Chapter 18

Montevideo through the fusion of Argentine and Uruguayan styles that were really a mixture of local indigenous music and Spanish; they were joined by a wide range of influences such as the African candombe and the Spanish-Cuban habanera to the European waltz, the polka, the chotis, the mazurka and flamenco, giving rise to two new musical genres: the milonga and the tango.
In this region, where European emigrants, descendants of African slaves and Creole peoples mixed, an amalgam of customs, beliefs and rituals was produced that was transformed into a specific cultural identity or idiosyncrasy.
Music and dance began to take shape in the streets and in  tenements , where many people lived together in neighborhoods with common areas that facilitated socialization. At first, this sensual dance was popular in brothels and was performed between two men; it had a very bad reputation and was despised by the upper classes. At this time, the most common tango ensemble was guitar, violin and flute, which later disappeared and the piano and then the bandoneon were added to form the so-called "typical tango orchestra".

Carlos Gardel 's first appearance   was as a tango singer in 1917, performing Mi Noche Triste ; he is known for inventing the  tango song  and his famous voice played a very important role in popularizing the tango. In 1924, the violinist, conductor and composer Julio de Caro (1899-1980) formed his sextet and marked the beginning of the so-called "New Guard of tango".
Julio de Caro, composer, violinist and conductor; his style marked a revolution in the way of interpreting and understanding this musical genre, he led a group that was distinguished by its virtuosity and its ability to fuse tradition with innovation; his classical training and deep understanding of music allowed him to restructure the tango, giving it a more sophisticated and elaborate character. 
The characteristic sound of Julio de Caro's orchestra was melodic and refined, with an interpretation that emphasized the emotional richness of the tango. His influence was such that it is said that he divided the history of tango into two eras: before and after its appearance.
He is considered a precursor of the "tango de la guardia nueva", an evolution of traditional tango that incorporated elements of classical music and greater technical complexity, bringing tango to new audiences both in Argentina and abroad. His work left a legacy that continues to be studied and admired, keeping him as one of the great names in the history of Argentine music.
Later, the proliferation of orchestras began, among which the following stood out:

Francisco Canaro "  Pirincho"    was born in San José de Mayo, Uruguay, on November 26, 1888. He was a great tango composer, violinist and orchestra conductor. In addition, he was a pioneer of jazz along with René Cóspito and Eleuterio Yribarren in the mid-1920s.   His singers were Carlos Gardel, Ernesto Famá, Ernesto Herrera, Eduardo Adrián, Carlos Roldán, Guillermo Coral, Alberto Arenas, Nelly Omar, Ada Falcon, Enrique Lucero, Mario Alonso and Francisco Amor.

Juan D´Arienzo  (born and died in Buenos Aires, December 14, 1900 and January 14, 1976) was an  Argentine tango musician and orchestra director , known as "The King of the Beat".  His singers: Carlos Dante, Francisco Fiorentino, Jorge Valdez, Alberto Echagüe, Oswaldo Ramos, Armando Laborde, Walter Cabral, Enrique Carbel, Alberto Reynal, Carlos Casares, Héctor Mauré, Mercedes Serrano.

Aníbal Troilo , alias Pichuco (Buenos Aires, July 11, 1914 - May 18, 1975), was an  Argentine bandoneonist, composer and conductor of tango. Singers : Roberto Rufino, Roberto Goyeneche, Angel Vargas, Elba Berón, Jorge Casal, Tito Reyes, Nelly Vázquez, Francisco Fiorentino, Alberto Marino, Angel Manzi.

Carlos Di Sarli: a talented piano player . From his instrument he directed the orchestra, dominating the synchronicity and execution of the ensemble. In Di Sarli's style there were no solo instruments; the row of bandoneons sang the melody at times, but had an essentially rhythmic and milonguero role. Singers:  Albero Podestá, Ernesto Famá, Roberto Rufino, Fernando Díaz, Antonio Rodríguez, Roberto Arrieta, Ignacio Murillo, Carlos Acuña, Santiago Devin, Jorge Durán, Roberto Florio , Oscar Serpa, Argentino Ledesma.

Oswaldo Pugliese:  recognized as one of the great Argentine musicians who revolutionized the interpretation of tango on the piano , and committed to the work of musicians, performers, composers, and their rights and obligations as artists. Singers:   Roberto Beltrán, Roberto Chanel, Alberto Morán, Jorge Vidal, Jorge Maciel, Miguel Montero, Alfredo Belusi, Adrián Guida and Abel Córdoba.

