1. Orígins

2. Expansion

3. Eighties - News

4. Exponent artists

5. Singers of the genre

6. References

The Colombian popular music formerly known as Musica Carrilera (Music of the lane) is the name of the popular musical genre of rumba or parranda, which was originally used in Antioquia (Colombia) and in the so-called Colombian Eje Cafetero, it is also known as guascarrilera. This is very similar to Mexican music (Ranchera) and It is characterized, musically, by being quite simple, sticky, popular, and appropriate for simple rumba. This rhythm has contributions from "rancheras, corridos and huapangos, tangos, waltzes, tunes, zambas and Argentine corridors, and Ecuadorian and Peruvian corridors and boleros that were heard by the peasant population of the 1930s and 1940s.(and today they are still listening); peasants who decided to make rancheras, corridos, tangos, boleros, corridors, etc. But in his own style, thus developing guasca, campesina or montañera music. Music whose evolution evoked in what at the end of the XX century and in what goes of the 21st century we have called popular music.^[1]

Orígins

According to an uncertain source, "the lexicon tells us that" musica de carrilera (music of the lane) "is a set of songs of a cheap rhythm, like a walk, which was displaced from the great Antioquia to the great Caldas, like coffee, and which left some expressions of sadness and melancholy of lost, oedipal and brothel worlds that accompany the drunkenness of market stalls and drowsy horses moored to sticks between huge trucks carrying green plantains...(in the middle of a) ruined railway system. In social stratification this type of music was below, among the lowest, as it is said in the aristocracy, to continue using the word of the student of the rich dad. Or better, it is among the dialectical image of the most ruined and lost as can be "the railroad track" in Colombia, and lost as it may be "the train track" in Colombia, and the expression "music of track" that expresses in its expressiveness that lost world, that small orgy of national loss of transport, violence of the 1950s, architectural nostalgia such as of Niño Murcia, in a magazine of Aesthetic Investigations of the National University of 1995, or portrayals of corruption such as that of Ávila Bernal in Falsas Reinas in 1986, or the telenovela Café. "^[2]

It seems to have originated in the stations of the train that formerly communicated to Medellín with the locality of Puerto Berrío, municipality and historic fluvial port of Antioquia on the Magdalena River. It is probably this intimate connection with the railroads that gave this genre the very sui generis connotation of "music of" lane music ". "música de carrilera".

The railroad, the first large-scale civil works built in the Antioquia region, was contracted in 1874 and completed in 1914. Since this is the region's only communication channel with the country and the world, it is not to miss that for it would arrive to the travelers paisas the opportunity to share and to listen in the long waiting times of the train the music of other latitudes, specially coming from Mexico and Ecuador, and that certain compositions of this music of canteen were distributed thus by all of Antioquia and later by a large part of Colombia.

Expansion

An example of this expansion is represented by the southwest region of Antioquia. The colonization of this region occurred in relatively late times and partly precisely because of the lane, particularly the Amagá Railroad, and the expansion of coffee cultivation.

Booking for international markets for coffee beans, the construction of the Cauca Railroad, which would unite Medellin with the Port of Buenaventura, is also started in Colombia. In 1911 the Antioquia railway reached the municipality of Caldas, then the municipality of Amagá and the corregimiento of Bolombolo in 1930, finally reaching the municipality of La Pintada (formerly the "Caramanta Pass"), as recently as the year of 1933.

As the train network stretched, what we call progress was being irrigated and popular culture mixed with its "train" music. It is thus seen in those days to cross the railroad through all the Paisa territory with all its music on board, which ran many of its sources in genres such as el Corrido and La Ranchera. In addition to this pair of sones, the corridors, pasillos, llorones, paseítos and zambas were added, all with a tint and nuance already very local Colombian.

Over time this type of music is heard by people from popular strata (in which these auditions are performed routinely), as well as by some belonging to the population of high social strata,^[3] especially to party and has transcended from its geographical origins beyond Antioquia and Eje Cafetero to become one of the most listened to musical genres in all of Colombia.

