songs ...
In 1952, encouraged by her brother Nicanor, Violeta began to collect and collate authentic Chilean folk music from all over the country. [12] She abandoned her old folk-song repertoire, and began composing her own songs based on traditional folk forms.
In Chile, the cueca developed and spread in bars and taverns, [12] which were popular centers of entertainment and parties in the nineteenth century. [13] During Fred Warpole's stay in Chile between 1844 and 1848, he described some characteristics of the dance: guitar or harp accompaniment, hand drumming or tambourine for rhythm, high-pitched singing, and a unique strumming pattern where the ...
A neo-folk movement developed with the aim of recovering traditional Chilean folk music and merging it with Latin American rhythms such as andean music. This would have its fullest expression in the Nueva Canción Chilena (the New Chilean Song), which grew up in parallel to other nueva canción movements across Latin America. [13] [14]
In one of the last songs Chilean folk singer Víctor Jara ever recorded over 50 years ago, he transformed the ominous verses of one of his homeland’s greatest poets into a ballad of stubborn and ...
Nueva canción renewed traditional Latin American folk music, ... This period in Chilean history is known as the "Apagón Cultural" (Cultural Blackout). [12]