ARGENTINA

·INTROCUCION

The music of Argentina includes a variety of traditional, classical and popular genres. One of
the country's most significant cultural contributions is the tango, which originated in Buenos
Aires and its surroundings during the end of the 19th century and underwent profound
changes throughout the 20th century. Folk music was particularly popular during the 20th
century, experiencing a "boom" in popularity during the 1950s and 1960s thanks to artists
such as Atahualpa Yupanqui and Mercedes Sosa, prominent figures of the Nuevo cancionero
movement. In the mid-to-late 1960s, the countercultural scene of Buenos Aires originated
Argentine rock (known locally as rock nacional, Spanish for "national rock"), considered the
earliest incarnation of Spanish-language rock for having an autochthonous identity that
differed from that of England or the United States. It was widely embraced by the youth and
since then has become part of the country's musical identity as much as traditional music.
According to the Harvard Dictionary of Music, Argentina also "has one of the richest art
music traditions and perhaps the most active contemporary musical life

· MUSICAL REGIONS OF ARGENTINA

In Argentina there are a considerable variety of their musical culture because of their great
territorial extension and its wide diversity. Argentina is musically divided into several regions
of influence such as: the north, this region is very influenced by Andean music. The east is a
region influenced by Chilean music. The northeast, this region is strongly influenced by
Paraguayan music (Corientes region). The central region is the most "Argentinean" with the
Pampa (extensive plain of central Argentina that has no arboreal vegetation).

Argentine Folklore Rhyths (BY REGIONS).

North

Jujuy, Salta, Catamarca and part of La Rioja. Great influence of Andean folklore due to its
proximity to Bolivia. The instruments are the same as those of Andean music.

There are:

-Bailecito:

It is usually danced moving the handkerchiefs. Typical dance of the western and central
region of Bolivia.
This dance of Inca influence has a somewhat confusing history because of its name, as it is
sometimes difficult to know if, in the documents, this word is used specifically to designate
the dance itself or in a generic way to refer to all the popular dances of Peru, Bolivia and the
northern region of Argentina.
In these countries the names "bailecitos de tierra" or "bailecitos" were used to distinguish all
the dances of courtship that the people cultivated, and not only the one that concerns us now.
Another reason for confusion is the name "bailecito" applied to the cat in several provinces,
especially in the central and western provinces.
It arrived in Argentina from Bolivia, and penetrated the northwest in the mid-nineteenth
century, then spread to the provinces of Catamarca, Tucumán, Santiago del Estero and
Córdoba. Its remote origin, like that of many other Argentine dances, must be sought in the
dances of the Old World that Spain brought to the American ports, and especially to Lima, in
colonial times.

-Carnavalito:

Collective dance, traditional in the northwestern provinces, whose music is accompanied by

coplas.It's a fast and fiery pace.
Sister of the zamba, the Chilean zamba, the Peruvian marinera and other similar dances, all
daughters of the Peruvian zamacueca or derived from it, the cueca is one of the dances that
had more roots in Argentina, in whose western and northern regions still retains some
validity.

-Argentinean Cueca

It is a more agile version of the Argentine zamba. It is a ternary rhythm. It is the national
rhythm of Chile (cueca chilena). It imitates the twists of the clueca hen in its dance, hence the
name. There are two variants of the cueca: the Cueca del Norte and the Cueca cuyana (from
Cuyo), more similar to the Chilean cueca.
A dance of a loose couple, in which the amorous siege of a woman by a man is represented.
The dancers, who carry a handkerchief in their right hands, trace circular figures, with turns
and half turns, interrupted by various flourishes. Danced in the west of South America, from
Colombia to Argentina and Bolivia, it has different varieties according to the regions and
times.
The zamacueca arrived in Chile in 1824 or 1825; then it went to Mendoza and from Bolivia it
entered the north of the country. Since then it was danced in all the provinces, except in
Buenos Aires, and thus gave rise to the formation of its descendants: the zamba, the cueca,
the cuequita and the Chilean.
The cueca entered Argentina from Chile through Cuyo, first as "zamacueca" and later as
"cueca chilena", where it kept the name "cueca". In Cuyo its presence is documented
approximately in 1840 and in the province of Buenos Aires, in 1850.there is also the "cueca
norteña", or "chilena" to dry for the inhabitants of the provinces of the Argentine northwest
and Bolivia, variant that entered the province of Jujuy through Bolivia directly from Peru. It
has been called "marineriana" and in the last quarter of the 19th century it reached the
provinces of Salta and Tucumán.
The cueca cuyana is essentially sung, with guitar accompaniment (in the past, the harp was
also used), and can have a length of 40 or 48 measures. It presents musical and choreographic
differences with the current "cueca chilena"; musically, it has the bimodality of the old
zamacueca, but in a minor mode.

