The modern classical guitar and its baroque predecessor were invented in Spain
In Spain, music has a long history. It has played an important role in the development of Western music, and has greatly influenced Latin American music. Spanish music is often associated with traditional styles such as flamenco and classical guitar. While these forms of music are common, there are many different traditional musical and dance styles across the regions. For example, music from the north-west regions is heavily reliant on bagpipes, the jota is widespread in the centre and north of the country, and flamenco originated in the south. Spanish music played a notable part in the early developments of western classical music, from the 15th through the early 17th century. The breadth of musical innovation can be seen in composers like Tomás Luis de Victoria, styles like the zarzuela of Spanish opera, the ballet of Manuel de Falla, and the classical guitar music of Francisco Tárrega. Nowadays, in Spain as elsewhere, the different styles of commercial popular music are dominant.
Musical instruments in the Diocesan Museum of Albarracín.
The Iberian Peninsula has had a history of receiving different musical influences from around the Mediterranean Sea and across Europe. In the two centuries before the Christian era, Roman rule brought with it the music and ideas of Ancient Greece; early Christians, who had their own differing versions of church music arrived during the height of the Roman Empire; the Visigoths, a Romanized Germanic people, who took control of the peninsula following the fall of the Roman Empire; the Moors and Jews in the Middle Ages. Hence, there have been more than two thousand years of internal and external influences and developments that have produced a large number of unique musical traditions.
Medieval period
Cantigas de Santa maría, medieval SpainCodex Las Huelgas, a medieval Spanish music manuscript, circa 1300 AD.
Isidore of Seville wrote about the local music in the 6th century. His influences were predominantly Greek, and yet he was an original thinker, and recorded some of the first details about the early music of the Christian church. He perhaps is most famous in musical history for declaring that it was not possible to notate sounds, an assertion which revealed his ignorance of the notational system of ancient Greece, suggesting that this knowledge had been lost with the fall of the Roman Empire in the west.[citation needed]
The Moors of Al-Andalus were usually relatively tolerant of Christianity and Judaism, especially during the first three centuries of their long presence in the Iberian peninsula, during which Christian and Jewish music continued to flourish. Music notation was developed in Spain as early as the 8th century (the so-called Visigothic neumes) to notate the chant and other sacred music of the Christian church, but this obscure notation has not yet been deciphered by scholars, and exists only in small fragments.[citation needed] The music of the early medieval Christian church in Spain is known, misleadingly, as the "Mozarabic Chant", which developed in isolation prior to the Islamic invasion and was not subject to the Papacy's enforcement of the Gregorian chant as the standard around the time of Charlemagne, by which time the Muslim armies had conquered most of the Iberian peninsula. As the Christian reconquista progressed, these chants were almost entirely replaced by the Gregorian standard, once Rome had regained control of the Iberian churches. The style of Spanish popular songs of the time is presumed to have been heavily influenced by the music of the Moors, especially in the south, but as much of the country still spoke various Latin dialects while under Moorish rule (known today as the Mozarabic) earlier musical folk styles from the pre-Islamic period continued in the countryside where most of the population lived, in the same way as the Mozarabic Chant continued to flourish in the churches. In the royal Christian courts of the reconquistors, music like the Cantigas de Santa Maria, also reflected Moorish influences. Other important medieval sources include the Codex Calixtinus collection from Santiago de Compostela and the Codex Las Huelgas from Burgos. The so-called Llibre Vermell de Montserrat (red book) is an important devotional collection from the 14th century.[citation needed]
Renaissance and Baroque periods
Orpheus playing the vihuela. Frontispiece from the famous work El maestro by Luis de Milán, 1536.
An early 16th-century polyphonic vocal style developed in Spain was closely related to that of the Franco-Flemish composers. Merging of these styles occurred during the period when the Holy Roman Empire and the Burgundy were part of the dominions under Charles I (king of Spain from 1516 to 1556), since composers from the North of Europe visited Spain, and native Spaniards traveled within the empire, which extended to the Netherlands, Germany and Italy. Music composed for the vihuela by Luis de Milán, Alonso Mudarra and Luis de Narváez was one of the main achievements of the period. The Aragonese Gaspar Sanz authored the first learning method for guitar. Spanish composers of the Renaissance included Francisco Guerrero, Cristóbal de Morales, and Tomás Luis de Victoria (late Renaissance period), all of whom spent a significant portion of their careers in Rome. The latter was said to have reached a level of polyphonic perfection and expressive intensity equal or even superior to Palestrina and Lassus[citation needed]. Most Spanish composers returned home from travels abroad late in their careers to spread their musical knowledge in their native land, or in the late 16th century to serve at the Court of Philip II.
