Latin music near me: Latin Music Concerts Near Me | 2022 Tickets & Tour Dates

Latin Clubs in Denver [2022 December Update]

Are you looking for the best latin clubs in Denver?

Well you’re in the right place!

So on this page, you’ll find the official shortlist of the best latin clubs in Denver. (More in-depth further below)

Check out our full list of nightclubs in Denver.

Whether you are an average clubber or a pro partygoer, Latin music must be your favorite genre. Millions of folks visit Denver every year to take the edge off their club fantasies. Brilliant music is offered in Denver’s clubs by the internationally-acclaimed guest artists, DJs, and musicians. Denver prides itself on having the most up to date and top of the line Latin clubs to be found anywhere on earth. You can’t get one single dull moment in Denver owing to its A1 nightclubs. Go get solace in the finest Latin clubs! They console the heavy hearts. If you agree on nothing short of perfection, these venues are for you!

1. La Rumba

One of the best, can’t-miss destinations for Latin nightlife in Denver is this one of a kind entertainment venue, La Rumba! This sultry and voluptuous concert venue and Latin dance club extends an experience unlike any other entertainment venues to its guests. With the welcoming yet sophisticated ambiance, La Rumba shows off a sexy vibe, high energy, and the best Latin music and dancing around.

2. Lipstick Nightclub

One of the most paramount nightclubs in Denver is Lipstick Disco. It is a west-side club with two separate dance floors. The venue keeps rocking until the morning on weekends. The most loved music in Lipstick is top 40 and Latin. If you are fond of Latin music, then this venue will become your all-time favorite! The best DJs, artists, musicians, and performers from all over the world make their appearance in Lipstick to rock the stage. A decent and sophisticated crowd can be seen here.

3. Oasis NightClub

Welcome to Oasis Nightclub – a one of a kind venue that brings a diverse nightlife experience for you which Denver is all about! At Oasis, you will get the high level of service. The venue prides itself in extending one-stop, Miami style location where the bleak nights turn into the bright days. Come to Oasis for watching a live band or DJs rocking the stage. The venue is one of the newest clubs in Denver which got fame and love in the blink of an eye. The music scene is miscellaneous covering a wide range of styles including top 40, EDM, reggaeton, Latin, and Hip Hop.

4. Babes Nightclub

For more than two decades, one of the Colorado clubs’ key players, the ‘Babes’ Nightclub’ has been guiding the white and blue-collar crowd of the city to its bar top. Before Babes Nightclub, the venue was known as the House of Babes. It is a mid-sized, family-owned venue that serves as a drinking and game watching spot in the day but transforms into a full-fledged, high-spirited nightclub around the weekends. The weekends are house-full. The best of Top 40, reggaeton, and rap are played by the top-notch DJs and artists. Apart from the local talent, the touring guest artists come to the Babes to rock its stage.

5. #VYBE

#VYBE is nothing less than a self-proclaimed, community bar; that has been a favorite destination for high-spirited party-goers for years. The venue serves as a nondescript hangout spot for all club-maniacs with a small bungalow of dance floor occupied by the paramount DJs and a pool table that stows away the most attention. The jukebox is miscellaneous that blares everything from Queen to Whitney Houston. The interior of the venue gives you good and healthy vibes with wood-paneled walls. The patio extends the best features with umbrellas and picnic tables for accommodating large crowds in summers.

6. Your Mom’s House

If you are watching out for a nightspot in Denver that lives up seven nights a week, Your Mom’s House is your thing! It is one of the most paramount venues in Denver which boast the best lights and sounds in the city. The venue is loved and famed for its up-n-coming, fresh music. Besides that, the old music styles are offered as well.

7. Grizzly Rose

The Grizzly Rose was born in the year 1989. It is growing better and stronger with each passing day.The Grizzly Rose is truly among the few great honky tonks, left in the world. The venue is famous world-wide for offering the paramount country music with a wide range of styles. It also features the best and popular concerts so the venue is perfect to get personal and close to your favorite bands. Not only the local artists come here to rock the stage but international, touring artists make this venue alive and kicking.

In Conclusion

So, what are you waiting for? A once in a lifetime opportunity to make the most out of Denver’s nightlife is seeing your way in the city! We have come up with some of the finest Latin clubs on our list! Just follow this list to find the best spots to get solace in! Everything in these clubs is on point from music, DJs, drinks, and bartenders, to the crowd, lights, sounds, and ambiance. Go console your soul in some of the most heavenly and dreamlike venues on earth! Denver is all set to bring you the merriest moments of your life! Hooray!

Latin Clubs in Myrtle Beach [2022 December Update]

Are you on the lookout for the most poppin’ Latin Clubs in Myrtle Beach?
Then we have you covered!