-Vidala

Its dispersion zone includes the entire flat region of Tucumán, Santiago del Estero and the
neighboring provinces, descending to the west as far as La Rioja and San Juan and going up
to Bolivian territory. Each zone presents differences with respect to the others.
The tempo is ternary, slow and rhythmic. It is accompanied by drum and guitar. The text is
very important: existential and sentimental themes. It is a rhythm of great emotionality,
similar to the Spanish cuplé (short and light song, which is sung in theaters and other places
of spectacle). It is a popular song, generally amorous and sad, which is accompanied by the
guitar. Widespread in Argentina, Bolivia and Uruguay.
The vidala is a form of poetic composition that is generally accompanied by guitar or box and
sung with one voice. It has very particular musical characteristics. Its melodies are also called
yaraví, in Jujuy. Although they are similar, they should not be confused with the vidalita.
They are mainly sung during carnival and constitute the repertoire of the costumed groups.
The form of these compositions is conditioned by the text; they include coplas solas,
quintillas or sextillas and more often coplas with interspersed refrains, to which a trova is
sometimes added.
Several groups of melodies are distinguished, according to their specific scales: the old
modes of RE and FA, the bimodal scale, with augmented fourth, with just fourth or with both
alternated, with the tetraphonic (four different notes) and the pentatonic (five different notes),
or hybrid scales with mixtures of the latter with European, modern and old scales.
As for the accompaniment of the vidalas, it is a rule that these carry percussions of box or
drum following the rhythm of the song, often the guitar is added that produces arpeggiated or
strummed chords.
It is said that the Vidala is born among the mountains of Santiago as music of unknown
rituals, it is a rhythm that fills with vigor the bodies that surround it, according to the
mythology of Santiago. The vidala in one way or another narrates the life of the mountains.
The vidala has no dance.

Southern region

Region of the gauchos of the Pampa (transhumant horsemen and skilled in cattle-breeding).
They are strongly influenced by Spanish cultured music, especially religious, to which must
be added the rhythms of black slaves. They are sung with Spanish guitar accompaniment.

There are:

-Malambo
Lively zapateo dance performed only by men (in Argentina, Chile and Uruguay) and
accompanied by guitar strumming. It may involve one or more dancers, who, separately and
often in counterpoint, perform various moves, with no other movements than those of the legs
and feet.
It is a traditional Argentine folkloric dance, belonging to the so-called surera or southern
music. It was born in the pampas around the year 1600. Within the Argentine folk dances, it
is an exception because it lacks lyrics; the music of a bombo legüero and guitars accompany
this dance performed only by men. It is a kind of zapateado danced by a single gaucho.
Accompanied by the guitar, it imitates the gallop of a runaway horse. It is a very fast and
complicated rhythm.

The essence of malambo music is a rhythmic scheme of six units per measure. In the
beginning the instrument typically used for the malambo was and still is the guitar. As the
malambo spread throughout Argentina, other instruments were added depending on the
region. In the north of Argentina the bombo, a percussion instrument, was incorporated; in
the Litoral area the "fuelle" (bandoneon or accordion) is very popular; in the Chaco and Cuyo
areas the violin is very popular.
With respect to the guitar, the rasgueo criollo can use the classic point for instants but
generally it obtains the sound by its special way of plucking, which is alternated with
rasgueos according to the musician's taste. Zambas, chacareras, gatos music is also used to
give more diversity to the monotonous malambo music.
This energetic and manly individual dance of zapateos, reserved exclusively for men, was
once danced in most of Argentina, especially in the Pampa, central and Andean areas. It is
believed to have been popular as early as the second decade of the 19th century.
The first musical version of the Malambo corresponds to Ventura Lynch (1883). Andrés
Chazarreta published his version in 1935.