By the end of the 17th century the "classical" musical culture of Spain was in decline, and was to remain that way until the 19th century. Classicism in Spain, when it arrived, was inspired by Italian models, as in the works of Antonio Soler. Some outstanding Italian composers such as Domenico Scarlatti and Luigi Boccherini were appointed to the Madrid royal court. The short-lived Juan Crisóstomo Arriaga is credited as the main beginner of Romantic sinfonism in Spain. [citation needed]
Although symphonic music was never too important in Spain, chamber, solo instrumental (mainly guitar and piano) vocal and opera (both traditional opera, and the Spanish version of the singspiel) music was written by local composers. Zarzuela, a native form of opera that includes spoken dialogue, is a secular musical genre which developed in the mid-17th century, flourishing most importantly in the century after 1850. Francisco Asenjo Barbieri was a key figure in the development of the romantic zarzuela; whilst later composers such as Ruperto Chapí, Federico Chueca and Tomás Bretón brought the genre to its late 19th-century apogee. Leading 20th-century zarzuela composers included Pablo Sorozábal and Federico Moreno Torroba.
Raphael recognized for being one of the forerunners of the romantic ballad.
In the realm of classical music, Spain boasts a rich tradition of accomplished singers and performers who have made significant contributions to the global musical landscape. The country hosts a vibrant classical music scene, characterized by a multitude of professional orchestras and esteemed opera houses.
With over forty professional orchestras spread across its regions, Spain serves as a hub for orchestral excellence. Among these ensembles, notable names include the Orquestra Simfònica de Barcelona, Orquesta Nacional de España, and the Orquesta Sinfónica de Madrid. These orchestras showcase the nation's commitment to fostering musical talent and nurturing classical repertoire.
In addition to its orchestral prowess, Spain boasts a selection of distinguished opera houses that serve as pillars of the classical music community. Among these institutions, the Teatro Real, the Gran Teatre del Liceu, Teatro Arriaga, and the El Palau de les Arts Reina Sofía stand as esteemed venues renowned for their commitment to showcasing world-class opera productions. These opera houses provide platforms for both established and emerging singers to showcase their talents on a prestigious stage.
During the 1940s, Spanish music was shaped by the aftermath of the Civil War and Francisco Franco's dictatorship. Traditional genres like flamenco and classical music continued to thrive, albeit under strict censorship. Popular music forms such as zarzuela and pasodoble celebrated Spanish identity. The era reflected a complex interplay of cultural resilience, political control, and the influence of broader European events like World War II. Overall, music in 1940s Spain mirrored a society in transition, navigating between tradition and the constraints of authoritarian rule.
Massiel, one of the most successful Yé-yé singers from Spain.
The Yé-yé movement, stemming from the English pop-refrain "yeah-yeah," took on a unique form in various cultural contexts, notably in France and Spain. Initially coined in France to describe a genre influenced by American rock and British beat music of the early 1960s, such as the twist, Yé-yé music quickly gained popularity for its lively and uplifting characteristics. In Spain, Concha Velasco is often credited as the catalyst for the Yé-yé scene with her 1965 hit "La Chica Ye-Yé." However, even before Velasco's breakthrough, artists like Karina had already begun making significant strides with their infectious tunes as early as 1963. These pioneering female singers not only popularized Yé-yé music but also set the stage for a vibrant cultural movement characterized by catchy melodies and youthful exuberance.
Spanish Yé-yé music, much like its French counterpart, drew heavily from American and British influences but also incorporated elements of traditional Spanish music. This fusion of styles created a dynamic musical landscape that resonated with audiences not only in Spain but also across Spanish-speaking communities worldwide. The genre's ability to blend international pop trends with indigenous musical traditions contributed to its enduring appeal and cultural significance.
