Canción in the context of "Filin (music)"

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⭐ Core Definition: Canción

Canción ("song") is a popular genre of Latin American music, particularly in Cuba, where many of the compositions originate. Its roots lie in Spanish popular song forms, including tiranas, polos and boleros; also in Italian light operetta, French romanza, and the slow waltz. Initially, even when written by the creole population of Cuba, who opposed the ruling hierarchy, the music retained its European style of "intricate melodies, and dark, enigmatic and elaborate lyrics".

Later, in the latter part of the nineteenth century, the canción came under the influence of the trovador movement. This resulted in the lyrical expression of the feelings and aspirations of the population. The accompaniment of the guitar followed naturally, and the canción gradually fused with other forms of Cuban (and therefore Latin American) music such as the bolero. As a distinguishing mark, though, the canción never has the full-blooded Afro-Cuban percussion which marks so much Cuban popular music.

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👉 Canción in the context of Filin (music)

Filin (Spanish: filin) was a Cuban, but US–influenced, popular song fashion of the late 1940s to the early 1960s. The word is derived from feeling, and is sometimes spelled filin or even el filin. It describes a style of post-microphone jazz-influenced romantic song (~crooning).

The Cuban roots of filin were in the bolero and the canción. It was related to the trova: in fact, filin was sometimes regarded as a renewal or reinvigoration, of the old trova. Some Cuban quartets, such as Cuarteto d'Aida and Los Zafiros, modelled themselves on U.S. close-harmony groups. Others were singers who had heard Ella Fitzgerald, Sarah Vaughan and Nat King Cole. Filin singers included César Portillo de la Luz, José Antonio Méndez, who spent a decade in Mexico from 1949 to 1959, Frank Domínguez, the blind pianist Frank Emilio Flynn, and the great singers of boleros Elena Burke and the still-performing Omara Portuondo, who both came from the Cuarteto d'Aida.

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Canción in the context of Bolero

Bolero is a genre of song which originated in eastern Cuba in the late 19th century as part of the trova tradition. Unrelated to the older Spanish dance of the same name, bolero is characterized by sophisticated lyrics dealing with love. It has been called the "quintessential Latin American romantic song of the twentieth century".

Unlike the simpler, thematically diverse canción, bolero did not stem directly from the European lyrical tradition, which included Italian opera and canzone, popular in urban centers like Havana at the time. Instead, it was born as a form of romantic folk poetry cultivated by a new breed of troubadour from Santiago de Cuba, the trovadores. Pepe Sánchez is considered the father of this movement and the author of the first bolero, "Tristezas", written in 1883. Originally, boleros were sung by individual trovadores while playing guitar. Over time, it became common for trovadores to play in groups as dúos, tríos, cuartetos, etc. Thanks to the Trío Matamoros and, later, Trío Los Panchos, bolero achieved widespread popularity in Latin America, the United States and Spain. At the same time, Havana had become a fertile ground where bolero composers met to create compositions and improvise new tunes; it was the so-called filin movement, which derived its name from the English word "feeling". Many of the genre's most enduring pieces were written then and popularized in radio and cabaret performances by singers such as Olga Guillot and Elena Burke, backed by orchestras and big bands.

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