I will not temporally linear manner, but so timeless. At the end of the day all my musical descendants still make new genres for many people, again and again, despite the time they reached the world over the last two centuries.
The ragtime and argentine tango
I will relate, in order to tell you the story of my descendants, to specialists work addressing thoughts quite clear and verifiable for ordinary people. I want to reach everyone: not only academics, musicians, intellectuals. Until today was the common people that welcomed me, asked me and followed me. Almost always unaware of my existence, the dancers -so the story from early nineteenth century tells- were the ones that contributed for the popular rhythms to become fashionable and got them famous with their requests -in situ. So my appreciation and gratitude to the humble, simple and often forgotten people which has represented me.
Angel Gregorio Villoldo. El negro alegre, 1909
The article you will read as follows -Tango y Ragtime, un paralelo en el tiempo y a la distancia-, from the argentine composer, critic and musicologist Pompeyo Camps, analyzes temporary parallel, conceptual and social differences between these two genres. One located to the north of America, the ragtime, and the other to the south, the argentine tango. Two of my descendants who are famous, both coming from -the habanera- the rhythm that distinguishes them.
I have informed in previous articles, about my wanderings through the world perched on the habanera. This variant of the cuban quadrille sung or Danza Habanera was the first cuban musical expression to be internationalized. Therefore its long and countless trips to Europe and America in the nineteenth century and throughout the world during the twentieth century. Today, the habanera, is preserved, revered and sung, with some modifications and adaptations over time, in many places of the Iberian Peninsula. It arrived through the musical masterpieces of Basque composer Sebastian Iradier at mid-nineteenth century.