Rocío Dúrcal is one of the best-selling Spanish-speaking women in the industry.
Spanish pop music's journey through the tumultuous years of Francisco Franco's regime was marked by resilience and adaptation. Despite strict censorship and limited outlets for contemporary music, the Benidorm International Song Festival emerged as a beacon of opportunity for Spanish musicians. Inspired by Italy's San Remo Music Festival, Benidorm provided a crucial platform for artists to showcase new musical styles to eager audiences. This festival not only introduced international influences but also nurtured local talent, laying the groundwork for future developments in Spanish pop. An injured Real Madrid football player-turned-singer, for example, became the world-famous Julio Iglesias. During the 1960s and early 1970s, tourism boomed, bringing yet more musical styles from the rest of the continent and abroad. During Franco's rule, which heavily restricted women's rights and roles in public life, female artists faced additional barriers in expressing themselves through music. However, some managed to break through these constraints, contributing to the vibrant underground music scene that emerged despite censorship. Artists like Marisol, who started as a child star in the 1960s, and Rocío Dúrcal, who became a prominent figure in Spanish music and film, navigated these challenges to become beloved icons of their time.
Julio Iglesias is the Latin artist who has sold the most albums in history.
The 1980s ushered in a transformative era with La Movida Madrileña, a countercultural movement centered in Madrid. This period was pivotal for Spain's pop music scene, fostering a spirit of experimentation and creativity across diverse genres such as electronica, Euro disco, rock, punk, and hip-hop. Spanish pop music began to carve out its own distinctive identity, moving beyond emulation of Anglo-American trends to embrace originality and diversity. La Movida not only revitalized artistic expression but also catalyzed the industry's growth, setting the stage for Spain's emergence as a powerhouse in global music. Female artists such as Alaska (of Alaska y los Pegamoides and later Fangoria), Mecano and Martirio emerged as influential figures, challenging traditional gender roles and exploring new sounds and styles.
Mónica Naranjo rose to fame in the 1990s with hits like "Sola" and "Sobreviviré"
The 1990s were a pivotal decade for the international success of Spanish pop music, and three of its leading figures Julio Iglesias, Enrique Iglesias, and Alejandro Sanz played crucial roles in bringing the genre to a global audience. These artists not only captivated audiences within Spain but also resonated globally, showcasing the universal appeal of Spanish-language music. Julio Iglesias, in particular, achieved unprecedented success as the best-selling male Latin artist of all time, illustrating the enduring impact of Spanish pop on the global music landscape.[1] This period also saw the emergence of electronic music and dance clubs, further diversifying the musical landscape and fostering a new generation of DJs and producers. The integration of Spanish and Latin American music markets further amplified this influence, fostering a dynamic cultural exchange that continues to shape trends and innovation in the industry. Enrique Iglesias and Alejandro Sanz have become successful internationally winning major music awards such as the Grammy Award. As Spanish is commonly spoken in Spain and most of Latin America, music from both regions have been able to crossover with each other.[2] According to the Sociedad General de Autores y Editores (SGAE), Spain is the largest Latino music market in the world.[3] As a result, the Latin music industry encompasses Spanish-language music from Spain.[4][5] The Latin Academy of Recording Arts & Sciences, the organization responsible for the Latin Grammy Awards, includes music from Spain including a category for Best Flamenco Album with voting members living in the country.[6][7]
Aitana at a concert in Málaga (2018).
The 1990s were a transformative decade for female artists in Spanish pop music, Rosana Arbelo gained widespread popularity with the debut album Lunas Rotas (1996), which featured hits like "El Talismán." Heartfelt ballads and folk-pop sound quickly connected with listeners, resonating deeply with themes of love and longing. Alongside, María Dolores Pradera, known for her boleros and Spanish ballads, continued to captivate audiences with her nostalgic songs. Even as the music landscape evolved, María Dolores maintained a strong presence, remaining an enduring figure in Spanish music throughout the decade. Other remarkable women, like Mónica Naranjo, with her powerful vocals and dramatic stage presence, and Ana Belén, whose sophisticated style and versatile voice commanded respect, were also shaping the music scene.
