Hermanos rigual biography definition
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List of top-ten songs for the 1950s in Mexico
For the monthly number-one songs of the decade, see List of number-one songs from the 1950s (Mexico).
This is a list of the 10 most popular songs in Mexico for each year between 1950 and 1960, as published in the book "El Sound Track de la vida cotidiana", by Fernando Mejía Barquera.[1]
Overview
[edit]In addition to the continued prominence of bolero music (typically performed by tríos) which had been popular since the previous decade, Mexican music in the 50s was dominated by domestic ranchera music and Cuban dance genres, such as mambo and danzón.
Ranchera music, generally associated with rural Mexico but popular in urban areas as well, got a considerable boost from the massive popularity of Pedro Infante (an actor and ranchera singer who was present on the Mexican music charts from the beginning of the decade until his death in 1957) and the emergence of songwriter José Alfredo Jiménez (who, after writi
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Music of Mexico
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.[1]
History of Mexican music
[edit]See also: Francisco Gabilondo Soler and Mexican music in Chile
The foundation of Mexican music comes from its indigenous sounds and heritage. The original inhabitants of the land used drums (such as the teponaztli), flutes, rattles, conches as trumpets and their voices to make music and dances. This ancient music is still played in some parts of Mexico. However, much of the traditional contemporary music of Mexico was written during and after the Spanish colonial period, using many old world influenced instruments. Many traditional instruments, such as the Mexican vihuela used in Mariachi music, were adapted from
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This work, which aims to narrate the musical recording relationship between two countries for more than a century, must necessarily be presented in their two languages: English, for the United States, and Spanish, for Cuba. A discography is not, as erroneously defined bygd the Real Academia Española, “the art of pressing and reproducing phonographic records.” Horrible! inom would dare to define it as the study and historical analysis of all the media capable of storing and reproducing sound, and cultural consequences of these contents. inom learned this trade many years ago, from one of my professors, Richard K. Spottswood, when inom helped him with my modest contribution, around the end of the 1990’s, to his monumental 7 volume opus, Ethnic Music on Records- A Discography of Ethnic Recording Produced in the United States, 1893 to 1942 (University of Illinois Press, ) in its volume 4, Spanish, Portuguese, Philippines, Basque.
A necessary evil called the record.
At the end of the 19th cen