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Bolero

Bolero is a genre of song which originated in eastern Cuba in the late 19th century as part of the trova tradition. Unrelated to the older Spanish dance of the same name, bolero is characterized by sophisticated lyrics dealing with love. It has been called the "quintessential Latin American romantic song of the twentieth century".[1]

This article is about Cuban genre of song. For the older Spanish dance, see Bolero (Spanish dance). For the composition by Ravel, see Boléro. For other uses, see Bolero (disambiguation).

Bolero

Cuban canción

1880s trova from Santiago de Cuba

Cuba and Mexico

2023 (18th session)

Representative

Unlike the simpler, thematically diverse canción, bolero did not stem directly from the European lyrical tradition, which included Italian opera and canzone, popular in urban centers like Havana at the time. Instead, it was born as a form of romantic folk poetry cultivated by a new breed of troubadour from Santiago de Cuba, the trovadores.[1] Pepe Sánchez is considered the father of this movement and the author of the first bolero, "Tristezas", written in 1883.[2] Originally, boleros were sung by individual trovadores while playing guitar. Over time, it became common for trovadores to play in groups as dúos, tríos, cuartetos, etc. Thanks to the Trío Matamoros and, later, Trío Los Panchos, bolero achieved widespread popularity in Latin America, the United States and Spain. At the same time, Havana had become a fertile ground where bolero composers met to create compositions and improvise new tunes; it was the so-called filin movement, which derived its name from the English word "feeling". Many of the genre's most enduring pieces were written then and popularized in radio and cabaret performances by singers such as Olga Guillot and Elena Burke, backed by orchestras and big bands.[3]


Boleros are generally in 4/4 time and, musically, compositions and arrangements might take a variety of forms. This flexibility has enabled boleros to feature in the repertoire of Cuban son and rumba ensembles, as well as Spanish copla and flamenco singers, since the early 20th century. Occasionally, boleros have been merged with other forms to yield new subgenres, such as the bolero-son, popular in the 1930s and 1940s, and the bolero-cha, popular in the 1950s. In the United States, the rhumba ballroom dance emerged as an adaptation of the bolero-son in the 1930s. Boleros can also be found in the African rumba repertoire of many artists from Kinshasa to Dakar, due to the many bolero records that were distributed to radios there as part of the G.V. Series.


The popularity of the genre has also been felt as far as Vietnam, where it became a fashionable song style in South Vietnam before the Fall of Saigon in 1975 and remains popular with Vietnamese.

Bolero in the danzón: the advent of lyrics in the danzón to produce the danzonete.

The bolero-son: long-time favourite dance music in Cuba, captured abroad under the misnomer 'rumba'.

The bolero-mambo in which slow and beautiful lyrics were added to the sophisticated big-band arrangements of the mambo.

The bolero-cha, 1950s derivative with a chachachá rhythm.

The , a Dominican derivative developed in the 1960s.

bachata

José Loyola comments that the frequent fusions of the bolero with other Cuban rhythms is one of the reasons it has been so fertile for such a long period of time:


This adaptability was largely achieved by dispensing with limitations in format or instrumentation, and by an increase in syncopation (so producing a more afrocuban sound). Examples would be:


The lyrics of the bolero can be found throughout popular music, especially Latin dance music.

Vietnam[edit]

Bolero music has also spread to Vietnam. In the 1930s, the nation grew fond of modern music, which combined Western elements with traditional music. Vietnamese bolero is generally slower tempo compared to Hispanic bolero, and is similar in style to Japanese enka and Korean trot.[28] Such music was romantic, expressing concepts of feelings, love, and life in a poetic language;[29] this predisposition was hated by Viet Minh, who strived towards shaping the working class at the time.[30]


This genre became colloquially known as yellow music, in opposition to the nhạc đỏ (red music) endorsed by the Communist government of Hanoi during the era of the Vietnam War. As a result of North Vietnam winning the war, the music was banned in 1975. Those caught listening to yellow music would be punished, and their music confiscated. After the Fall of Saigon, many Vietnamese migrated to the United States, taking their music with them. The ban was lightened in 1986, when love songs could be written again, but by then the music industry was killed.[30]


The government of Vietnam also prohibited the sale of overseas Vietnamese music, including variety shows like Asia and Paris by Night. In recent years however, bolero had grown popular again, as more overseas singers performed in Vietnam. Additionally, singing competition television series like Boléro Idol have grown popular, with singers performing songs, including songs formerly banned.[30]

Canción sentimental mexicana

Cuplé

Latin ballad

Latin pop

Morales, Ed (2003). . Da Capo Press. ISBN 0-306-81018-2.

The Latin Beat