Music of Spain

For example, music from the north-west regions is heavily reliant on bagpipes, the jota is widespread in the centre and north of the country, and flamenco originated in the south.

[citation needed] The music of the early medieval Christian church in Spain is known, misleadingly, as the "Mozarabic Chant", which developed in isolation prior to the Islamic invasion and was not subject to the Papacy's enforcement of the Gregorian chant as the standard around the time of Charlemagne, by which time the Muslim armies had conquered most of the Iberian peninsula.

As the Christian reconquista progressed, these chants were almost entirely replaced by the Gregorian standard, once Rome had regained control of the Iberian churches.

The style of Spanish popular songs of the time is presumed to have been heavily influenced by the music of the Moors, especially in the south, but as much of the country still spoke various Latin dialects while under Moorish rule (known today as the Mozarabic) earlier musical folk styles from the pre-Islamic period continued in the countryside where most of the population lived, in the same way as the Mozarabic Chant continued to flourish in the churches.

[citation needed] In the early Renaissance, Mateo Flecha el Viejo and the Castilian dramatist Juan del Encina ranked among the main composers in the post-Ars Nova period.

Francisco Asenjo Barbieri was a key figure in the development of the romantic zarzuela; whilst later composers such as Ruperto Chapí, Federico Chueca and Tomás Bretón brought the genre to its late 19th-century apogee.

The country hosts a vibrant classical music scene, characterized by a multitude of professional orchestras and esteemed opera houses.

In addition to its orchestral prowess, Spain boasts a selection of distinguished opera houses that serve as pillars of the classical music community.

The era reflected a complex interplay of cultural resilience, political control, and the influence of broader European events like World War II.

The Yé-yé movement, stemming from the English pop-refrain "yeah-yeah," took on a unique form in various cultural contexts, notably in France and Spain.

These pioneering female singers not only popularized Yé-yé music but also set the stage for a vibrant cultural movement characterized by catchy melodies and youthful exuberance.

Spanish pop music's journey through the tumultuous years of Francisco Franco's regime was marked by resilience and adaptation.

Despite strict censorship and limited outlets for contemporary music, the Benidorm International Song Festival emerged as a beacon of opportunity for Spanish musicians.

This festival not only introduced international influences but also nurtured local talent, laying the groundwork for future developments in Spanish pop.

During Franco's rule, which heavily restricted women's rights and roles in public life, female artists faced additional barriers in expressing themselves through music.

Artists like Marisol, who started as a child star in the 1960s, and Rocío Dúrcal, who became a prominent figure in Spanish music and film, navigated these challenges to become beloved icons of their time.

This period was pivotal for Spain's pop music scene, fostering a spirit of experimentation and creativity across diverse genres such as electronica, Euro disco, rock, punk, and hip-hop.

Spanish pop music began to carve out its own distinctive identity, moving beyond emulation of Anglo-American trends to embrace originality and diversity.

La Movida not only revitalized artistic expression but also catalyzed the industry's growth, setting the stage for Spain's emergence as a powerhouse in global music.

Julio Iglesias, in particular, achieved unprecedented success as the best-selling male Latin artist of all time, illustrating the enduring impact of Spanish pop on the global music landscape.

The integration of Spanish and Latin American music markets further amplified this influence, fostering a dynamic cultural exchange that continues to shape trends and innovation in the industry.

Mónica Naranjo, known for her powerful vocals and dramatic performances, and Ana Belén, whose sophisticated style and versatile voice made her a prominent figure.

[2] According to the Sociedad General de Autores y Editores (SGAE), Spain is the largest Latino music market in the world.

The region has also produced singer-songwriters like Javier Ruibal and Carlos Cano [es], who revived a traditional music called copla.

Northwest Spain (Asturias, Galicia and Cantabria) is home to a distinct musical tradition extending back into the Middle Ages.

Even during the persecution of the Francisco Franco era (1939–1975), when the Basque language was outlawed, traditional songs and dances were defiantly preserved in secret, and they continue to thrive despite the popularity of commercially marketed pop music.

A large inland region, Castile, Madrid and Leon were Celtiberian country before its annexation and cultural latinization by the Roman Empire but it is extremely doubtful that anything from the musical traditions of the Celtic era have survived.

Flabiol (a five-hole tabor pipe), gralla or dolçaina (a shawm) and sac de gemecs (a local bagpipe) are traditional folk instruments that make part of some coblas.

Nowadays, young people cultivate Rock català popular music, as some years ago the Nova Cançó was relevant.

Murcia is a region in the south-east of Spain which, historically, experienced considerable Moorish colonisation, is similar in many respects to its neighbour, Andalusia.