In the 2000s, Spanish pop music embraced more commercial sounds, with artists like David Bisbal and Pablo Alborán becoming household names. In the 2020s, Spanish pop continued to embrace genre-blending, with artists like C. Tangana and Aitana mixing pop with trap, reggaeton, and other urban styles. Amaia Montero gained fame as the lead singer of La Oreja de Van Gogh before launching a successful solo career, winning fans across Spain and Latin America with her romantic ballads and powerful voice. Rosalía, a recent global sensation, blends flamenco, reggaeton, and pop, with her 2018 album El Mal Querer solidifying her as one of Spain’s most exciting artists. Bebe, known for her mix of pop, flamenco, and rock, gained widespread recognition with her 2004 debut Pafuera Telarañas, featuring the hit Malo. Vanesa Martín, a singer-songwriter known for her soulful pop, earned a strong following with albums like Cuestión de Piel (2011) and Todas Las Mujeres Que Habita en Mí (2019).
Rock music in Spain
After the dissolution of the Héroes del Silencio band, Enrique Bunbury began a successful solo career, which he started in 1997 with the album Radical Sonora.
In the 1990s, Spain’s underground music scene flourished, especially in Madrid and Barcelona, with bands like Los Planetas and Dover infusing indie rock and experimental sounds into Spanish pop. From the 1990s onward, Spain's rock scene evolved, blending global influences with local traditions. Following the Movida Madrileña, bands like Los Planetas embraced indie and shoegaze, while Héroes del Silencio dominated hard rock. Bands like El Canto del Loco introduced pop-punk, and veteran groups like Nacha Pop and Los Secretos adapted to stay relevant.
Since their debut La Oreja de Van Gogh, they have sold more than 8 million albums worldwide.
The 2000s saw the Spanish rock scene embrace a more eclectic approach, with indie rock, garage rock, and folk-rock gaining prominence. This period marked the rise of new influential bands, particularly Vetusta Morla, whose album Un día en el mundo (2008) became a defining moment for Spanish indie rock. Other notable acts from this era include Love of Lesbian, who transitioned into a successful indie-pop band, and Dover, who brought an alternative rock sound with international appeal. This era also saw an increased blend of rock with electronic elements, as evidenced by the success of bands like El Columpio Asesino and the emergence of groups mixing rock with various regional sounds.
The 2010s saw the continued growth of indie rock, with bands like Izal, La Casa Azul, and Novedades Carminha further solidifying Spain’s place in the global indie music scene. The decade was characterized by the fusion of rock with other genres such as electronic music, punk, and pop, reflecting broader trends in the global music landscape. In addition to experimenting with new sounds, many Spanish rock bands began addressing social and political issues through their lyrics, tapping into the growing political consciousness of Spanish youth. The 2020s have continued these trends, with genre fusion becoming more pronounced, as rock music increasingly integrates elements from hip hop, reggaeton, and electronic music. Contemporary Spanish rock acts such as Carolina Durante and Los Zigarros maintain the energy and creativity of earlier years while appealing to younger generations through digital platforms and social media.
Music by region
The regions of Spain have distinctive musical traditions. There is also a movement of singer-songwriters with politically active lyrics, paralleling similar developments in Latin America and Portugal. The singer and composer Eliseo Parra (b 1949) has recorded traditional folk music from the Basque country and Castile as well as his own compositions inspired from the musical styles of Spain and abroad.
Sevillanas is related to flamenco and most flamenco performers have at least one classic sevillana in their repertoire. The style originated as a medieval Castilian dance, called the seguidilla, which was adopted with a flamenco style in the 19th century. Today, this lively couples' dance is popular in most parts of Spain, though the dance is often associated with the city of Seville's famous Easter feria.
Jota, popular across Spain, might have its historical roots in the southern part of Aragon. Jota instruments include the castanets, guitar, bandurria, tambourines and sometimes the flute. The guitarro, a unique kind of small guitar also seen in Murcia, seems Aragonese in origin. Besides its music for stick-dances and dulzaina (shawm), Aragon has its own gaita de boto (bagpipes) and chiflo (tabor pipe). As in the Basque country, Aragonese chiflo can be played along to a chicotén string-drum (psaltery) rhythm.