On this page, you’ll find the official shortlist of the best Latin Clubs in Myrtle Beach. (More in-depth further below)

So check out these articles aswell:

• Techno Clubs in Myrtle Beach
• EDM Clubs in Myrtle Beach
• Hip Hop Clubs in Myrtle Beach
• VIP Clubs in Myrtle Beach
• Best Nightclubs in Myrtle Beach
• And finally: Our Complete Guide to Myrtle Beach Nightlife

Introduction

Whether you are a fan of the Tango, you like to do Salsa, or generally enjoy Latino music, then you should check out some of the clubs dedicated to the Caliente genre in Myrtle Beach. This city has an eclectic nightlight, and one of the activities the people here enjoy is dancing. The clubs we have added to this list regularly host Latin nights and encourage people to bring partners. Even if you do not have a partner, some chivalrous gentleman or lady will accompany you as long as you are prepared to keep up. Latin music is passionate, and so are the staff at these clubs. They know that dancing is thirsty work, so the drinks keep flowing. The bartender works double-time to prepare orders while servers work for more than just tips. You will be sweating when the night is over, but you will no longer be stressed or unhappy. Choose any of these clubs on our list, and you will find yourself mixing with an energetic crowd. The DJ mixes up the playlist to go there two nights in a row and still feel like it is a new experience. 

Spanish Galleon Myrtle Beach

The Spanish influence on Myrtle Beach has resulted in the Spanish Galleon Dance Club, a popular place for drinks and dancing. It is in the middle of the Ocean Drive District on the city’s Northside and is the perfect place to find an energetic crowd. People from all over the Grand Strand come over to listen to the DJ and live bands hosted by the venue. You can enjoy the view of the ocean and sip on refreshing drinks when you are tired of dancing.

The beauty of the Spanish Galleon is that it is located inside the Ocean Drive Beach and Golf Resort. It is right next to an amusement park and brings in many tourists from near and far. You can lounge by the beach and enjoy the local tradition of shag dancing. It is effortless to learn, and the crowd will welcome on the dance floor with open arms. The playlist is heavy on the old classics from the ’80’s so it is the perfect place for old souls to boogie. 

DAER Nightclub

Located in Seminole Hard Rock Hotel & Casino Hollywood comes DAER Nightclub. Their main aim is to provide comfort and a safe environment. It is both an indoor and complex outdoor, meaning it has integrated space to host events Featuring immaculate DJs and live performances in the entertainment world. This club gives you the time of your life. It is located at the world’s famous Guitar Hotel at Hard Rock Casino in Hollywood, FL. DAER Nightclub is open Friday and Saturday at 10 pm.

Club Oz Myrtle Beach

You can hear the sounds of techno and Latin music as you enter the Club Oz venue. It is one of the trendiest establishments on Myrtle Beach and is located right on Broadway, which is the center of all local nightlife. Oz is one of the only dance clubs in the area that can rival the big city counterparts. It is a place where everyone dresses up and wants to look their best. They have a highly modern lighting and sound system capable of putting on a spectacular show for the crowd. The crowd goes wild for the DJ’s world-class playlist because they will not find it elsewhere.

Fat Harold’s Myrtle Beach

Another venue that upholds the South Carolina tradition of shagging is Fat Harold’s. The club is a popular beachfront establishment that claims to be dedicated to shag and nothing more. You will find it surrounded by other venues on Ocean Drive, which makes up the hustle and bustle of Myrtle Beach’s nightlife. It has a rustic appearance of a beach shack, but the interior will impress you with the hardwood dance floors and a wild crowd. They serve split beer and play the kind of music you would typically hear in the ’50s or ’60’s dive bar.

Conclusion

We have brought you a concise list of the best Latin clubs in Myrtle Beach. These venues have established themselves in the local community and are a must-see for tourists too. You will get a flavor of the city and see what the people here are really like when they let their guard down. Latin music helps everyone loosen up, so it is such a popular genre of music in the locality. When things get too hot inside the venue, you can step out and walk along the beach to cool down. The best experiences in a beachfront town are those that take place at night. You will enjoy the cleverly designed spaces because they have interiors reminiscent of an ‘80’s club but also include modern fittings. There are other activities at some of the establishments, like pool games or arcade machines. You can take a break from all the dancing or keep yourself entertained while waiting for friends. Whether you are at Fat Harold’s downing a fiery cocktail or grooving under the strobe lights at Club Oz, the night will be one that will live down in infamy.

Latin American music | Belcanto.ru

Music. culture of lat. America
historically formed on the basis of the American (Indian),
European (primarily Spanish and Portuguese) and
African sources. The meaning and impact of each
manifested themselves in different ways in different parts of the continent – in
depending on the level of Indian culture, the presence and number of
black person. population, connections of this district with the metropolis and features
his economic, political and cultural development, as well as other reasons
historical character. At the same time, these three genetic root clearly
can be traced in the structure of modern. nar. music lat. America, in
which can be distinguished, respectively, Indian music, Creole and
African-American with a number of intermediate (transitional) “layers”. From
of these terms, only Indian music is local, indigenous
(autochthonous) culture; Creole and Afroamer. music –
relatively young cultures, the formation of which proceeded in
America during the 16-18 centuries, and modern. stylistic features have developed
only towards the end of 19in.