Miguel Caló (Buenos Aires, October 28, 1907 - May 24, 1972) was an  Argentine conductor, composer and bandoneonist . Singers: Raúl Berón, Alberto Podestá, Jorge Ortiz, Raúl Iriarte, Alberto Morel, Rodolfo Biagi, Enrique Fancini, Hector Palacio, Domingo Federico, Roman Prince and his brother, Roberto Caló.

Pedro Láurenz (Buenos Aires, October 10, 1902 - July 7, 1972) was a  ^{prominent Argentine bandoneonist, director and composer of tango .} He was a member of the famous Julio de Caro sextet and the first formation of the Royal Quintet (Láurenz-Salgán-De Lío-Francini-Ferro), formed in 1959. Singers: Alberto Podestá.

Ángel Domingo Emilio D'Agostino  began to play in public with a trio, in which Juan D'Arienzo participated ,  then as young and unknown as he was. In  1920  he formed his own orchestra. They played tango and  jazz;  they also accompanied silent films. In 1932 he met Angel Vargas, with whom he would later form a memorable duo. In 1934 he formed an orchestra dedicated exclusively to tango, in which the bandoneonist Aníbal Troilo and the singer Albero Echague participated. Singers: Ángel Vargas, Rubén Cané, Tino García, Roberto Alvar. 

Ricardo Tanturi (Buenos Aires, Argentina, January 27, 1905 – idem, January 24, 1973) was a pianist, orchestra director and composer dedicated to the tango genre. Singers: Alberto Castillo and Enrique Campos, Elsa Rivas

Rodolfo Biagi (Buenos Aires; March 14, 1906 - Ibid.; September 24, 1969) was an Argentine conductor, composer and pianist whose nickname was "witch hands" and who is considered an important figure linked to tango music by Juan D'Arienzo. In 1938 he founded his own typical orchestra. SingersJorge Ortiz, Andrés Falgaz, Teófilo Ibañez, Alberto Amor, Carlos Acuña, Alberto Lago, Carlos Saavedra, Hugo Duval.

Enrique Rodríguez ( Argentina, March 8, 1901 – September 4, 1971) whose full name was Aquilino Enrique Rodríguez Ruiz and who used the pseudonym Luis María Meca, was a bandoneon player, director and composer. Singers : Armando Moreno, Roberto Florez, Oscar Galán, Omar Quiroz, Roberto Videla. 

Horacio Adolfo Salgán (Buenos Aires, June 15, 1916 - ibid., August 19, 2016) was an Argentine pianist, composer and conductor, considered one of the greatest exponents of tango and one of the initiators of the so-called "avant-garde tango". Singers: Roberto Goyeneche, Horacio Deval, Angel Díaz, Edmundo Rivero.

Alfredo De Angelis  (November 2, 1912 – March 31, 1992) was a  tango musician, who stood out as a conductor and pianist and composer . Very representative of the period known as the Golden Age. Singers: Carlos Dante, Oscar Larroca, Julio Martel, Juan Carlos Godoy, Floreal Ruiz, Roberto Mancini, Lalo Martel, Roberto Flórez   

Alfredo Gobbi: (Paris, May 14, 1912 - Buenos Aires, Argentina, May 21, 1965), full name Alfredo Julio Floro Gobbi, was called "the romantic violin of tango". He was a  violinist, pianist, orchestra director and tango composer. His singers:   Jorge Maciel, Tito Landó, Carlos Almada, Alfredo Eusebio Gobbi, Angel Díaz, Flora de Gobbi, Carlos Yanel , Carlos Almado .  

Gardel became a soloist in 1925 and became an international star until his tragic death in Medellin (1935). Everything changed when he traveled to Europe where he popularized the tango after the First World War, especially due to the Parisian culture and the bourgeoisie that were exalted by the upper classes in Buenos Aires. The tango began to be seen in a different way and was embraced by the general population and went from brothels to the great halls of the era, called  The Golden Age   when Peronism began in 1940.

