Related Research Articles
The music of Mexico is highly diverse, featuring a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, primarily deriving from Europeans, Indigenous, and Africans. Music became an expression of Mexican nationalism starting in the nineteenth century.
The music of Guatemala is diverse. Music is played all over the country. Towns also have wind and percussion bands that play during the lent and Easter-week processions as well as on other occasions. The marimba is an important instrument in Guatemalan traditional songs. The oldest documented use of marimba in the Americas dates to 1680 during celebrations at Santiago de los Caballeros de Guatemala.
Hernando Franco was a Spanish composer of the Renaissance, who was mainly active in Guatemala and Mexico.
Manuel de Zumaya or Manuel de Sumaya was perhaps the most famous Mexican composer of the colonial period of New Spain. His music was the culmination of the Baroque style in the New World. He was the first person in the western hemisphere to compose an Italian-texted opera, entitled Partenope. Similar to Antonio Vivaldi, Zumaya was also a life-long, active Roman Catholic priest.
The villancico or vilancete was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.
Being one of the most ancient nation-states in Europe, Portugal has a long music history, which accompanied and strongly contributed to the development of the music history in Europe.
Miguel Bernal Jiménez was a Mexican composer, organist, pedagogist and musicologist.
Julio Estrada Velasco is a composer, theoretician, historian, pedagogue, and interpreter.
Giacomo Facco was an Italian Baroque violinist, conductor and composer. One of the most famous Italian composers of his day, he was completely forgotten until 1962, when his work was discovered by composer, conductor, and musicologist Uberto Zanolli.
Gaspar Fernandes (1566–1629) was a Portuguese-Mexican composer and organist active in the cathedrals of Santiago de Guatemala and Puebla de los Ángeles, New Spain.
Cuban musical theatre has its own distinctive style and history. From the 18th century to modern times, popular theatrical performances included music and often dance as well. Many composers and musicians had their careers launched in the theatres, and many compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas which better suited their creole audience. Characters on stages began to include elements from Cuban life, and the music began to reflect a fusion between African and European contributions.
Alan Estrada Gutiérrez is a Mexican actor, dancer and singer. His best known role was "Mario" in the Spanish musical Hoy No Me Puedo Levantar. He is also known for his YouTube channel Alan X El Mundo, documenting his world travels.
Claudio José Domingo Brindis de Salas Garrido was a Cuban concert violinist. His father was the violinist and bandleader, Claudio Brindis de Salas. The son surpassed his father, and was a violinist of world renown. He studied under his father, and then with maestros José Redondo and the Belgian José Van der Gutch. In 1863 he first performed in public, in Havana, with Van der Gutch as accompanist. Ignacio Cervantes also played at the same function.
Juan Navarro of Seville, hence the epithet Hispalensis was a Spanish composer. He is not related to the Mexican composer Juan Navarro Gaditanus,.
Armonicus Cuatro is a group of four vocalists from Mexico: Mario Iván Martínez, Lourdes Ambriz, Nurani Huet and Martín Luna which mostly specializes in European medieval, Renaissance and Baroque music. All four are established musicians in their own right, with Martínez also known as an actor in film and Mexican television. The group has performed widely in Mexico at music and cultural festivals such as the Festival Internacional Cervantino as well as in Europe.
Blas Tardío de Guzmán was a Bolivian criollo composer, one of four notable criollo students of Juan de Araujo. He succeeded Juan Guerra y Biedma as chapelmaster, maestro de capilla, of the Cathedral of Sucre, then called La Plata, in 1745.
Alonso Xuárez, (1640–1696), born in Fuensalida, Toledo, Spain, renowned musician of the Spanish Baroque, and a disciple of Tomás Miciezes el mayor in the Convent of Las Descalzas Reales of Madrid. He worked as chapel master in the cathedrals of Cuenca and Seville.
Juan Antonio Simarro González, stage name Juan Antonio Simarro, is a Spanish composer, interpreter and producer.
Antonio de Juanas was a composer in Spain and Mexico.
Francisco José Olivares was a Spanish composer and organist who lived in the late eighteenth century and early nineteenth century. Throughout his musical career, he worked in Cuenca, Orihuela and Salamanca.
References
- Luisa Cosi, "Napoli, Terra d'Otranto, Città del Messico: tracce archivistiche di un 'viaggio musicale' fra Sei e Settecento", in "Itinerari di ricerca storica", Università di Lecce XII/1998 pp. 51-64
- Robert M. Stevenson, “Ignacio de Jerusalem (1707–1769): Italian parvenu in Eighteenth-Century Mexico,” Inter-American Music Review, vol. 16, no. 1 (Summer-Fall, 1997), pp. 57–61
- Robert Stevenson, “La música en México de los siglos XVI a XVIII,” in La Música de México. I. Historia, 2. Periodo Virreinal (1530 a 1881), series ed. by Julio Estrada (Mexico City: Instituto de Investigaciones Estéticas & UNAM, 1986), esp. pp. 56, 68–69
- Jesús Estrada, Música y músicos de la Época Virreinal, prologue, revision and notes by Andrés Lira (Mexico City: Secretaría de Educación Pública, 1973); and Alice Ray Catalyne, “Jerusalem, Ignacio de,” The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), vol. 9, pp. 611–12.
| International | |
|---|---|
| National | |
| Artists | |
| Other | |