-Milonga
The milonga is a rioplatense folkloric musical genre, typical of Argentina and Uruguay. It
comes from the gaucho culture. In binary compass, but often with a guitar accompaniment in
6/8. It is presented in two modalities, the milonga campera, pampeana or surera (belonging to
the so-called música surera or sureña), which is the original form of the milonga; and the
milonga ciudadana, late form created in 1931 by Sebastián Piana with "Milonga sentimental".
It has a muted rhythm and a nostalgic tone, played with the guitar.
The basis of the milonga is the rhythm of the Cuban habanera. It is accompanied only by
guitar, with typical "bordoneos". The "Milonga triste", which expresses melancholy
accentuated by guitar arpeggios, is popular. It passed into Andalusian flamenco as tango-
milonga.
"Milonga" meant in the Quimbunda language, based in Brazil, 'word', and by extension
'palabrerío', a very appropriate term to define the payada (competition in which, alternating,
two payadores improvise songs on the same theme. The payador is a popular singer who,
accompanied by a guitar and generally in counterpoint with another, improvises on a variety
of subjects.
It should be clarified that "quimbunda" was the language of the "bundas" peoples, with which
some African tribes of Angola, an old Portuguese colony on the west coast of the African
continent, were known. The slaves brought from those lands, who spoke Quimbunda (Bantu
language), abounded among the black population of Brazil, Argentina and Uruguay.
The "milonga campera" contains Afro elements in its rhythmic constitution and influences of
Creole and European dances arrived in Buenos Aires and Montevideo through several ways,
mainly from Peru, Spain, Brazil and Cuba. At that time there was a phenomenon known as
"back and forth" since the genres traveled from America to Europe and vice versa,
undergoing transformations and adaptations in each region.

It has similarities with other rhythms such as the chamarrita, the choro, the candombe and the
habanera. It is presumed that it contributed elements to tango, which later took the original
form of milonga as its own subgenre.
The milonga campera integrates the peasant expression of the pampa, of old roots, initially
sung, although later it had choreography. It was adapted to be included in theatrical works by
the end of 1880. Up to this point, the milonga had a long process.
The milonga is to the Argentine pampas what the baguala and the vidala are to the north of
the country; it is the ideal vehicle through which the deepest feelings of the inhabitant of the
plains are expressed. It was sung around the stove in the kitchen or by the fire, while drinking
mate or some liquor such as gin, which generally encouraged the expression of the most
intimate feelings and the deepest reflections.
Both Atahualpa Yupanqui and Alfredo Zitarrosa have used the milonga as the most
appropriate medium to let their most heartfelt compositions come to the surface. Another
great cult of the genre is José Larralde.
To play the milonga: Play the 6th string and then the first three strings one by one, as a dotted
line, twice. Then the 5th. string is played and again the first three strings twice.

The West

It includes the Cuyo region: Provinces of Mendoza, San Juan, San Luis. It is influenced by
Chilean music and rhythms.

There are:

-Cueca

Dance of loose couple, in which the amorous siege of a woman by a man is represented. The
dancers, who carry a handkerchief in their right hands, trace circular figures, with turns and
half turns, interrupted by various flourishes. Danced in western South America, from
Colombia to Argentina and Bolivia, it has different varieties according to the regions and
times.
It is a more agile version of the Argentine zamba. It is a ternary rhythm. It is the national
rhythm of Chile (cueca chilena). It imitates the twists of the clueca hen in its dance, hence the
name. There are two variants of the cueca: the one from the North and the Cueca cuyana
(from Cuyo), more similar to the Chilean cueca.

Northeast

Region known as El Litoral, it is close to Paraguay and includes the provinces of Misiones,
Corrientes, Formosa, Chaco and part of Santa Fe and Entre Rios. Influenced by the Guarani
music of Paraguay. Instrument: accordion.
There are:

