284:," a nationalist "back-to-the-roots" movement inspired by increasing Argentine urbanization, and the influence of romantic European philosophy (Delaney 2002). The musical impact of “nativism” was felt particularly strongly in the rural province of Santiago del Estero, a region identified as a wellspring of “authentic” Argentine culture (Rojas 1905). Both Argentine individuals and institutions were inspired by the nativist perspective. In 1911, the Santiagueñan band leader Andrés Chazarreta established the nation’s first folk music “ballet” (Compañía de bailes nativos) (Vega 1981). In 1917, meanwhile, the Universidad de Tucumán hired the pianist Manuel Gómez Carrillo to conduct ethnomusicological research in Santiago (Veniard 1999). Chazarreta and Carrillo’s publications are the first to mention the Chacarera as a musical genre. While both musicians claimed to be replicating “folk” traditions in their books and recordings, some scholars credit them with establishing the form and choreography of the dance (Chazarreta 2007).
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La
Chacarerata Santiagueña. The distribution of these recordings via record and radio has led to the establishment of local, national, and international audiences for the genre. In Santiago del Estero, Mendoza, and Buenos Aires alike, musicians gather in Peñas, or small folkloric clubs, to sing and dance their favorite Chacareras, often with specific regional flare. In neighboring nation-states including Uruguay, Perú, Brazil, Bolivia and Chile, Chacarera recordings of artists like Yupanqui are well-known, and often incorporated into local repertoires.
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The
Chacarera recordings and compositions of Manuel Gómez Carrillo and Andrés Chazarreta have provided a foundation for recording artists throughout the twentieth century, including Atahualpa Yupanqui, Los Hermanos Abalos, and more recent musical ensembles like the Dúo Coplanacu, Peteco Carabajal and
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The
Chacarera also provided inspiration for art music composers like Alberto Ginastera, who used the genre’s distinctive syncopations frequently in his work. Manuel Gómez Carrillo himself was a conservatory-trained pianist, and set a precedent for this kind of “academic” setting in his compositions
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According to the musicologist Carlos Vega (Vega 1944), the
Chacarera belongs to a family of Ibero-American dances derived from baroque Contradance choreography. While this assertion may be accurate, Vega himself admits to the absence of documentation regarding the Chacarera before the advent of the
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Contemporary
Chacareras generally utilize descending, minor-mode melodies within an octave range. They are not harmonically distinctive, relying predominantly on tonic and dominant accompaniment, and the occasional shift to the relative major. Some modern Chacarera musicians use major-seventh and
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While much of the
Chacarera repertoire can be traced to the 1920s sheet music of Andrés Chazarreta (Chazarreta 1947), the contemporary Chacarera style described in this article was standardized by the recordings of the 1950s folk group Los Hermanos Ábalos (Ábalos 1952). Today, this style is
214:, with accents on the second dotted quarter and the third quarter note, respectively (Abalos 1952). The downbeat is generally elided until cadences, a characteristic that is particularly salient in the case of the “Chacarera Trunca” style, which cadences on the third beat.
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The
Chacarera is a binary form. The A section (6 or 8 bars) doubles as an introduction and an interlude. The B section (8 bars) returns twice before concluding with a repetition. The entire form repeats two times. A B A B A B B
117:. A dance form played by contemporary musicians as soloists or in small ensembles of voice, guitar, violin and bombo drum, the Chacarera is often legitimized by its “origin” in the remote province of
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Delaney, Jean H. 2002. “Imagining ‘El Ser
Argentino’: Cultural Nationalism and Romantic Concepts of Nationhood in Early Twentieth-Century Argentina.” Journal of Latin American Studies 34(3): 625-658.
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Carlson, Julius Reder. 2011. "The 'Chacarera
Imaginary': 'Santiagueñan' Folk Music and Folk Musicians in Argentina." Doctoral dissertation. University of California, Los Angeles.
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Chazarreta, Andrés. 1947 (1916). Primer álbum musical santiagueño de piezas criollas coleccionadas por Andrés A. Chazarreta. Buenos Aires: Talleres Gráficos “Garrot”..
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Carlson, Julius Reder. 2005. “La
Olvidada: discurso y práctica guitarrística como constructores de la Chacarera.” M.A. thesis. Santiago de Chile: Universidad de Chile.
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Veniard, Juan M. 1999. Estudios y documentos referentes a Manuel Gómez Carillo, Vol. 1. Buenos Aires: Academia de Ciencias y Artes de San Isidro.
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recording industry. As the first mention of the Chacarera as a musical genre appears in the early twentieth century publications of the
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Chazarreta, Andrés. 2007. “La evolución coreográfica de la Chacarera.” M.A. thesis. Buenos Aires: Universidad de Buenos Aires.
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Vega, Carlos. 1981. Apuntes para la historia del movimiento tradicionalista argentino. Buenos Aires: Editorial Losada.
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ubiquitous throughout Argentina, with important variants appearing in the provinces of Santiago del Estero and Salta.
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184:). Accompaniment parts – including those on guitar, piano, bandoneón and drum – employ a constant compound meter of
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band leader Andrés Chazarreta, it may thus be more accurate to place this dance’s “origin” within the modern era.
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Chazarreta, Andrés. 1941. Coreografía descriptiva de las danzas nativas. Buenos Aires: Natalio Héctor Pirovano.
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Abalos, Adolfo. 1952. Hermanos Abalos: primer álbum para piano. Buenos Aires: Editorial de los Hermanos Abalos.
243:) and handkerchief waving during the A sections and “coronating,” or embracing, them in the final B section.
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Abecasis, Alberto. 2004. La Chacarera bien mensurada. Río Quarto: Universidad Nacional de Río Quarto.
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Vega, Carlos. 1944. Panorama de la música popular Argentina. Buenos Aires: Editorial Losada.
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Dance and music that originated in Santiago del Estero, Argentina
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The Chacarera can be understood as an outgrowth of Argentine "
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Contemporary Chacarera music is distinguished by its unique
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Añoranzas (Julio Argentino Gerez) (A "chacarera doble")
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154:. Melody lines tend to begin in duple meter (
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69:Learn how and when to remove this message
97:is a dance and music that originated in
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32:This article includes a list of general
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323:Chacarera del rancho (Hermanos Ábalos)
326:Chacarera Santiagueña (Los Tucu Tucu)
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38:it lacks sufficient corresponding
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169:), and conclude in triple meter (
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247:History of the Chacarera genre
85:Couple dancing a chacarera in
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276:Argentine musical nationalism
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53:more precise citations.
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306:Some famous chacareras
297:Chacarera as art music
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1601:Spanish jazz
1524:Other genres
1156:
1126:Puerto Rican
393:Bibliography
379:. Retrieved
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270:Santiagueñan
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1622:Latin music
1546:Contradanza
1438:Tecnocumbia
1413:New Chilean
1398:Bullerengue
1254:Cha-cha-cha
1187:jalisciense
1177:Mexican Son
1061:Alternative
1024:Nuevo tango
923:Duranguense
871:Nueva trova
716:Alternative
670:Latin urban
528:Carnavalito
233:Contradance
152:syncopation
51:introducing
1649:Categories
1606:Villancico
1488:Latin jazz
1461:Afro-Latin
1418:Panamanian
1348:Son cubano
1141:Venezuelan
1101:Latin rock
1096:Ecuadorian
756:Chamarrita
749:Litoraleña
736:Panamanian
726:Moombahton
632:Isa (from
381:2017-01-15
358:References
111:Argentines
107:folk music
34:references
1627:subgenres
1566:Pasacalle
1541:Christian
1531:Aguinaldo
1403:Colombian
1393:Argentine
1370:Vallenato
1341:romántica
1324:Guaguancó
1204:Zamacueca
1157:Chacarera
1136:Uruguayan
1116:Nueva ola
1091:Dominican
1081:Colombian
1066:Argentine
1034:Bandoneon
856:Colombian
843:Latin pop
833:Zamacueca
811:Toro Mata
731:Neoperreo
708:Reggaeton
655:Tajaraste
650:Pasodoble
645:Malagueña
456:(Spanish)
450:(Spanish)
444:(English)
218:Structure
103:Argentina
95:Chacarera
89:, Russia.
1483:Candombe
1423:Peruvian
1314:Pachanga
1309:Méringue
1304:Merengue
1294:Guaracha
1279:Cuarteto
1269:Charanga
1259:Champeta
1231:Tropical
1214:Marinera
1182:huasteco
1121:Peruvian
1019:Neotango
966:Candombe
943:Ranchera
933:Mariachi
896:Conjunto
881:Regional
818:Marinera
761:Guarania
721:Bachatón
660:Zarzuela
601:Cantiñas
596:Bulerías
586:Flamenco
581:Fandango
543:Morenada
533:Diablada
331:See also
282:nativism
257:La Banda
237:Marinera
59:May 2014
1615:Related
1571:Pasillo
1551:Criolla
1505:Milonga
1448:Cachaca
1443:Villera
1408:Mexican
1353:montuno
1289:Guajira
1264:Changüí
1249:Calypso
1239:Bachata
1192:jarocho
1131:Spanish
1111:Mexican
1076:Chilean
1071:Chicano
1009:Milonga
981:Milonga
918:Grupera
901:Norteño
891:Corrido
883:Mexican
861:Mexican
823:Tondero
796:Festejo
771:Chamamé
693:R&B
678:Hip hop
591:Alboreá
523:Bambuco
241:zapateo
149:hemiola
47:improve
1581:Pregón
1561:Décima
1510:Tambor
1500:Mapalé
1385:Cumbia
1284:Danzón
1244:Bolero
1199:Tonada
1172:Joropo
950:Trival
938:Jarabe
911:Tejano
906:Nortec
851:Ballad
688:Reggae
538:Huayno
515:Andean
143:Rhythm
36:, but
1576:Plena
1556:Danza
1473:Bomba
1428:Porro
1365:Trova
1360:Timba
1331:Salsa
1319:Rumba
1299:Mambo
1274:Conga
1219:Zamba
1209:Cueca
1106:Metal
1086:Cuban
996:Tango
986:Murga
971:Cueca
928:Banda
801:Landó
683:House
628:Folia
621:Soleá
616:Saeta
576:Copla
553:Tinku
115:Tango
1591:Seis
1336:dura
1167:Gato
1053:Rock
1014:Vals
828:Vals
698:Trap
640:Jota
548:Saya
352:Gato
199:and
93:The
1433:Rap
1651::
374:.
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