Essay On Salsa Music - Essay On Salsa Music

As American-Latin, Artists labored in developing the inimitable American sounds such as Mambo and Salsa, Tito Puente effortlessly worked in creating a new archetype of dance and music. The form of music Tito Puente produced reflects the Latin traditions and customs and transcends throughout the American society. Tito Puente is possibly the most significant Latin musician that was famous throughout the 20th century. His music prodigy characterizes him as the most credible kingpin in Latin music with a legendary status in his lifetime. It is certain why American History dedicates its greatest chapters to this remarkable artist. This paper focuses on the inception and development of American popular music and the inputs Tito Puente made towards its success in the American Music Industry.

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The concept of which began as a marketing ploy created by Izzy Sanabria was successfully exploited by Fania Records, then eventually took on a life of its own, organically evolving into an authentic pan-Latin American cultural identity. Music professor and salsa trombonist Christopher Washburne writes:

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"This pan-Latino association of salsa stems from what Felix Padilla labels a 'Latinizing' process that occurred in the 1960s and was consciously marketed by Fania Records: 'To Fania, the Latinizing of salsa came to mean homogenizing the product, presenting an all-embracing Puerto Rican, Pan-American or Latino sound with which the people from all of Latin America and Spanish-speaking communities in the United States could identify and purchase.' Motivated primarily by economic factors, Fania's push for countries throughout Latin America to embrace salsa did result in an expanded market. But in addition, throughout the 1970s, salsa groups from Colombia, the Dominican Republic, and Venezuela, among other Latin American nations, emerged, composing and performing music that related to their own specific cultural experiences and affiliations, which posited salsa as a cultural identity marker for those nations as well."

Cuban Music History with professional performing artists who are available for private classes in Cuban salsa for La Bayamesa), Nico.
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There is considerable controversy surrounding the term salsa and the idea that it is its own distinct genre. Several New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. For example, Cuban-born declared: "There's nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years." Similarly, New York native stated: "The only salsa I know is sold in a bottle called ketchup. I play Cuban music." Eventually though, both Machito and Puente embraced the term as a financial necessity.

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Various music writers and historians have traced the use of to different periods of the 20th century. traces the word back to the early 1930s, when composed "Échale salsita", a Cuban protesting tasteless food. While Salazar describes this song as the origin of meaning "danceable Latin music", Ed Morales describes the usage in the same song as a cry from Piñeiro to his band, telling them to increase the tempo to "put the dancers into high gear". Morales claims that later in the 1930s, vocalist would shout during a performance "to acknowledge a musical moment's heat, to express a kind of cultural nationalist sloganeering [and to celebrate the] 'hotness' or 'spiciness' of Latin American cultures". World music author Sue Steward claims was originally used in music as a "cry of appreciation for a particularly piquant or flashy solo". She cites the first use in this manner to a Venezuelan radio DJ named ; In 1955 created a new band called Conjunto Los Salseros and recorded some new songs ( Sonero and Que no muera el son ).In 1955 recorded some others salsa songs (La familia, La la la and Sun sun sun ba bae). The contemporary meaning of as a musical genre can be traced back to New York City Latin music promoter :

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Salsa Music and New York Essay Examples - Sample Essays

There was one final distinct Latin music era in New York before salsa emerged, and it was an original, home-grown hybrid: the Latin (or boogalú). By the mid-1960s, a hybrid Nuyorican cultural identity emerged, primarily Puerto Rican but influenced by many Latin cultures as well as the close contact with African Americans. The boogaloo was a true Nuyorican music, a bi-lingual mix of R&B and Cuban rhythms. It had two Top 20 hits in 1963: Mongo Santamaría's performance of the piece "" and 's "El Watusi," which in a sense, established the basic boogaloo formula. The term was probably coined in about 1966 by and . The biggest boogaloo hit of the 60s was "Bang Bang" by the Sextet, which achieved unprecedented success for in 1966 when it sold over one million copies. "El Pito" was another hit by this popular combo. Hits by other groups included 's "Boogaloo Blues", Pete Rodríguez's "I Like It like That", and Hector Rivera's "At the Party". and the are two other important boogaloo bands.