-Chamamé

Kind of polka, accompanied by accordion. Still very Paraguayan rhythm. It sings to the land
in descriptive forms.
It is the music of the provinces of Corrientes and Misiones, although it extends to the Chaco
and the north of Santa Fe. It is perhaps the most widely danced popular dance today and the
only one that, like the tango, allows the couple to embrace during the dance. Another
originality is the use of the accordion as the basic instrument, which denotes the influence of
other European trends. It is also danced in Paraguay and, with some modifications, in the
border areas of Brazil.
Its lilting rhythm and the proximity of the dancers make it conducive to amorous conquest, as
is reflected in many of its lyrics, which sometimes contain words in Guaraní, the language of
the indigenous people of the area. The Correntinos usually utter a high-pitched and very loud
cry while dancing and singing, called sapucai. Some well-known titles are "Merceditas",
"Kilómetro once", "El toro", "El galpón", etc.
The chamamé is a cultural manifestation that comprises a style of music and dance typical of
the province of Corrientes, in Argentina. It has played an important role in the cultural
evolution of the Argentine littoral.
It dates back to the 16th century, and there is controversy about its origin. Of all the
hypotheses about its origin, the most widespread thesis is that of Guaraní origin.
It is currently considered Intangible Cultural Heritage of the province of Corrientes and the
Argentine Nation, and enjoys the same treatment in the south and center of Brazil, especially
in the states of Rio Grande do Sul and Mato Grosso do Sul, where the law establishes
September 19 as Chamamé Day.
It is also heard and danced in Paraguay and northwestern Uruguay.
It is possible to speak of a spiritual and philosophical element in this initial stage of
chamamé. It takes place between dances and music of the mbaraka (which means 'guitar' in
Guaraní) and takuapu (rhythmic stick for women), alternating with sermons by the shaman.
The objective is to strengthen the bonds between the divine beings and the members of the
community, it is a moment of synthesis of all the aspects of the Avá Guaraní culture. The
shamans transmit cultural values and mythical stories. It is the opportunity to remember the
collective memory, and at the same time rite, celebration, feast and joy.
It seeks to strengthen the contact of men with the world of animals and gods, to banish evil
forces, and to achieve health and calm the spirit.

Center

This region represents the most traditional and original of Argentina. It includes the provinces
of Santiago del Estero, Tucumán, La Rioja, northern Córdoba, part of Salta and Catamarca. It
has a folklore with no similarities with that of any other country in Latin America. It is a
mixture of Spanish folklore from the time of the Conquest, with some indigenous substratum
not very delimited, for example in the BAGUALA. Some also detect in this folklore the
influence of old religious melodies.Instruments: Guitars and sheepskin drums.

There are:

-Chacarera

The chacarera has a certain kinship with the gato. In the past it had an extraordinary diffusion
and was danced in all the provinces. However, few written testimonies document its roots,
and nowadays it is impossible to know if it was danced before 1850.
It belongs to the living folklore, since it is still danced naturally in the popular environments
of some provinces. It is possible to find it in Santiago del Estero, Catamarca, Salta, Tucumán,
south of Jujuy, La Rioja, Cuyo and part of Córdoba, although it is from the first of these
provinces where the best known chacareras come from.
The chacarera is originally from the province of Santiago del Estero and has spread
throughout Argentina. It is traditionally played with guitar, bass drum and violin. There are
traditional sung chacareras as well as solo instrumentals.
It is danced by couples who dance freely (but in groups) with rounds and turns. The rhythm,
variable according to the region of origin, is three by four, alternating with six by eight.
It is a very lively country rhythm, with ternary compass, with humorous verses and lyrics. It
is tapped like the
MALAMBO and is sometimes accompanied by flamenco castanets. The influence of Spanish
flamenco seems clear. It is very popular in Santiago del Estero and in the Pampas.
Traditionally two types of chacareras are distinguished: "simple" (normal or truncated) or
"double" (normal or truncated). They are different in duration and in some rhythmic
particularities (as is the case of the trunca) but have the same structure.
Their origin is very difficult to determine since there are few reference documents. However,
and according to oral tradition, it is believed that it was born in Santiago del Estero, more
precisely in Salavina. The fact that in this province there is a chacarera with lyrics in
Quechua santiagueño, is a not negligible factor at the time of attending to this theory. At the
same time, this dance has a clear indigenous influence.
Its name comes from the ancient Quechua chacra, mod. chajra, 'farm', 'farm', 'small farm'.
The "chacarero" was the worker, a "chacra" or "chakra" means 'cornfield' in Santiago
Quechua, because it was generally danced in the countryside, although it slowly made
progress to the cities.
The chacarera was already danced in Tucumán around 1850. In the middle of the 20th
century, with the great influx of internal migrants, due to the industrialization in the
manufacturing areas, the chacarera arrived in Buenos Aires.