Eighties - News

In the eighties appear new musical talents that stole followers, the aforementioned, and artists such as Darío Gómez, los Legendarios, Luis Alberto Posada and El Charrito Negro, who changed that concept of musical strings, no longer so ingrained Mexican custom and take the initiative to seek new sounds with the inclusion of more instruments such as piano, electric bass, violins, marimbas and leaving some that already existed, such as trumpets and accordion.

They introduced the multichannel technology in the recordings, that is, they did not record in a block with all the instruments simultaneously, but they would do it in groups, among which the voices are counted.

the pioneer of these novelties was Darío Gómez who, in addition, modified the costumes, now he was dressed in a dress that gave his music another visual category, he was immediately observed and claimed by the commercial firms that wanted him for his advertisements, something that was copied by other artists in the middle.

Today there are popular music artists from different parts of Colombia such as Johnny Rivera (from Pereira), Giovanny Ayala (from Villavicencio) and Pipe Bueno (from Cali).^{[4] [5]}

Exponent artists

Guasca music had artists who were not Antioquenos, such as the Cundinamarques Romulo Caicedo, Tolimense Oscar Agudelo, and Pereirano Luis Ángel Ramírez Saldarriaga (el Caballero Gaucho).

The most recognized artists since the 50s were Las Hermanas Calle, Rómulo Caicedo, Gabriel Raymond, Las Gaviotas among others; They made their presentations from large cities to towns and remote and humble trails of the country, the platforms were located in grills, neighborhood stores, marketplaces or galleras, among other places, always with the heat of a drink, usually

In the decade of the 80 the recognized artists of the country were Darío Gómez, Luis Alberto Posada, El Charrito Negro and Galy Galiano among others. A very distinguished and great exponent of this genre is the Colombian singer Marbelle, who has spread with international success a variation known as "Neo Carrilera" or "Tecnocarrilera" incorporating electronic instruments and pop arrangements. Also artists of the pop and rock genres have played a bit with the music of lanes, such as Aterciopelados "in some well-known songs, such as" La cuchilla ", and Juanes with their hit song La camisa negra.

At the beginning of the new century and new millennium comes another generation that caught the attention of the media who began to promote themselves as "the new wave of popular music" in which names like Jhonny Rivera, Giovanny Ayala, Pipe Bueno, John Alex Castaño , Alzate, Jimmy Gutierrez and others, innovating with technology, costumes, letters and language, which immediately affected followers and listeners of popular music; It must be said that this genre is not exclusive to men, as artists such as Paola Jara, Francy, Lady Yuliana, Arelys Henao and others stand out and stand out in this area. ^[6]

Singers of the genre

• Darío Gómez
• Giovanny Ayala
• John Alex Castaño
• Jhonny Rivera
• Paola Jara
• Yeison Jimenez
• El Charrito Negro
• Alzate
• Galy Galiano
• Pipe Bueno
• Francy
• Arelys Henao
• Fernando Burbano
• Luis Alberto Posada
• Jimmy Gutierrez
• Lady Yuliana
• Luisito muñoz
• Dora Libia ^{[7] [8]}

References

• 133891 Jaesubhong
• 133892 Benkhaldoun
• 1338 AD
• 1338 CE
• 1338 in music
• 1338 (number)
• 1338 (year)
• 1339 AD
• 1339 CE
• 1339 in music
• 1339 (year)
• 133 CE
• 133d Tactical Airlift Squadron
• 133rd Division (2nd Formation)(People's Republic of China)
• 133rd Division (Imperial Japanese Army)
• 133rd Illinois Volunteer Infantry Regiment
• 133rd IOC Session
• 133rd Light Anti-Aircraft Regiment, Royal Artillery
• 133rd New York Volunteer Infantry
• 133rd Ohio General Assembly
• 133rd Pennsylvania Infantry
• 133rd Pennsylvania Infantry Regiment
• 133rd (Welsh) Field Regiment, Royal Artillery
• 133 (song)
• 1,3,3-trinitroazetidine