Between the 60s and 70s, when rock music arrived, tango fell out of the spotlight until the composer and accordionist  Astor Piazzolla reinvented the genre, creating the  new tango , influenced by jazz and other styles. Many purists criticized him, saying that he had killed tango; today he is recognized as one of the most famous figures of the 20th century; his songs with lyrics are very few.

Tangos sung by women:

Uruguayan Orchestras: 

SEVERAL:

4)  LUNFARDO DICTIONARY:  https://fattiditango.files.wordpress.com/2007/05/ Diccionario-del-lunfardo- jerga-del-espanol-de-buenos- aires -vocabulario-tango.pdf

Lunfardo is not a language in the strict sense of the word, but rather a slang or argot that originated in Buenos Aires, Argentina, in the late 19th and early 20th centuries. It emerged primarily in working-class neighborhoods and immigrant environments, especially Italians, and spread largely through music, such as the tango.
Lunfardo is characterized by including words and expressions that come from various languages, such as Italian, Spanish, Portuguese, French, and other European languages. Over time, many of these words were integrated into Rioplatense Spanish, and today, some are part of everyday speech in Argentina and Uruguay. Although it is not an independent language with its own grammar and syntax, Lunfardo has a unique vocabulary that gives it a distinctive character, especially in cultural contexts such as music and literature.
AI, the modern tango:   Tango has evolved considerably from its roots in Buenos Aires and Montevideo, and modern tango orchestras have played a crucial role in that transformation. These orchestras, while respecting the tradition of classical tango, have also incorporated elements of other musical genres such as jazz, electronic music, and classical music, creating a contemporary sound that continues to resonate with a global audience.
Some notable modern tango orchestras include:
Orquesta Típica Fernández Fierro : Known for its energetic energy and rebellious approach, this Argentine orchestra has revitalized tango with a raw, visceral sound.
Astillero : Also from Argentina, this orchestra stands out for its experimental approach, fusing tango with elements of rock and contemporary music, without losing the dramatic and melancholic essence of the genre.
Bajofondo : Founded by Argentine Gustavo Santaolalla and Uruguayan Juan Campodónico, Bajofondo fuses tango with electronics, creating a style known as “electrotango.” Although not a typical orchestra, its impact on the modernization of tango is undeniable.
Orquesta El Arranque : This orchestra combines a deep respect for the tango tradition with innovative and fresh arrangements. It has collaborated with great tango figures and has taken its music to international stages.
La Chicana : With a more bohemian style and an inclination towards popular music, La Chicana mixes tango with other genres such as milonga, vals criollo and jazz, exploring new ways of interpreting tango.
Altertango : Originally from Mendoza, this group is known for its modern and risky approach, incorporating elements of rock, jazz and classical music in its interpretation of tango.
These orchestras reflect the vitality and capacity for reinvention of tango, showing how a genre with more than a century of history remains relevant and exciting in contemporary music .

BOLEROS 

Bolero is a slow-paced musical genre that emerged in  Cuba  in the mid-  19th century . Despite its European roots, it is Latin by definition, and although it is most often found in the Caribbean, it is a collective heritage of all Latin America.
In its early stages, its songs were performed in bars and pubs; later it became established in its romantic style and became very popular as music for serenades.
The countries of the Caribbean Sea catapulted the invention of Cuba between the twenties and thirties, which facilitated the fusion and the aggrandizement of the bolero with other musical genres, resulting in the subgenres that the historian César Pagano classifies as follows: Bolero song, son (danceable), danzón, rhythmic (to dance fine and cadenced), charanga, mambo, cha , ballad, guaguanco, Brazilian, tango, apasillado, bachata, salsero, jazz, ranchero (mix bolero and Mexican mariachi) and the moruno (bolero with gypsy and Hispanic mixes.
CUBA with great bolero singers such as Beny Moré, Fernando Albuerne, Barbarito Diaz, Tito Gómez, Vicentico Valdez, Orlando Contreras, Miguelito Valdez, Antonio Machín, Rolando Laserie, Roberto Fax, Orlando Vallejo, Panchito Rize and a large number of composers was the pioneer and decisively promoted it.

CUBA:

MEXICO:

PUERTO RICO :
                       

VENEZUELA:
                    

COLOMBIA:
  

PERU:

ECUADOR:

ARGENTINA:

CHILE:

BRAZIL:

FEMALE VOICES:

BOLEROS IN ENGLISH:

SYMPHONIC BOLEROS :

SEVERAL: