The New Song

In our country, the development of the song, was linked to political events and people as the protagonist. In the process, he steps back, like consciousness and culture in general.La song is an art in itself. It is the poem to music, or a melody accompanied by a letter to sing. It is the meeting of two arts, poetry and music, on a footing of equality. The poet and musician in the service of the song.

The first manifestations of a national song is patriotic cielitos found in Hidalgo and Ascasubi.

For years, driven by the bourgeoisie, the song was used as a distracter, as a simple postcard scenery, or a mechanical replacement for a book or an invasion conversación.Sufrió strange rhythms, that if that inconveniences, was broadcast in its original language. In the local creation from folklore, authors and performers swarmed landscape or romantic rose far from reality: in the midst of which were discussed those trying to tell us who we were, Atahualpa Yupanqui, in Salta, Manuel Castilla), the "Cuchi "Ariel Petrocelli, in Buenos Aires were Hamlet Lima Quintana, Mario Gallo Arnedo, in Tucuman, the" Goat "Valladares and" Pato "Gentillini, among the 60 other., occur simultaneously, different movements, which are joined in a militant attitude, poets, musicians, performers. One of them will make a difference: The New Artist Movement, was born in Mendoza, 1966, created by Armando Tejada Gomez, Tito Oscar Mathus and France, produced a Manifesto, which defined with absolute clarity, the decision to place the song as an interpreter needs, hopes and sorrows of the people.

Some paragraphs of the Manifesto: "The search for a popular national music content, has been and is one of the most cherished objective of the Argentine people (...) In pursuit of its expression, the artist adopted and recreated popular rhythms and melodies for its content and form, adapt more fully to the taste and feelings of the people (...) For many decades the country was this: a face without a soul, but the tango, with its throbbing painful chronic (Contursi, Flores, De Caro ), called from his sleepless nights, for the removal of the national spirit and fierce amputation total country (...) Then the artificial division was perpetrated, suffocating between popular music and popular songs citizen native, folk roots. Dark interests have fueled hostility to this division, which becomes more pronounced in our days, leading authors, performers and audience, an artificial antagonism, creating a false dilemma and juggling the principal question raised now is stronger than ever, the search for a national popular roots music that expresses the entire country and regional human. (...) Roots of the New Songbook

Until the advent of Buenaventura Luna and Atahualpa Yupanqui, the native song stage remained strictly traditional forms and compiled. (...) This zeal for pure and original forms, then the services are coming who want to make the native popular music, a solemn corpse (...) What is the New Artist? THE NEW SONG is a movement-musical literiario within the popular music scene in Argentina. Or not born out of opposition to any popular art form, but because of the aesthetic and cultural development of people and intend to defend and strengthen this development. Attempt to assimilate all modern forms of expression which weight and expand popular music and its purpose is to defend the full freedom of expression and creativity of the artists argentinos.Aspira to renew, in form and content, our music to suit the self and the feeling of the country does not disdain hoy.EL NEW SONG traditional expressions or folklore source of native folk music, by contrast, draws on them and created from their content, but not to steal the treasure of the people but to return to this heritage, the tribute creator of the new generations. What is proposed New Artist? The NEW SONG is proposed to search the creative richness of Argentine composers and performers, the integration of popular music in the diversity of regional expressions of the country (...) Encourage the permanent need for interpretive forms and procedures as well as works of genuine identification with the country today, which enrich the sensitivity and culture of our people. (...) welcomes NEW SONG its principles to all the artists identified with their desire for value, further, create and develop folk art and in that sense, seek communication, dialogue and exchange with all the artists and movements like the rest of America (...). NEW SONG strive to make this accession of the Argentine people to their national song in inalienable cultural value. "argues that art, like life, must be in constant transformation, and therefore seeks to integrate the popular songbook creative development of the whole people to join him at his destination, expressing their dreams, their joys, their struggles and hopes "This move brought the music of Argentina's stagnation that had fallen in the tango, its influence, musical originality in lyrical and experimental commitment formal, went through and through generations of artists "In 1968, Amelita Baltar released, along with Astor Piazzolla," Chiquilín of Bachín ".

The bandoneon said then that song, along with another called "Juanito Laguna helps her mother," he meant the beginning of his collaboration with Horacio Ferrer Maria beyond Buenos Aires, which was released in May.

In 1947, the Five Year Plan had set the importance of education should be "folklore, dance, religion, folk poetry, family, history and languages." The curricula of Peronism had stressed "the love of the field" and also in teaching the repertoire that had come to Buenos Aires and its hand margins of industrial policies and internal migration. (...) But also there in the 60's, an explosion of urban consumption of this music. There, on the one hand, a direct effect on the fruitful source of Argentine rock. Not hard to imagine Spinetta, Soulé, García, Santaolalla or Páez singing "Zamba de la Candelaria" or "Guitar stale." And it costs hear the footsteps of that learning on their own songs. (...) This initiative walking across America, resulting in the creation of the Uruguayan Popular Song of the hand, especially in Washington Benavidez, Anibal Sampayo, Alfredo Sitarrosa, Daniel Viglieti, Los Olimarenos and many others, the new song of Chile, with Victor Jara, Quillapayún, Los Jaivas, in Nicaragua called "Volcanto" with Carlos and Enrique Mejia Godoy, Norma Elena Gadea. In Cuba, La Nueva Trova, with Silvio Rodriguez, Pablo Milanes, Vicente and Santiago Feliu, as initiators.

In Caribbean music, it is imperative to mention Ruben Blades and Willie Colon. In Brazil, the leading figure is Chico Buarque de Hollanda, who, along with Joao Gilberto and the great poet Vinicius de Moraes, give birth to the MPB (Brazilian Popular Movement). In the U.S., its proponents are Pete and Joan Baez.Este Seeguer movement led to the founding of the International Committee of the New Song, based in Mexico, headed initially by Gabino Palomares. In its founding document, recognized as the source of the Movements of the New Song in the world, Mendoza, Argentina, 1966, with the New Songbook.

Then comes the New Song Movement Union, with Joan Manuel Serrat, accompanied by Ana Belen and Victor Manuel.Ideológicamente, the new song has been confused with protest music because his lyrics usually manifests a profound rejection of the foreign intervention (military, political or economic) in the American countries, but does not stay in this position of rejection, but rather shows a deep respect for the lives of workers, peasants and indigenous people, all at the same a clear rejection of U.S. and European imperialism, consumerism and social inequality.