HIS MAJESTY THE TANGO

Of the 80 Argentinean rhythms and dances, tango is the most internationally known dance.

The tango is a rioplatense dance, internationally spread, with a linked couple, binary musical
form and a two-four time signature. It is a Creole dance with a linked couple, which began to
be danced at the end of the 19th century as a modification of the Andalusian tango (flamenco)
that arrived in Argentina around 1888.

The Dictionary of the Royal Academy defines tango as "Party and dance of people of African
origin or popular in some countries of America". In Honduras, tango is a hollowed out tree
trunk that serves as a percussion instrument.

The name tango appears around 1836 on the island of Hierro and in other parts of America, in
the sense of a gathering of people of African origin to dance to the sound of the drum called
"tango" (perhaps derived from the verb "tañer": 'To play a percussion or stringed musical
instrument, especially a bell'.

In the candombes or popular party of the population of African origin in the Rio de la Plata,
the orchestra music was called: "tocá tango" ('to play drum'), from where the expressions:
"Tanga catanga" and "ronda catonga". It is probable that the name "tango" is an
onomatopoeic voice. In the 16th century there was a dance in Normandy called "tangue", an
exclusively feminine dance. In Berlin German, "Tingeltangel" is the name of a "singing cafe".
These voices are of parallel and independent formation of the Argentine tango.

The indication in the etymological dictionary of Corominas that on the Canary Island of
Hierro there was a dance called "tango", may be that the name was passed through the slave
deportation route (Africa > Canary Islands > Sao Tomé, slave concentration center). Another
etymology that has been proposed is: tambor > tangó > tambó > tango.
"Of the rhythms that went around the world, tango is the only popular music of this century
(XX) that is not of black origin." (L. de Paola)

"Tango is the epic of the suburbs of Buenos Aires at the beginning of the 20th century." (J. L.
Borges)

Tango is sadness that is danced, resentment, loneliness, hopeless hope and a long hopeful and
resigned "however".

"The first tangos had a lot to do with the lupanary environment. From their titles to their
lyrics, collected by the oral tradition, they were very vitalistic. Many of those lyrics are based
on popular coplas of long tradition, sometimes of Spanish origin, such as the famous Bartolo.
The bad life that configured the social scenario of tango explains the prohibition it endured
until it could flank the doors of worthy environments. There are tangos with several lyrics, of
several authors or anonymous, that were many times adapted; primitive titles are Sacudime la
persiana, Concha pelada, concha sucia or La concha de la lora, (transformed into Cara pelada,
cara sucia and La cara de la luna), Sacale la nicotina, Golpeá que te van a abrir, Dame la lata,
etc. Some lyrics, in which humor is not lacking, are quite different from the classic tango
lyrics of the 1920s.

In the mid-sixties of the 19th century, the first bars of a music that seemed to mix habaneras
with Andalusian tanguillos, a certain reminiscence of fado and the nostalgic hint of the
Neapolitan canzonetta began to be heard. It was not known where it came from, but it slowly
became something different, attractive and suggestive. A sound that invited to dance. But,
dance, what? The dance was not yet defined. And the dance, if there was one, was limited to
being a crude imitation of the movements of the blacks and mulattoes, when they were
ecstatic moving to the beat of the "tambó", during the carnival festivities. The tango needed
to acquire a definitive form, although the situation of the country, at that time, was not the
best to help it.

The civil wars that pitted federal caudillos such as Felipe Varela, Ángel Vicente Peñaloza,
Pancho Ramírez or Ricardo López Jordán against Buenos Aires were not yet over. The
republic, like the tango, had not yet acquired its true identity. More than two lustrums had to
pass before some of the expected pacification could be glimpsed on the horizon of Argentina.

Once the wars were over, and after the defeat of López Jordán in the fields of Don Gonzalo in
December 1873, the country began to feel that peace had finally arrived. The attempts of
uprising that were repeated in the following years, did nothing but advance a need that the
nation encouraged, and that was of urgent satisfaction: it was necessary to populate the
territory. To fill it with people who, coming from wherever they came from, were looking for
peace, work and prosperity. In this way, no one would dispute the capital of Buenos Aires or
pretend to fragment the country into several federal states. With the "desert campaign",
organized by General Julio A. Roca, future president of the nation, the Indian was annihilated
and white supremacy was established in Argentina.
The tango lost its debasement as time went by. The sadness, which did not appear in the old
music and lyrics, is attributed to the fact that the suburbs, dance halls, brothels and the people
who frequented them and who gave birth to tango, must have seemed sad to the authors."
[Source: Universal Encyclopedia Micronet, 1995-2007].