Indian music. By the beginning of the European colonization (16th century) numerous.
Indian tribes and peoples that inhabited the territory of modern. Lat.
America, were at different levels of society. development, from
primitive communal system (Indians of the Antilles, basin
Amazon, Brazilian coast, Patagonia, Tierra del Fuego, etc.)
to early class states (Aztecs in Central Mexico, Maya in Yucatan,
Inca to the Center. Andes). Among the most backward tribes, music (singing and
dances accompanied by the simplest muses. instruments) was not yet
isolated from the sphere of religious magic. performances and was
an integral part of religious rites and ceremonies. At
Aztecs, Mayans and Incas – the creators of the greatest pre-Columbian cultures
America has already been observed. genre differentiation of music in
dependence on its societies. functions and contents, they have
cultivated ritual music, military music, music associated with
agricultural calendar cycle. works, willingly, music for
entertainment, dancing, etc. The Aztecs and Incas, because of the deep
class stratification of society even before the arrival of Europeans occurred
division of music into “court” and “folk”, there was a special
caste prof. musicians serving the ruling elite and
privileged estates. Aztecs and Incas – the first peoples of the New
Sveta, who established the special music schools (Calmec in ancient Mexico,
Yachahuasi in ancient Peru) and developed a clear system of muses.
education; they were the first in pre-Columbian America to give muses.
rituals and musical and poetic and musical and choreographic
“action” strictly regulated official character.

The music of the peoples of the “Inca Empire” (Quechua, Aymara, etc.) is based on
pentatonic, forming a single ordered modal system,
including all five types of pentatonic scales (depending on
sequences of interval relations), with certain
types of melodies, cadence formulas and a characteristic metrorhythm.
structure. The music of most other Indian peoples is based on
pentatonic scales, which, however, do not form an ordered
systems. Some Indians, for example. among Araucans, and wok., and instr.
music is built on scales, including the most diverse. intervals (in
including halftone and even smaller), not amenable to precise
systematization with European points of view. Among the most backward tribes (in
in particular, among the Indians of the Amazon Basin) music is based on
unordered scales, sometimes consisting of just a few. tones.

Music. the instrumentation of pre-Columbian America included only percussion and
wind instruments (the Indians did not have string instruments, if not
consider the simplest monochord – “Music bow”, known from
Araucans, Guarani and some tribes of the Amazon basin and
Gran Chaco). The Aztecs and Incas possessed the richest tools,
moreover, the Aztecs had a diverse arsenal of shock and
shock-noise, and the Incas – the most advanced wind
tools; they had several dozen types of brass
tools – from the simplest shell-pipes to those with very
express big. and tech. capabilities of vertical flutes from 5-6
side holes and multi-barreled pan flutes of the most varied.
sizes, from which entire orchestras were composed. The presence of a large
a set of wind instruments capable of playing
multi-stage scales, gave the music of the Incas emphasized
melodic character compared to preim. “percussive” music of the Aztecs.

Music. Aboriginal culture in Lat. America in Spanish conditions. domination
evolved differently. So, in the territory of Mexico, where the process
ethnic assimilation took place intensively, more or less pure
Indian music is preserved only in certain districts, remote from
large mountains. centers. In most of Mexico
Indian music appears not pure, but mixed (the so-called mestizo
music), i.e. influenced by the Spanish (in the sphere of mode,
melodics, rhythms, instruments). Modern music. mex.
Indians, his character, forms, further destinies to a decisive extent
determined by the prevailing trend in Mexico towards assimilation
Mex Indian minorities. nation. Transition of Indians to Spanish. language
and their gradual loss of ethnicity. identity and cultural
isolation is increasingly blurring the boundaries of Indian music and
enhance the penetration into its environment of the actual Mex. (Creole)
music forms, genres and traditions. In Ecuador, Peru and
Bolivia, where Indians (not counting mestizos) are the majority
population and where there is an ever-increasing consolidation
Indian peoples, as well as in the north-west. provinces of Argentina
ancient Inca music is preserved almost in its
original form. In the rest of the territory of modern Lat. America
the presence, forms and conditions of existence of Indian music are determined
primarily ethnic. factors. Where there are compact groups
Indians, their original music is also preserved. culture (such as
Chilean Araucans). In the same districts where mixed
Indian (mestizo) population, where Indian music appears
mixed, under more or less strong influence
Creole.

Creole music. Although the term “Creole music” is no longer
accurate with scientific point of view, it continues to be used in
latinoamer. musicology to refer to the branch of music. cultures of Lat.
America, to-paradise originates from Europe. (primarily Spanish and
Portuguese) music brought by the conquistadors and the first
settlers. Creole music is absolutely dominant in Mexico and
most republics of the Center. and Yuzh. America and has hundreds
song and song-dance names. forms and dozens of beds. music
tools and types of instr. ensembles.

Euro. music in lat. America was undergoing changes. Alone
forms and genres were, as it were, “conserved” and preserved in the same or
almost in the same form in which they were brought here (romances,
villansikos, religious, ritual, children’s and lullaby songs),
others, on the contrary, showed a tendency to evolution and gave rise to
new formations. Evolution of the Spanish. and Portuguese. music in Amer.
colonies proceeded in other historical. conditions, and the process itself
“folklorization” of European music followed other paths compared to
Europe. As a result, already at the turn of the 17-18 centuries. in spanish and Portuguese.
In the colonies of America, a new, different from the one that gave birth to it, muses has developed.
culture is Creole. The further impact of the European music,
especially intensified after the conquest in the beginning. 19in. Amer. colonies
independence, and the impact is not only Spanish and
Portuguese, but also French, English, German, Slavic, even more
modified Creole music. Therefore, although Creole music and
now retains the European basis (in the field of harmony, harmony, structure
periods, rhythms, versification), its general emotional appearance,
character, color are decisively different from the bunks. music of spain,
Portugal or other European countries. Creole music. culture despite
to your European origin – a completely original phenomenon,
original and artistically unusually bright.

