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A marímbula, the "bass" instrument used by changüí ensembles. Some groups used the more rudimentary jug known as botija or botijuela.. Although the history of Cuban music dates back to the 16th century, the son is a relatively recent musical invention whose precursors emerged in the mid-to-late 19th century.
This is the dominant style today that has been further explored by artists like Ricardo Gutierrez [8] (El rey joven del acordeon) El Prodigio, Geovanny Polanco, Raul Roman (son of accordion legend Rafaelito Roman), and Kerubanda. [9]
Merengue became popular in the United States, mostly on the East Coast, during the 1980s and 90s, [96] when many Dominican artists, among them Victor Roque y La Gran Manzana, Henry Hierro, Zacarias Ferraira, Aventura, Milly, and Jocelyn Y Los Vecinos, residing in the U.S. (particularly New York City) started performing in the Latin club scene ...
The origins of the music are traced to the land of El Cibao, where merengue cibaeño and merengue típico are the terms most musicians use to refer to classical merengue. The word Cibao was a native name for the island, although the Spanish used it in their conquest to refer to a specific part of the island, the highest mountainous range.
In 1974, Pacheco replaced El Conde (who went on a successful solo career) with Héctor Casanova and renamed his band Pacheco y su Tumbao Añejo ("Pacheco and his old tumbao", as opposed to his previous band "the new tumbao"). [10] They released El maestro in 1975 and El artista in 1977. However, Pacheco's focus during the 1970s, apart from the ...
Juan Pablo Duarte y Díez (January 26, 1813 – July 15, 1876) [1] was a Dominican military leader, writer, activist, and nationalist politician who was the foremost of the Founding Fathers of the Dominican Republic and bears the title of Father of the Nation.
Y del mundo a la faz ostentemos Nuestro invicto glorioso pendón. ¡Salve! el pueblo que, intrépido y fuerte, A la guerra a morir se lanzó, Cuando en bélico reto de muerte Sus cadenas de esclavo rompió. Ningún pueblo ser libre merece Si es esclavo indolente y servil; Si en su pecho la llama no crece Que templó el heroísmo viril,
1983 "Cantos de esclavos y libertos: cancionero de anthems (coros) de Samaná." Boletín del Museo del Hombre Dominicano 18: 197-236. 1987 "'native bi-musicality:' case studies from the Caribbean." Pacific Review of Ethnomusicology 4 : 39-55. 1987 La otra ciencia : el vodú dominicano como religión y medicina populares.