Northwest Spain (Asturias, Galicia and Cantabria) is home to a distinct musical tradition extending back into the Middle Ages. The signature instrument of the region is the gaita (bagpipe). The gaita is often accompanied by a snare drum, called the tamboril, and is played in processional marches. Other instruments include the requinta, a kind of fife, as well as harps, fiddles, rebec and zanfona (hurdy-gurdy). The music itself runs the gamut from uptempo muiñeiras to stately marches. As in the Basque Country, Cantabrian music also features intricate arch and stick dances but the tabor pipe does not play as an important role as it does in Basque music. Traditionally, Galician music included a type of chanting song known as alalas. Alalas may include instrumental interludes, and were believed to have a very long history, based on legends.
There are local festivals of which Ortigueira's Festival Internacional do Mundo Celta is especially important. Drum and bagpipe couples range among the most beloved kinds of Galician music, that also includes popular bands like Milladoiro. Pandereteiras are traditional groups of women that play tambourines and sing - bands like Tanxugueiras are directly influenced by this tradition. The bagpipe virtuosos Carlos Núñez and Susana Seivane are especially popular performers.
Asturias is also home to popular musicians such as José Ángel Hevia (bagpiper) and the group Llan de cubel. Circular dances using a 6/8 tambourine rhythm are a hallmark of this area. Vocal asturianadas show melismatic ornamentations similar to those of other parts of the Iberian Peninsula. There are many festivals, such as "Folixa na Primavera" (April, in Mieres), "Intercelticu d'Avilés" (Interceltic festival of Avilés, in July), as well as many "Celtic nights" in Asturias.
The most popular kind of Basque music is named after the dance trikitixa, which is based on the accordion and tambourine. Popular performers are Joseba Tapia and Kepa Junkera. Highly appreciated folk instruments are the txistu (a tabor pipe similar to Occitanian galoubet recorder), alboka (a double clarinet played in circular-breathing technique, similar to other Mediterranean instruments like launeddas) and txalaparta (a huge xylophone, similar to the Romanian toacă and played by two performers in a fascinating game-performance). As in many parts of the Iberian peninsula, there are ritual dances with sticks, swords and arches made from vegetation. Other popular dances are the fandango, jota and 5/8 zortziko.
Basques on both sides of the Spanish-French border have been known for their singing since the Middle Ages, and a surge of Basque nationalism at the end of the 19th century led to the establishment of large Basque-language choirs that helped preserve their language and songs. Even during the persecution of the Francisco Franco era (1939–1975), when the Basque language was outlawed, traditional songs and dances were defiantly preserved in secret, and they continue to thrive despite the popularity of commercially marketed pop music.
Children in Castilian folk costume in Soria, Castile.
A large inland region, Castile, Madrid and Leon were Celtiberian country before its annexation and cultural latinization by the Roman Empire but it is extremely doubtful that anything from the musical traditions of the Celtic era have survived. Ever since, the area has been a musical melting pot; including Roman, Visigothic, Jewish, Moorish, Italian, French and Roma influences, but the longstanding influences from the surrounding regions and Portugal continue to play an important role. Areas within Castile and León generally tend to have more musical affinity with neighboring regions than with more distant parts of the region. This has given the region diverse musical traditions.
Jota is popular, but is uniquely slow in Castile and León, unlike its more energetic Aragonese version. Instrumentation also varies much from the one in Aragon. Northern León, that shares a language relationship with a region in northern Portugal and the Spanish regions of Asturias and Galicia, also shares their musical influences. Here, the gaita (bagpipe) and tabor pipe playing traditions are prominent. In most of Castile, there is a strong tradition of dance music for dulzaina (shawm) and rondalla groups. Popular rhythms include 5/8 charrada and circle dances, jota and habas verdes. As in many other parts of the Iberian peninsula, ritual dances include paloteos (stick dances). Salamanca is known as the home of tuna, a serenade played with guitars and tambourines, mostly by students dressed in medieval clothing. Madrid is known for its chotis music, a local variation to the 19th-century schottische dance. Flamenco, although not considered native, is popular among some urbanites but is mainly confined to Madrid.