Historical features the formation of Creole music led to
she will be noticed like that. trait, as a community of arts. manifestations in
as a whole (on the scale of the entire continent) with a wide variety
regional forms. Permanent signs of Creole music:
the dominance of tripartite sizes (bipartite ones are quite rare),
variable meters and polyrhythm, the predominance of major-minor, singing in
two voices in parallel thirds, obligatory. singing accompaniment
playing music. instruments, and dances – singing; guitar (and its local
varieties) as the main tool. At the same time, in each
lat.-amer. Republic of Creole music has its own.
characteristic stylistics. features and characteristics that distinguish
e.g. Creole music from Mexico and Bolivia, Venezuela and Chile,
Argentina and Peru, Cuba and Brazil. So, the Creole music of Argentina
or Uruguay is more “Europeanized” than Peru, or
Bolivia, where many archaic forms are preserved 18-19centuries To Chile
Creole music is more “pure” than in Venezuela, where it
conspicuously black. influence (in the modal and metrorhythm. system).
The diversity of regional manifestations of Creole music is observed
and within the same republic or province. In Mexico, for example,
Creole music north, center and south. states has its
stylistic features. Similar the picture is characteristic of Creole
music folklore of the northwest. and east. provinces of Argentina,
departments of the Pacific and Atlantic. coasts of Colombia, center.
(Sierra) and coastal (Costa) regions of Peru, north, center. and south.
regions of Chile. These differences can manifest themselves in general melodic.
warehouse, in the modal system, metric, in the predominance of certain
song or dance. forms and music. tools.

African American music. This term, like “Creole music”, is not
accurate. It is more correct to speak of “Euro-African music”, because
Afroamer. music – the result of the synthesis of European. (original) and
African (assimilating) music. cultures. In addition, the term
“African American music” is used only in musicology. lit-re
to distinguish between the two branches of music cultures of Lat. America:
one originating from Europe (Euroamerican), and
the other coming from Africa (African American). Afroamer. music on
Cuba is for Cubans just Cuban music, in Brazil for
Brazilians – Brazilian (musicologists and folklorists call it
respectively “Afro-Cuban” and “Afro-Brazilian”).

Negroes exported from Africa (early 16th – mid 19th centuries) were
are concentrated mainly in two districts of Lat. America – in Cuba (etc.
Antilles) and in Brazil (in other places in Latin America, beyond
with the exception of part of the coast of Ecuador and Peru, the number of blacks
was insignificant). During the duration time the development of Spanish (on
Cuba) and Portuguese (in Brazil) music on the one hand, and
Negro – on the other hand, went in parallel.

Possessing high art. susceptibility, blacks easily adopted
and assimilated the music of the environment in which they found themselves, not
limited to its reproduction. Negroes brought into it
specific element of his art. traditions, so Spanish. and
Portuguese music performed by a Negro. musicians changed significantly
appearance: triple meters “pulled together” into double meters, rhythm
became syncopated and acquired greater poignancy, the structure
music periods lost a clear squareness, in instr.
accompanies the leading role received a blow. instruments, poetry
stanzas were crushed and dissected between the soloist and the choir, the
the meaning of the improvisational element. From generation to generation these
features were fixed as a permanent performer. style, which
time began to be perceived not as a manner of interpretation, but as
new quality of the music itself. material. This new quality has appeared
in Latin music. America very early. In Cuba, for example, the first known
music document, which is already “Afro-Cuban” (the so-called “Son Ma
Theodora”) dates from the end of the 16th century. To the beginning of the colonial period
includes the formation of “Afro-Brazilian” music, although such
There are no early records of her.

Euro. basis of African American. music can often only be discovered
analysis. African features give it an extremely characteristic,
bright and easily distinguishable appearance. The most typical features
African American music (equally Afro-Cuban and
Afro-Brazilian): the dominance of two-lobed sizes (even the classic.
tripartite spanish. bolero in Cuba turned into a two-part
dance), the absence of an introductory tone (therefore, especially often
mixolydian mode is used), preference for melodic. lines from
short repetitive chants or sequences and with a general step-by-step
descent from the upper tone to the lower tonic; asymmetric
(non-square) structure of muses. periods, improvisational
poetic and musical stanza (soloist), for. which follows an unchanging refrain
(choir), as well as the constant use of antiphonal singing
(alternation-roll-call of a soloist and a choir or two choirs according to the type
“question-answer”), sharply syncopated rhythm, with frequent omission
strong and crushing weak shares; complex system of polyrhythms between
wok. party and instr. escort and between dep. votes
escort; punch dominance. and shock-noise instruments in
accompanying ensembles; using strings. plucked as
not melodic harmonic. instruments, but rhythmic. votes;
heightened emotional, “excited” manner of performance.