STAGES OF TANGO DEVELOPMENT

Tango was born in the Argentine capital and in Uruguay in a social environment with a
predominance of immigrants. It arises from a fusion of Argentine, European (especially
Spanish and Italian) and Cuban musical elements. The base is the Andalusian tango
(flamenco), the candombe and the Argentine-Uruguayan milonga and the Cuban habanera.

Phases of tango development:

From 1865-1895

Formative stage

From 1895-1917

The real history of tango begins: "La Vieja Guardia".

From 1924-1948

The "New Guard

From 1948

The "Third Guard" begins

From 1955
Some tango ensembles are formed and return to the style of the Old Guard.

Before World War I, tango was all the rage in Paris.

The internationalization of tango begins with the orchestration and the use of tango as a
ballroom dance.

In 1920, the tango becomes slower and returns to the 2/8 split.

After World War I, the Argentine upper classes continued to despise the tango as a "primitive
dance of the houses of bad reputation and the bodegones of the worst kind. The tango tells the
sadness of a people with bad moral health, it reflects the caged soul of the suburban man, his
perverse instinct, his pathological sensuality" (the writer Barletta).

These statements by Barleta can be applied more to the false relations between men and
women in the upper class than to tango itself. Right-wing and left-wing intellectuals saw
tango as a product of barbarism against civilization. Many of the great tango composers of
the classical era (up to 1920): Discépolo, J. de Dios, Filiberto, etc., militated in the anarcho-
syndicalist ranks.

From 1930, tango was fought against. From 1946-1955, under the government of general
Perón, it had a new renovating splendor. When Perón fell, tango orchestras began to
disappear and were replaced by virtuosos. Tango was prescribed as an expression of Peronist
barbarism.

Tango argentina antiguo:

Argentina piane anciant:

Vidala:

Carnavalito dance:

Tipic suit argentina:

Suit gaucho argentina:

Songs old argentina:

Mil Horas - Los Abuelos De La Nada.

watch

Vasos Vacíos - Remasterizado 2008 Los Fabulosos Cadillacs.

watch

Cuando Pase El Temblor - Remasterizado 2007Soda Stereo.

watch

La Muralla Verde - Los Enanitos Verdes.

watch

Loco (Tu Forma De Ser)Los Auténticos Decadentes.

watch

11 Y 6 - Fito Paez.
watch

Luna de Miel en la Mano - Virus.

watch

Reggaeton songs Argentina:

Reguetón

Nada
Lyanno · 2019
watch

Loca
Khea · 2018
watch

She Don't Give a FO

Duki · 2017
watch

Adán y Eva
Paulo Londra · 2019
watch

Love songs:

Muchacha ojos de papel

Luis Alberto Spinetta · 1969
watch
El tesoro
Él Mató a un Policía Motorizado · 2017
watch

Vámonos de viaje
Bandalos Chinos · 2018
watch

Viento, dile a la lluvia

Los Gatos · 1968
watch

Songs young:

watch

Old argentine singers:

Carlos Gardel, singer and composer, considered the tango singer and composer, considered
the most important of the first half of the 20th century.
Mercedes Sosa, singer, one of the greatest of so-called “Argentine folklore”.

Gustavo Cerati, considered the greatest exponent of national and Latin American rock.

Sandro was one of the most beloved and recognized figures among Argentine singers of the
20th century. His real name was Roberto Sánchez, but in reality Sandro was how his parents
wanted to identify him and the authorities did not allow it. In the 60's he began to present
himself as Sandro.
Leonardo Favio is another of the outstanding idols of Hispanic romantic music. Throughout
his artistic career he combined his love for music with cinema, another of his great passions.
He worked as an actor, screenwriter, director and film producer, becoming one of the most
respected film directors in Argentina.

Singer, composer and actor, Leopoldo Dante Tevez, better known as Leo Dan, was born in
Atamisqui, a small town in Santiago del Estero, Argentina. His parents raised pigs and grew
pumpkins. However, from a very young age Leo showed an inclination for music, becoming
years later a pop ballad phenomenon of the 20th century.

