Merengue is a type of music and dance originating in present-day Dominican Republic[2] which has become a very popular genre throughout Latin America, and also in several major cities in the United States with Latino communities.

In the United States it was first popularized by New York–based groups and bandleaders like Rafael Petiton Guzman, beginning in the 1930s, and Angel Viloria y su Conjunto Típico Cibaeño in the 1950s.

[6] Famous merengue artists and groups include Juan Luis Guerra, Wilfrido Vargas,[7] Milly Quezada, Toño Rosario, Fernando Villalona, Los Hermanos Rosario, Bonny Cepeda,[8] Johnny Ventura,[9] Eddy Herrera, Sergio Vargas, La Mákina, Miriam Cruz, Las Chicas Del Can, Kinito Mendez, Jossie Esteban y la Patrulla 15, Pochy y su Cocoband,[10] Cuco Valoy, Ramón Orlando, Alex Bueno,[11] The New York Band, Elvis Crespo, Olga Tañón, Gisselle, Conjunto Quisqueya and Grupomanía.

Venezuelan Merengueros include Roberto Antonio, Miguel Moly, Natusha, Porfi Jiménez, Billo's Caracas Boys, and Los Melodicos.

The traditional (some say fundamental) signature rhythm figure of merengue is the quintillo, which is essentially a syncopated motif whose pattern is broken by five successive drumhead hits at the transition between every second and third beat, alternating between the hand and the stick.

The main percussion instruments, güira and tambora, have been a part of the ensemble since the music's inception, and are so important that they are often considered symbolic of the whole country.

One important figure in early merengue was Francisco "Ñico" Lora (1880–1971), who is often credited for quickly popularizing the accordion at the turn of the 20th century.

Tatico Henríquez (d.1976), considered the godfather of modern merengue típico, replaced the marimba with electric bass and added a saxophone (it was used before, but infrequently) to harmonize with the accordion.

A prolific composer, Tatico's influence cannot be overestimated: nationally broadcast radio and television appearances brought his music to all parts of the country, leading to widespread imitation of his style and dissemination of his compositions.

Other innovations from this period include the addition of the bass drum now played by the güirero with a foot pedal, a development credited to Rafael Solano.

Many of today's top accordionists also began their careers during this period, including El Ciego de Nagua, Rafaelito Román, and Francisco Ulloa.

Some modern band leaders have also added congas, timbales (played by the tamborero), and keyboards to their groups in an attempt to reach a wider audience and narrow the gap between the típico and orquesta styles.

The second section is dominated by improvisation, more complex rhythms, and hard-driving mambo, or the part of the song where melody instruments (sax and accordion) unite to play catchy, syncopated riffs or jaleos which help motivate and stimulate dancers.

Composer Luis Alberti later reported that such pieces, especially the famous tune known as the Juangomero, were frequently played at the end of an evening's program that otherwise featured imported styles like waltzes, mazurkas, polkas, danzas, danzones, and one- and two-steps.

The resented North American invasion of 1916 seems to have made the general public more disposed to support autochthonous rhythms over imported ones, though the raucous rural accordion sound was still unacceptable to high-society tastes.

Nevertheless, when Rafael Leonidas Trujillo took power in 1930, he imposed the merengue upon all levels of society, some say as a form of punishment for the elites that had previously refused to accept him.

The soon-to-be dictator must also have realized the symbolic power of the rural folk music and its potential for creating support among the masses, since he took accordionists with him around the Republic during his campaign tours from the very beginning.

Luis Alberti and other musicians began to play with "big band" or orquesta instrumentation, replacing the accordion with a horn section and initiating a split between this new, mostly urban style and mostly rural perico ripiao.

[14] Following his election, Trujillo ordered musicians to compose and perform numerous merengues extolling his supposed virtues and attractiveness to women.

During that decade, Johnny Ventura's Combo Show drove crowds wild with their showy choreography, slimmed-down brass section, and salsa influences.

(The term "orquesta", simply meaning a large musical ensemble, is now used to describe the pop merengue groups based on Ventura's and Vargas's models as well as the older Alberti style.)

In addition, a new rhythm called "merengue a lo maco" appeared and was popularized by groups including Los Hermanos Rosario and Cheche Abreu.

Far less complicated than other merengue rhythms, it was particularly useful for adapting songs from other styles like bachata, Colombian vallenato, Mexican rancheras, and North American pop.

Perhaps for this reason, some pop merengue singers have gone to extreme lengths to attract attention, such as Tulile and Mala Fe's excursions into women's wear.

Pop merengue also has a remarkably strong following on the neighboring island of Puerto Rico, which has produced its own stars, like Olga Tañón and Elvis Crespo.

It uses a large horn section with paired saxophones, piano, timbales, hi-hat, backup singers, and conga, in addition to tambora, güira, and bass.

In the early 1970s, trumpeter and singer Wilfrido Vargas furthered the modernization of merengue by including electronic elements and strengthening the focus of a visual stage presence.

She performed for Petán Trujillo, the brother of the Dominican Republic's president, convincing him to give her father a home and a job she could earn money from.

Female merengue bands began to emerge in the 1970s, with examples such as Gladys Quero's "Orquesta Unisex", but started gaining popularity in the early 1980s with Aris García's "La Media Naranja", "Las Chicas del País" and, principally, pianist Belkis Concepcion's band, Las Chicas del Can.

In reference to this female-merengue phenomena, Jocelyn Quesada states, You know, if you wear a dress, and you have to open your legs and hold the tambora, that’s kind of awkward.