Afro-Amer. music is represented by a large number of songs and dances. forms.
The most popular: in Cuba – sleep, guaracha, conga, danson, rumba;
in Brazil – congados, maracatu, batuque, samba, mashish.
Afroamer Toolkit. music includes both European instruments.
origin, used in Creole music (predominantly stringed
plucked: guitar, tres, tiple in Cuba; viola, violan, cavaquinho,
bandolin in Brazil), as well as instruments brought from Africa, or
of local origin, but used only (or
predominantly) to Afroamer. music: in Cuba – Various. families
vertical drums (bata, bembe, conga, yuka), maraca rattles
(or guiro), aggue, erikundi, reco-reco ratchet, metallic.
econ bell, an iron plate (usually a plow share), along a cut
hit with an iron stick (atchere), two metallic. sticks (itones),
to-rymi hit the wooden body of the drum; in Brazil –
drums atabakes, kuika, ilu, ingome, mulungu, maraca rattles,
kashishi, karakash, matrak buzzers and berraboy, hanza ratchet (that
the same as reco-reco in Cuba), metallic. bells – single
adja, agogo, gongue and double shere, “musical bow” (monochord) with
pumpkin resonator urukungo, etc. If in music. folklore
most countries in Lat. America is dominated by Creole music, then
general appearance. music of Cuba and Brazil is determined in the first
African American queue. music. Here it is often difficult to
a clear line between Afroamer. and Creole music due to the presence of many
transitional, mixed forms. Apart from Cuba and Brazil, Afroamer.
music is widespread in Haiti, Puerto Rico and other countries.
Antilles, to a lesser extent on the coast of Venezuela and
Atlantic coast of Colombia, and some of its elements are in
nar. the music of harochos – the peasants of the coast of Veracruz and in Campeche
(Mexico).

In Cuba and Brazil (and also in Haiti) at the same time as
African American retains net Afr. music: ritual
hymns, chants, dances and strictly regulated music
“sacred” drums, with the help of which the Negroes – servants dec.
religious cults of Africa “summon” and “propitiate” their gods –
orisha. Each orisha has chants dedicated to him and a constant
rhythmic drumming drawing. In rituals lasting for several
hours, singing, dancing and playing “sacred” drums make up
indissoluble unity. Hymns are sung in Afr. lang., often
distorted so much that the Negroes themselves do not understand them. This music
interesting and unique in art. relation, but being
belonging to a cult protected from strangers and not existing
outside of it, it is the property of a limited circle of people, sharply
isolated and forms a closed area within the national muses.
folklore of Cuba and Brazil.

Professional musical creativity. During the colonial period (16
– early 19 centuries) the main, and often the only. the field of prof.
composer creativity in Lat. America had a church. music,
nominated major masters of cult polyphonic. forms – E.
Salas y Castro (Cuba), E. Franco (Mexico), X. A. Lamasa
(Venezuela), X. Herrera y Chumacero (Colombia), J. M. Nuniza Garcia
(Brazil). After gaining independence (1820s) in connection with
cultural revival, incl. music, life (tour of Europe, predominantly
Italian, artists and opera companies, the appearance in the capitals and
major provinces. cities conc. and amateur music. about-in, opening
music schools – “academies”) developed a secular prof. playing music
(patriotic songs, choirs, piano, mainly salon, music,
pieces for brass bands). Huge popularity in Europe
especially Italian, the opera called in the 2nd floor. 19in. attempts
creation of lat.-amer. operas (composed by S. Pañaga and M. Morales in Mexico,
G. Villate in Cuba, J. M. Ponce de Leon in Colombia, C. A. Gomis in
Brazil), who had imitated. character.

Early 20th century there is a tendency to comprehend nat. folklore, get out
European imitation framework. samples; single bright phenomena of such
genus existed before, for example. creativity of M. Saumel Robredo and I.
Cervantes Cavanagh in Cuba. The most prominent composers, various
according to the degree of talent and arts. tastes, but equally striving
combine in the work of academic. European forms with nat. music language
(understood in their own way) and themes – A. Levy, A. Nepomusenu and F. Braga
(Brazil), A. Berutti, A. Williams, F. Boero, F. Ugarte and X. Aguirre
(Argentina), several later – M. M. Ponce (Mexico), G. Uribe Holguin
(Colombia), V. E. Soho (Venezuela), E. Fabini (Uruguay), E. Soro and
P. W. Allende (Chile). These composers were generally
Creole orientation. In the first decades of the 20th century advanced
also a group of composers of “Indian” orientation, who were looking for
source of inspiration in untouched Europe. Indian influence
folklore, sought to develop nat. style based on
local muses. forms. This trend includes (to varying degrees):
K. Lavin and K. Isamitt (Chile), who developed the music. folklore
Araucanians, E. Kaba and X. M. Velasco Maidana (Bolivia), T.
Valcarcel and A. Sas Orchazal (Peru), C. Huizar, B. Galindo-Dimas, and
also C. Chavez in the early period of creativity (Mexico). Pioneers
“Afro-Cuban” direction in prof. Cuban music became A.
Roldan and A. G. Caturla, whose work, however, is
goes far beyond music. ethnography.