Catalan gipsies and Andalusian immigrants to Catalonia created their own style of rumba called rumba catalana which is a popular style that's similar to flamenco, but not technically part of the flamenco canon. The rumba catalana originated in Barcelona when the rumba and other Afro-Cuban styles arrived from Cuba in the 19th and early 20th centuries. Catalan performers adapted them to the flamenco format and made it their own. Though often dismissed by aficionados as "fake" flamenco, rumba catalana remains wildly popular to this day.
The havaneres singers remain popular. Nowadays, young people cultivate Rock català popular music, as some years ago the Nova Cançó was relevant.
Having long been the poorest part of Spain, Extremadura is a largely rural region known for the Portuguese influence on its music. As in the northern regions of Spain, there is a rich repertoire for tabor pipe music. The zambomba friction-drum (similar to Portuguese sarronca or Brazilian cuica) is played by pulling on a rope which is inside the drum. It is found throughout Spain. The jota is common, here played with triangles, castanets, guitars, tambourines, accordions and zambombas.
Murcia is a region in the south-east of Spain which, historically, experienced considerable Moorish colonisation, is similar in many respects to its neighbour, Andalusia. The guitar-accompanied cante jondoFlamenco style is especially associated with Murcia as are rondallas, plucked-string bands. Christian songs, such as the polyphonic chant of the Auroro singers, are traditionally sung a cappella, sometimes accompanied by the sound of church bells, and cuadrillas are festive songs primarily played during holidays, like Christmas.
Navarre and La Rioja
Ioaldunak dancers of Navarre.
Navarre and La Rioja are small northern regions with diverse cultural elements. Bordered by Aragon and the Basque Autonomous Community, they also share much of the music found in those two regions. Northern Navarre is Basque in language, while the Southern section shares more Aragonese features. The jota genre is also known in both Navarre and La Rioja. Both regions have rich dance and dulzaina (shawm) traditions. Txistu (tabor pipe) and dulzaina ensembles are very popular in the public celebrations of Navarre.
Traditional music from Valencia is characteristically Mediterranean in origin. Valencia also has its local kind of Jota. Moreover, Valencia has a high reputation for musical innovation, and performing brass bands called bandes are common, with one appearing in almost every town. Dolçaina (shawm) is widely found. Valencia also shares some traditional dances with other Iberian areas, like for instance, the ball de bastons (stick-dances). The group Al Tall is also well-known, experimenting with the Berber band Muluk El Hwa, and revitalizing traditional Valencian music, following the Riproposta Italian musical movement.
Related Research Articles
Flamenco is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage.
The music of Latin America refers to music originating from Latin America, namely the Spanish and Portuguese-speaking regions of the Americas south of the United States. Latin American music also incorporate the indigenous music of Latin America. Due to its highly syncretic nature, Latin American music encompasses a wide variety of styles, including influential genres such as cumbia, bachata, bossa nova, merengue, rumba, salsa, samba, son, and tango. During the 20th century, many styles were influenced by the music of the United States giving rise to genres such as Latin pop, rock, jazz, hip hop, and reggaeton.
The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in settings such as bufo theatre, is largely responsible for such worldwide polysemy of the term. In addition, "rumba" was the primary marketing term for Cuban music in North America, as well as West and Central Africa, during much of the 20th century, before the rise of mambo, pachanga and salsa.
The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.
In France, music reflects a diverse array of styles. In the field of classical music, France has produced several prominent romantic composers, while folk and popular music have seen the rise of the chanson and cabaret style. The oldest playable musical recordings were made in France using the earlist known sound recording device in the world, the phonautograph, which was patented by Édouard-Léon Scott de Martinville in 1857. France is also the 5th largest market by value in the world, and its music industry has produced many internationally renowned artists, especially in the nouvelle chanson and electronic music.
Romania has a multicultural music environment which includes active ethnic music scenes. Traditional Romanian folk music remains popular, and some folk musicians have come to national fame.
The most distinctive music of Uruguay is to be found in the tango and candombe; both genres have been recognized by UNESCO as an Intangible Cultural Heritage of Humanity. Uruguayan music includes a number of local musical forms such as murga, a form of musical theatre, and milonga, a folk guitar and song form deriving from Spanish and italian traditions and related to similar forms found in many American countries.
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 Colombia is an expression of Colombian culture, music genres, both traditional and modern, according with the features of each geographic region, although it is not uncommon to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of Amerindian, African, and European influences, as well as more modern American.
