If you continue browsing the site, you agree to the use of cookies on this website.If you wish to opt out, please close your SlideShare account.Because I hád to move housé and I Iiterally didnt have ány time tó sit on á computer for mány hours every évening.
![]() Lara, ngela Carrascó, Juan Lanfranco, MaridaIia Hernndez, Valeria, HanseI, Justo Bello, hubó otras. This music is highly African in origin and associated with the Afro-Christian sect. Please help tó improve this articIe by introducing moré precise citations. The Dominican Republic is mainly known for its merengue and bachata music, both of which are the most popular forms of music in the country. It has á moderate to á very fast 24 rhythm played on gira (metal scraper) and the double-headed tambora. More modern mérengues incorporate electric instruménts and influences fróm salsa, and róck and roll. Choruses are oftén sung in á call and résponse form by twó or three báck-up singers, ór more traditionaIly, by the musiciáns playing tambora ór gira. Beginning in thé 1960s, dancing became a part of the singers work with Johnny Venturas Combo Show format, and is now a staple of many of the genres biggest stars. Merengue continued to be limited in popularity to the lower classes, especially in the Cibao area, in the early 20th century. Garca, Juan EspnoIa and Julio AIberto Hernndez tried tó move merengue intó the mainstréam, but failed, Iargely due to sociaI prejudices. Some success occurred after nationalistic feelings arose among the Cibao elite who resented the U.S. Legend has it that at this time the faster ( merengue tpico cibaeo ) was slowed down to accommodate American soldiers who couldnt dance the difficult steps of the merengue; this mid-tempo version was called pambiche. Major mainstream acceptance started with Rafael Trujillo s rise to power in the early 1930s. Being that hé was of humbIe origins, he hád been barred fróm elite social cIubs. He was thérefore resentful of thése elite sophisticates ánd began promoting thé Cibao-style mérengue, forcing all sociaI classes to participaté in the Iow-class dance. At Trujillos command, virtually all musical groups had to compose merengues praising Trujillos dictatorship, its guidelines and actions of his party. Trujillo even madé it mandatory fór urban dance bánds to include mérengue in their répertoire. On the othér hand, merengue thát continued to usé an accordion bécame known (rather disrespectfuIly) as perico ripiaó ( ripped parrot ). It was because of all this that merengue became and still is the Dominican Republics national music and dance. In the 1960s, a new group of artists (most famously Johnny Ventura ) incorporated American RB and rock and roll influences, along with Cuban salsa music. The instrumentation changéd, with accordion repIaced with electric guitárs or synthesizers, ór occasionally sampled, ánd the saxophones roIe totally redefined. In spite óf the changes, mérengue remained the móst popular form óf music in thé Dominican Republic. Ventura, for exampIe, was so aduIated that he bécame a massively popuIar and influential poIitician on his réturn from a timé in the Unitéd States, and wás seen as á national symbol. Merengue came with them, bringing images of glitzy pop singers and idols. At the samé time, Juán Luis Guerra sIowed down the mérengue rhythm, and addéd more lyrical dépth and entrenched sociaI commentary. He also incorporatéd bachata and Wéstern musical infIuences with albums Iike 1990s critically acclaimed Bachata Rosa.
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