A transnational phenomenon from its beginnings, the bolero is a curious example of romantic, nostalic sentimental affect found in much Latin American music. Regardless of where it is being performed, or in what time period, the music carries an aura of nostalgia for a perfect moment that never existed. Although it began in Cuba, we can trace the musical elements of the bolero to Spain and west Africa. The Spanish musical style that most inspired the Latin American bolero was not the Spanish bolero but the Spanish romance - a profane  music of the 19th century, which featured strophic, romantic lyrics. From Africa came the clave, as well as the tresillo and cinquillo rhythms, which were also found in the Habanera and contradanza styles at the end of the 19th century. These rhythmic elements faded away as the bolero moved into Mexico. Early boleros in Cuba were often sung in two voices, harmonizing in thirds or sixths, and accompanied by guitars (usually two). The music was often performed by troubadour duos (often sisters), quintets, or sextets. While Agustin Lara's boleros were primarily written for one voice and piano, many trios during the Golden Age were somewhat more faithful to the traditional styles, featuring guitars and harmonized melodies in two or three parts. 

This critical edition will feature important songs in the history of he bolero, which showcase its development as it moved from Cuba into Mexico and became a popular, mass-mediated music. We will consider this development in three phases:

1. The Birth of the Bolero in Cuba
2. The Arrival of Bolero in Mexico 
3. The Golden Age of the Bolero