The first composers who broke with the old aesthetics. installations,
overcome as a nationalist. and arts. limitation
“Indian” or “African American”, and aesthetic.
uncertainty, vagueness of the “Creole” orientation and
achieved in the work of the synthesis of the nationwide. music fundamentals and advanced
European achievements. composition technique, – E. Vila Lobos
(Brazil), S. Revueltas and C. Chavez (Mexico), D. Santa Cruz
(Chile), A. Ginastera (Argentina). They were the first to receive the world
recognition and thus included prof. music in Latin. America in the mainstream
European development (and world) music. culture. Their work had (and
to a certain extent continues to exert a fruitful influence on
formation and development of the national composer schools in Lat. America,
especially in their countries. For example, in Brazil direction to prof.
music is represented by the work of such outstanding composers,
known abroad as F. Mignone, R. Gnatali, C. Guarnieri,
J. Siqueira, as well as their younger contemporaries S. Guerra Peishe, A.
Bocchino, M. Tavares. In Mexico, a strong national composer school
form, along with C. Chavez, L. Sandy, D. Ayala, P. Moncayo, S.
Contreras, in Chile – P. Garrido, X. Urrutia Blondel, A. Letelier,
X. Orrego-Salas, G. Becerra. In Argentina, the champions of nat. directions
– preim. composers of the older generation: br. Juan José and José Maria
Castro, O. Siccardi, C. Guastavino.

By the 1950s refers to the beginning of penetration into Lat. America of music
avant-garde (dodecaphony, serialism, aleatoric, sonorism,
electronic, concrete music), meaning. degree of weakening
nat. the basis of prof. L. m. This is especially characteristic of Argentina,
Chile, strong for Brazil, Cuba, Mexico, Venezuela.
A significant role in this process is played by the training of young Latin-Amer.
composers in the USA and countries Zap. Europe, organization in a number of higher
uch. music establishments in Lat. America spec. departments and laboratories for
study and implementation of avant-garde composition technique.

Music. life and composer’s work Lat. America in modern period
characterized by uneven development, on the one hand, and
complexity, inconsistency of artistic and aesthetic. trends – with
another. The most developed in music. regarding Mexico, Cuba, Brazil,
Argentina and Chile. In these countries are the best in Lat. America
conservatory, where teaching is carried out at a very high prof.
level (there are also conservatories in most of the main provincial
centers). The named countries have symph. orchestras and chamber
instr. ensembles of various types and in the capitals and in many others. major cities
(in Cuba – in Santiago, Santa Clara, Matanzas, Camaguey,
Pinar del Rio; in Argentina – in La Plata, Cordoba, Mendoza, Parana,
Rosario, Tucumane; in Chile – in Valdivia, Valparaiso, Concepcion,
La Serena, Antofagaste, Arica, Osorno), opera houses (permanently
operates only the largest in Lat. America t-r “Colon” in
Buenos Aires), ballet troupes (among them world famous
use the National Ballet of Cuba and Folklore Ballet of Mexico). work
pl. prof. choirs; especially high performance. culture
distinguishes the choirs of Chile – the Choir of the Chilean University in Santiago,
Polyphonic choir in Concepcion, Chamber Choir of Valparaiso, Choir of South.
university in Valdivia, as well as Brazil – two large choirs in
Rio de Janeiro, Renaissance Madrigal Choir Ensemble in
Belo Horizonte. In these countries, the largest in Lat.
America n.-and. Centers – Institute of Musicology im. K. Vega’s
Buenos Aires, Faculty of Music, University of Chile (publishes the magazine “Revista
musical chilena “- the most significant periodical musicological publication in
Lat. America) and Institute of Music. research in Santiago, Braz. music
academy in Rio de Janeiro and Folklore Research Center in
Sao Paulo, Department of Music Nat. b-ki them. X. Marty in Havana, Nat.
institute of fine arts in Mexico City. It is in these countries in the 20th century.
the leading Lat.-Amer. scientists in the field of musicology and
music folkloristics: K. Vega and I. Aretz (Argentina), K. Isamit, S.
Claro, M. Danneman and R. Barros (Chile), R. di Almeida, M. di Andrade
and O. Alvarenga (Brazil), F. Ortiz and A. Leon (Cuba), V. Mendoza,
O. Mayer-Serra, D. Castañeda and S. Marti (Mexico). There are
music publishing houses, come out periodically. musicologist. publications, regularly
are carried out various music festivals established by nat. awards in the field
composition and musicology, there are unions that unite
composers and musicians of other professions. Among the performers
world-famous: violinist G. Shering and dir. L. Herrera
de la Fuente (Mexico), dir. E. Gonzalez Mantici (Cuba), pianists
A. Estrela, A. Moreira Lima, A. Stella Schick and dir. E. di Carvalho
(Brazil), guitarist M. L. Anido Gonzalez (Argentina), pianists
C. Arrau, F. Guerra, dir. A. Carvajal, performer songs
M. Loyola (Chile).

