Argentine Tango
Tango argentino first appeared in Buenos Aires during the second half of the 19th century as a new way (e.g., incorporation of such movements as cortes and quebradas) of dancing dances that already existed, such as waltz, mazurka, etc. The new choreography was to a great extent related to the Afro-Argentine dance (e.g., Candombe) and the mocking imitation by compadritos.
In the late 19th century (c. 1875 - 1895), the new choreography got its own music. Therefore, not only tango "dance" but also tango "music" appeared at that time. The usual periodization of Argentine tango music is shown as follows:
1. First early tangos (1870s-1890s)
2. Guardia Vieja (Old Guard) (1890s-1920)
3. Guardia Nueva (New Guard) (1920-1935)
4. Golden Age (until c.1955)
5. Nuevo Tango and Contemporary Tango (after 1955)
Generally, the aesthetics of Argentine tango music is strongly influenced by that of tango dance, which is geographically and historically correlated with such phenomena as compadrito knife fighting, European immigration waves, and prostitution in Buenos Aires. Hence, the music of tango argentino is characterized by the dual (and somewhat contradictory) quality of nostalgia and provocation. And we may find the coexistence of a melancholic melody (along with the velvet sound of bandoneón) and various provocative percussive effects performed by the tango orchestra.
This tango music project has its emphasis on the era of nuevo tango and contemporary tango after 1955, and examines how these "new" tangos inherit or rebel against the conventional aesthetics of tango music.
Generally, the aesthetics of Argentine tango music is strongly influenced by that of tango dance, which is geographically and historically correlated with such phenomena as compadrito knife fighting, European immigration waves, and prostitution in Buenos Aires. Hence, the music of tango argentino is characterized by the dual (and somewhat contradictory) quality of nostalgia and provocation. And we may find the coexistence of a melancholic melody (along with the velvet sound of bandoneón) and various provocative percussive effects performed by the tango orchestra.
This tango music project has its emphasis on the era of nuevo tango and contemporary tango after 1955, and examines how these "new" tangos inherit or rebel against the conventional aesthetics of tango music.
