Search results
Results from the WOW.Com Content Network
This led to the departure of Jorrín in August 1954, forming his own band in Mexico City. In November, Mondéjar also moved along with Orquesta América to Mexico City. At this point, the only hit-making charanga in Cuba was Orquesta Aragón, which had briefly collaborated with Jorrín before his departure from Orquesta América. However, in ...
It reached its peak in popularity in the ballrooms of Mexico City in the 1940s, then went through a decline and afterwards entered a renaissance in the late 20th century. The most famous Mexican danzón piece is Danzón No. 2. Cuban music also influenced Mexican Cinema, with a genre known as rumberas.
This is shown in the recordings of RCA Víctor Mexico by 1945 when they were already popular. [11] The traditional Bolero music in Mexico of Cuban and Puerto Rican trios included maracas, and the predominant Cuban music of the time as shown in films of the time, giving an account of the adoption of these instruments.
The mambo first entered the United States around 1950, though ideas had been developing in Cuba and Mexico City for some time. The mambo as understood in the United States and Europe was considerably different from the danzón-mambo of Orestes "Cachao" Lopez, which was a danzón with extra syncopation in its final part.
Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado.It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano (also known as montunos).
Mambo, created by Cachao López in 1938 in Cuba, derives from Cuban style of music called rumba and was popularized by Perez Prado in Mexico City where he lived from 1948 to 1989. Mexican bolero also originated in Mexico City, one of the most important Bolero singers is Agustín Lara.
Son music was reinforced by the area’s ties to the Caribbean, especially Cuba with Cuban son musicians coming to the port of Veracruz in the 1920s. Son jarocho gained popularity in the 1940s and 1950s not only in Veracruz but in Mexico City as well, in part due to the group Son de Cuba and its offshoots. [6]
After having premiered El Salon Mexico in Mexico City in 1937, Copland traveled to Havana and other Latin American countries to study their rhythms and musical forms, with which he had a fascination. During this trip, he finished his second book, Our New Music, together with his lover, Victor Kraft.