Quite intense music. the life of Uruguay, as well as Venezuela. AT
Uruguay, a group of composers with a pronounced
nat. orientation – G. Santorsola, A. Soriano, E. Tosar, P. Ipuche
Riva, L. Biriotti. Music revival. activities in Venezuela
with the organization of the National symp. orchestra, the foundation of the Institute of Fine Arts,
with the creation of the Muses. festivals in Caracas (the first festival took place
in 1954). Less active composer and performer. activities in
Colombia. The music is developing poorly. creativity in the Andean countries
(Ecuador, Peru, Bolivia), in Paraguay and in the Central countries. America.
Among many reasons for this situation: financial difficulties, lack of
assistance from official institutions, lack of
qualified musicians. See also Art. Argentinean
music, Bolivian music, Brazilian music, Colombian
music, Cuban music, Mexican music, Paraguayan music,
Peruvian music, Uruguayan music, Chilean music,
Ecuadorian music and lit. with them.

P. A. Pichugin

Foreigners in Kazan — Realnoe Vremya

Sport

11:00, 06/24/2018

Plot: 2018 FIFA World Cup in Russia

Why you should not stay at home during the World Cup

We all, of course, assumed that the cities of the World Cup during the days of its holding would be transformed thanks to foreign guests. But the reality surpassed all expectations. Now that Kazan and the other 10 host cities of the World Cup have experienced this carnival atmosphere, all that remains is to enjoy and remember how it was. This happens once in a lifetime. The correspondents of our publication have laid out their “fan route” and captured what the third capital looks like before its third match – between Colombia and Poland, which will take place today. The Dutch running away from their wives to the capital of Tatarstan, Ronaldo’s counterpart of Critter, the Poles who are welcome here, and the Colombians disguised as Brazilians — about these and other stories related to the guests of Kazan, in the material of Realnoe Vremya.

Falcao and Hames, James and Falcao

A wave of yellow and red covered Kazan two days before the match between Colombia and Poland. The fact that the Latin American team would bring such a mass of fans with it was already known at the beginning of spring, when the media reported that the Colombians bought the largest number of tickets for matches in Russia. There were even rumors that some Colombians were selling apartments in order to visit Russia this summer. One such group of fans, covered in yellow-blue-red flags, was walking near the Koltso shopping center. Apparently, in order to save money, they collected full bags of products and chewed long loaves right on the street. The group is quite colorful – a middle-aged man, a younger girl and an older woman. The girl flew from China, and the rest from Colombia through Europe.

— How long did it take you to get to Kazan? – we asked the traditional question to the guests.

– Five days! We flew through Europe, drove to Moscow, then to Saransk, and now we are in Kazan. I want to say that Kazan is just an incredible city! It is immediately clear that there is a lot of cultural heritage here. Yes, the people are wonderful! It’s not cold here at all. In Bogotá, the weather is exactly the same. When we were on the train, we danced all the way, Latin American music played, and the Russian people told us: “Nooo, please, calm down already!”

— Tell me, did you also have a stereotype that everyone here is angry and gloomy?

“Actually, my boyfriend is Russian, we live in China,” Isabella Munoz surprised. – He said that most Russian people are serious and strong. But when I arrived here, it turned out not to be the case at all. Everyone here is very happy, smiling, so hospitable, they shake hands and hug. We have arrived and enjoy this country!

– Yes, yes, Russian people, as soon as they see us, they immediately shout: “Oooh, Colombians, yeeee!” It’s great! Very nice people! added her brother Javier.

— Have you already seen our stadium?

— Oh, this is incredible! We just saw him for the first time today. Our rented apartment is close by, with a balcony overlooking the stadium! There are many stadiums in Colombia, there are also large ones, but we don’t have such cool ones, mostly old and simple ones.

— What result do you expect in the match?

– 2:0, – these guests gave the most common answer of the Colombians. And James Rodriguez and Falcao will score!

“Poland, you are welcome here”

If among Colombians you can find fans of all ages and genders, then among the Poles they are mostly young guys. And, despite some disagreements between Russian and Polish fans, in Russia, guests from Eastern Europe are greeted quite cordially. A double-decker tourist bus with a large inscription “Poland, you are welcome here” has been running around Kazan for the second week already, and there have been no incidents with the Poles in Kazan.

Some football fans flew to Kazan even though they were physically ill. We saw a Colombian with a bandaged leg, moving with the help of crutches; Pole, whom his wife was carrying in a wheelchair. How he got there is an open question, but this is a living example of the fact that if you really love football and want to plunge into the atmosphere of a holiday, then nothing will stop you – neither forcing passions in the media, nor health problems. Two visiting fellows Yakub and Paul were walking in the center, looking for a free place in some street cafe.

– We arrived relatively quickly. First, to Moscow for the first game, and now we are here!

— Tell me why there are much fewer European fans at the championship than Latin Americans?

— I think it’s because fans from America specially took vacations for this cause, and we can only escape for the weekend. They can afford to enjoy.

— Don’t you think it’s propaganda? “Russia is a terrible country, it is dangerous to go there” – is that all?

— No, we don’t think so. On the contrary, we were actively invited and we went with pleasure. When they arrived in Russia, they did not feel any problems or aggression. We feel very comfortable here. The people are friendly.

– Forecast for the match?

– Poland will win 2:1, the game will be very difficult, because the teams are very close in strength, and everything will be decided by small details. Of course, Lewandowski will score, they have James Rodriguez. And Kamil Grosicki will score the decisive goal! – Yakub and Paul decided to challenge the glory of the Kirov oracle.