Another pop ballad idol of the 20th century is the Argentine singer Palito Ortega, who was
also an actor, producer and politician. In fact, in his political facet he became governor of
Tucumán, his native province.

In the mid 60's, Roberto Orlando Bracone Macceialli, better known as Elio Roca takes his
first steps in music. Of very humble origins, his destiny could have been linked to soccer, but
due to an unexpected circumstance he decided to take the path of music. In this field he began
to be recognized for his vocal torrent. His consecration as an artist would come with the
Spanish versions of the songs "Extraños en la Noche" and "El Amor".
Miguel Ángel Espinoza, known in the artistic world as Heleno, is a well-known ballad singer
of the 20th century born in Buenos Aires. At the age of 15 he began to appear in nightclubs
hiding his age since he pretended to be of legal age.

Initially known artistically as Indio Gasparino, he later changed his artist name to Facundo
Cabral. He was an outstanding Argentine writer, poet and singer-songwriter who conquered
many Hispanic hearts with his music and poetry.

Liliana Esther Maturano, known artistically as Tormenta is a renowned Argentine singer and
songwriter of the 70s and 80s. Her career as a professional began in the late 60's, being her
first known songs "Muchacho del Blue Jean's", and "Porteño Triste".

Argentine singers of today:

Tini Stoessel, of only 24 years old who lately is sweeping the streaming platforms with his
new singles. You can't say that in recent months you haven't heard songs like "Miénteme"
with María Becerra or "La niña de la escuela" with Lola Índigo.

Nathy Peluso was born in Argentina most of her musical career has been developed in Spain,
where in recent years she has become a reference in the urban and Latin trap genre.She
jumped to fame when she released her first track in 2017 "Corashe". Although she has other
songs that almost everyone knows like "La Sandunguera" or "Delito".

Paulo Londra who, although born in Córdoba, began to gain recognition after his passage
through one of the biggest freestyle competitions in Argentina and Latin America, "El Quinto
Escalón". In 2018 he managed to become the Argentine artist with the most plays on Spotify
and Youtube with his single "Adan y Eva". Although surely you have also heard tracks like
"Tal vez", "Cuando te bese" (together with Becky G) or "Solo pienso en ti" (together with De
La Guetto and Justin Quiles).
Mauro Ezequiel Quiroga, artistically known as Duki, is another of the best Argentine singers
of the moment. Born in Almagro in Buenos Aires. Duki is an Argentine singer and
songwriter who, like Paulo Londra, began to be recognized after his performances in the rap
battles of "El Quinto Escalón". In 2019 he released his first album, but it was in 2021 when,
with his second album "Desde el fin del mundo", he reached the first position in digital
albums in Argentina. Songs like "Goteo", nominated for the Latin Grammy Award 2020, or
"Sin culpa" or "She don't give a fo", are the most listened songs of this artist.

Khea is an Argentine singer, songwriter and dancer who took his first steps in the music
industry competing in freestyle battles. His genre goes through the branches of trap,
reggaeton, Latin pop and hiphop.

Songs like "Loca" or the collaboration with Duki in "She dont give a fo" are some of the most
listened songs of this artist.
Julieta Emilia Cazzucheli or Cazzu, is an Argentine rapper and composer. In her beginnings
she started with rock and cumbia, although her first release was within the Trap genre, with
"Maldades" in 2017. But her real leap to fame was with the success that brought her the
collaboration with Khea and Duki in the song "Loca". A curiosity about this Argentine artist
is that she is popularly known as "the queen of trap".

Gonzalo is his real name, although we all know him by the artistic name of "Bizarrap" and,
without a doubt, he is another of the best Argentinean singers of the moment. Argentine
music producer and DJ who has specialized in genres such as trap, electronic music and hip
hop. Well known for the Bzrp Music Sessions and for his track "Ya me fui" with Duki and
Nicki Nicole.
Nicki Nicole is an Argentine singer and songwriter who managed to jump to fame in 2019
with her first single "Wapo treketero", achieving thousands of plays on YouTube. She has
been nominated in awards such as the MTV Music Awards, Latin Grammy Awards, the 40
Music Awards or Spotify Awards among others.

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