The music of the Philippines includes the musical performance arts in the Philippines and the music of Filipinos composed in various local and international genres and styles. Philippine musical compositions are often a mixture of Indigenous styles, and various Asian styles, as well as Spanish/Latin American and (US) American influences through foreign rule from those countries.
Portuguese music includes many different styles and genres, as a result of its history. These can be broadly divided into classical music, traditional/folk music and popular music and all of them have produced internationally successful acts, with the country seeing a recent expansion in musical styles, especially in popular music.
Northwest Iberian folk music is a traditional highly distinctive folk style, located along Spain's north-west Atlantic coast, mostly Galicia and Asturias, that has some similarities with the neighbouring area of Cantabria. The music is characterized by the use of bagpipes.
Basque music refers to the music made in the Basque Country, reflecting traits related to its society/tradition, and devised by people from that territory. While traditionally more closely associated to rural based and Basque language music, the growing diversification of its production during the last decades has tipped the scale in favour of a broad definition.
The music of Aragon has through history absorbed Roman, Celtic, Moorish and French influences, much like its culture. Traditional instruments used in the region include bagpipes, drums, flutes, tambourines, rattles and, perhaps most distinctively, the guitarro and bandurria.
The music of the Valencian Community in eastern Spain is rich and diverse due to external influences. It can be broadly divided into two categories: traditional and contemporary music.
The music of Catalonia comprises one of the oldest documented musical traditions in Europe. In tandem with the rest of Western Europe, it has a long musical tradition, incorporating a number of different styles and genres over the past two thousand years.
Pipe and tabor is a pair of instruments played by a single player, consisting of a three-hole pipe played with one hand, and a small drum played with the other. The tabor hangs on the performer's left arm or around the neck, leaving the hands free to beat the drum with a stick in the right hand and play the pipe with thumb and first two fingers of the left hand.
Rock en español is a term used to refer to any kind of rock music featuring Spanish vocals. Compared to English-speaking bands, very few acts reached worldwide success or between Spanish-speaking countries due to a lack of promotion. Despite rock en español's origins in the late 1950s, many rock acts achieved at best nationwide fame until the Internet consolidated the listeners. However, some rock en español artists did become internationally popular with the help of a promotional campaign from the mid-1980s to the mid-1990s called "Rock en tu idioma". Some specific rock-based styles influenced by folkloric rhythms have also developed in these regions. Some of the more prominent styles are Latin rock ; Latin alternative, an alternative rock scene that blended a Latin sound with other genres like Caribbean ska, reggae, and soca; or Andalusian rock, a flamenco-influenced style that emerged in Spain.
The jota is a genre of music and the associated dance known throughout Spain, most likely originating in Aragon. It varies by region, having a characteristic form in Aragon, Mallorca, Catalonia, León, Castile, Navarre, Cantabria, Asturias, Galicia, La Rioja, Murcia and Eastern Andalusia. Being a visual representation, the jota is danced and sung accompanied by castanets, and the interpreters tend to wear regional costumes. In Valencia, the jota was once danced during interment ceremonies.
Castanets, also known as clackers or palillos, are a percussion instrument (idiophone), used in Spanish, Calé, Moorish, Ottoman, Italian, Mexican, Sephardic, Portuguese, Brazilian and Swiss music. In ancient Greece and ancient Rome there was a similar instrument called the crotalum.
Fairley, Jan "A Wild, Savage Feeling". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 279–291. Rough Guides Ltd, Penguin Books. ISBN1-85828-636-0
Fairley, Jan with Manuel Domínguez. "A Tale of Celts and Islanders". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 292–297. Rough Guides Ltd, Penguin Books. ISBN1-85828-636-0
Alan Lomax: Mirades Miradas Glances. Photos and CD by Alan Lomax, ed. by Antoni Pizà (Barcelona: Lunwerg / Fundacio Sa Nostra, 2006) ISBN84-9785-271-0
Historia de la Música en España e Hispanoamérica. ed. by Maricarmen Gómez, Alvaro Torrente, Máximo Leza, Consuelo Carredano, Alberto González, Victoria Eli (Madrid-México DF, 2009–2017) ISBN978-84-375-0637-1
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