“Is Kazan the third capital of Russia? Great choice!”

The Kazan Fan Festival at Chasha reminds of real Babylon. Here you can see the flags of Peru, Mexico, Egypt, Argentina, Iran, France and even Kazakhstan, which did not make it to the World Cup.

The Brazilians also arrived in Kazan, despite the fact that their match was held in St. Petersburg, and Kazan, in fact, has nothing for them to do yet. One of the most colorful fans of the Pentacampeons looked very much like the legendary striker Ronaldo “Nimble”. In addition to the traditional yellow jersey of the national team, he wore two flags at once – native and Russian, and a hat with earflaps flaunted on his head. Of course, we simply could not pass by such a character. As it turned out, Alison (that’s his name) lives in Sao Paulo.

— Why are you in Kazan? Your team played in St. Petersburg!

– I just set myself the goal of driving through all the cities of the World Cup. I visited Moscow, St. Petersburg and thought that I should see other places too! I just realized that I know too little about Russia. And I thought: “Hey, why not start this journey from Kazan”? After all, Google gives a lot of beautiful pictures about this city, a lot is written about it on the Internet. And it’s really cool here!

— Did you know that Kazan is the third capital of Russia?

— No. I thought Russia had only one capital. But if so, then I support! This is an excellent choice, Kazan is suitable for the role of another capital! I really like Moscow, but people there are very serious, but in Kazan they are happy! So now my heart is here. Everyone here is so friendly, so nice! I enjoy these guys.

— Why do you have the Russian flag too?

– Because it’s fun! I support your team and all Russian people rejoice when they see it.

Latin American Brotherhood

If Alisson came from Sao Paulo to support his national team, then the Colombians were truly amazing, dressed from head to toe in the attributes of the Brazilian national team. In Europe, it is impossible to imagine that a conditional German would put on a French or England jersey at the World Cup.

“We support Brazil because it is a super team,” the fans explained. – Neymar, Firmino, Casemiro are stars there!

— Do you support the Colombian national team?

— Of course, we support our players. This is our favourite, our favorite team, but also for Brazil. This is very important for Hispanics.

– Hispanic fraternity?

— Yes, yes, we are all for each other.

— If your teams meet in the final, who will you root for?

– For Colombia. We dream that we will get to the final and the decisive goal will be scored by James Rodriguez.

A not-so-exemplary schoolteacher from Holland

It is already becoming a real World Cup trend that fans come to the matches of their national team without informing their spouses about their departure. Recently in Kazan, Iranian fans “marked” themselves, who, during the match of their national team with the Spaniards, stretched out a banner with an inscription in English and Russian: “Do not film us, our wives think that we are on a business trip. ” Something similar happened last year with a Mexican fan who collected all his savings, told his wife that he went shopping, and he flew to Russia for the Confederations Cup.

And there are more and more such cases. We met one of the “fugitives” at a fan festival. Schoolteacher Kevin from the Netherlands also decided not to tell his wife where he was.

“If you only knew what this trip cost me,” Kevin shares. – I left my wife in my homeland, and went to Russia myself. In general, as a little boy I dreamed of visiting your cold country. But, as it turned out, she is not so cold ( laughs ). I walked all over your Kremlin, visited a fan festival, it’s very amazing here. I was at the fan festival on the day of the Russian game. I was surrounded by kind and cheerful people. Together with them, I wanted to share their joy, because their team played that day.

— What do you think about the Russian team?

– I will say one thing: your guys are strong guys, Russia is a great country, and good people live in it.

Cuba Libre has become my favorite place. My first Russian fight took place there.”

Two days before the match, Kazan did not sleep at night – Spanish speech was heard everywhere on Bauman Street, and Colombian machos danced local young ladies. The most popular place for them was a Latin music bar in the city center. It was here that Carlos, a middle-aged Colombian living in the United States, ran into adventure.

– This is an amazing trip. I have never experienced so many emotions in my entire life. Thanks to Russia for this life experience. It all started on the train, when I went from Moscow to Kazan. What happened there! It was a lot of fun on the train, a lot of Colombians, everyone was dancing and singing. I managed to visit Saransk. All the Colombians were walking along the road, shouting, singing songs. It brought us together so much. There were always Russians nearby, they filmed us, took photos. We jumped, sang and danced, walked with our flags. I was glad to be a part of it.

But still, the brightest and indelible impression on me was made by your bar “Kuba Libre”. I came with my mother, and we went there with her. It was cozy there, a lot of our and your compatriots. Everyone was drinking, talking and dancing. I don’t remember exactly how it all happened, but at some point I ended up on the floor. I think we were fooling around with the Russian. But he was rude. After that he bought me a drink and we hugged. I don’t hold it against him, it was funny. I want to note that you have a very beautiful city and kind people who really radiate warmth.

I must say that the Iranian legion has not yet completely left the banks of the Volga. Here and there you can see green-white-red colors on T-shirts and caps. One of these “princes of Persia”, with an Iranian flag tied around his waist, played backgammon with an aborigine right on one of the shops on Bauman Street.

Whether there will be more! The Kazan part of the World Cup has not even crossed its equator.