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==References==
==References==
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==Further Reading==
==Further Reading==

Revision as of 21:09, 10 September 2010

Nueva canción
Stylistic originsLatin American folk music, Guitar music
Typical instrumentsbass guitar, charango, drums, guitar and panflute
Regional scenes
Argentina; Bolivia; Chile; Colombia; Cuba; Mexico; Nicaragua; Spain; Paraguay; Peru; Uruguay; Venezuela

Nueva canción (Spanish for 'new song') is a movement and genre within Latin American music that is considered socially committed music. Nueva cancion is widely recognized to have played a powerful role in the social upheavals in Latin America during the 1970s and 1980s, particularly in Nicaragua where Neuva cancion musicians are attributed with transmitting social and political messages, and aiding in the ideological mobilisation of the populace.[1]

Nueva cancion first surfaced during the 1960s as "The Chilean New Song" in Chile. The musical style emerged shortly afterwards in Spain and other areas of Latin America where it came to be known under similar names. Nueva canción renewed traditional Latin American folk music, and was soon associated with the revolutionary movements in Central America, the Latin American New Left, Liberation Theology, hippie and human rights movements due to political lyrics. Neuva cancion is one of many types of socially committed music, including the North American protest song, the Nicaraguan Sandanista's volcanto and Hispano-American musica testimonial. It would gain great popularity throughout Latin America, and is regarded as a precursor to Rock en español.

Several Nueva canción musicians often had to go into exile when their countries became right-wing military dictatorships in the 1960s and 1970s. Víctor Jara was killed by elements of the Chilean military, and Mercedes Sosa went into exile from Argentina to Spain.

Due to Nueva canción songs' strongly political messages, some of them have been used in recent political campaigns, the Orange Revolution, which used Violeta Parra's Gracias a la vida. Nueva canción has became part of the Latin American and Iberian musical canon but is no longer a contemporary genre, and has given way to other genres, particularly Rock en español.

Characteristics

"La Nueva Canción" also known as the "New Song Movement" or "Trova" is a type of protest/social song. Its lyrics characteristically talk about poverty, empowerment, the Unidad Popular, imperialism, democracy, human rights, and religion. There are some hundreds of songs with influences from British and American pop rock that was popular with college youths.

Nueva canción largely draws upon Andean music, Música negra, Spanish music, Cuban music and other Latin American folklore. The most important source for nueva canción, however, is Chilean cueca, a rural song-form.

The '73 Chilean coup affected the genre's growth in Chile, the country where it was the most popular, because the whole musical movement was forced to go underground. During the days of the coup, Víctor Jara, a well known singer, songwriter and maybe the most popular figure of Nueva Canción, was tortured and killed by the new rightist military regime under General Augusto Pinochet. Other musicians such as Patricio Manns and groups, such as Inti-Illimani and Quilapayún, found safety outside the country. The military government under General Pinochet ruled until 1989 and went as far as to ban many traditional Andean instruments, in order to suppress the Nueva Canción movement. Following the deposition of Pinochet, the Estadio Chile in Santiago de Chile where Víctor Jara was murdered bears his name.

Most songs feature the guitar, and often the quena, zampoña, charango or cajón. The lyrics are typically in Spanish, with some indigenous or local words mixed in.

While Chile has produced the largest number of Nueva Canción artists, its popularity has been great in almost all Spanish speaking Latin American countries, and it enjoyed some popularity in Spain during the 1970s, where it was initially fueled by the political oppression of the Franquist regime, see Nova Canco.

Musicians

Argentina - Nuevo Cancionero

Brazil - Tropicalismo and Música Popular Brasileira

Canary Islands

Chile

Colombia

Ecuador

El Salvador

Guatemala

  • Mango
  • Grupo Camino, Escuela Normal
  • Kin-Lalat
  • Alejandro Cotí
  • Círculo de Cantautores
  • Alejandro Melgar
  • Tito Medina
  • César Dávila
  • José Chamalé
  • Miguel Sisay
  • Fernando López
  • Sarita Gálvez
  • Danilo Cardona
  • Estudiantina de la Universidad de San Carlos
  • Rudy Solórzano
  • Taller de Música de Ingeniería
  • Jijiripago
  • Canto Vital
  • Voces Nuevas
  • Maderas
  • Raúl Flores
  • Marco Antonio Caxaj
  • Jornal
  • Calicanto
  • Semilla de Revolución,
  • Rony Hernández
  • Gad Echeverría
  • Alux Nahual
  • Canto General
  • Sandra Morán
  • Armandito Pineda
  • Alejandro Arriaza
  • Sobrevivencia

Nicaragua

Paraguay

Puerto Rico

Uruguay

Venezuela

Cuba - Nueva Trova

Perú

México - Canto Nuevo

Catalunya - Nova Cançó

United States - Nueva Canción

References

  1. ^ Clark, Walter Aaron (2002). From tejano to tango: Latin American popular music. Psychology Press. p. 41. ISBN 9780815336396.

Further Reading

  • "Socially conscious music forming the social conscience: Nicaraguan Musica Testimonial and the creation of a revolutionary moment" by T.M. Scruggs; in From tejano to tango: Latin American popular music edited by Walter Aaron Clark.
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