Process of Paraguayan Music in the period 1850 to 1960

Paraguayan is a mixture of mestizos, criollos, Spanish immigrants, Italians, Germans, Guaraní

indigenous people and pampids from Argentina.
Through his ingenuity, the Creole manages to give the country a musical language with its
own and unmistakable characteristics, through the sum of influences from the different
racial components, integrated in the first Spanish colonies, with African music being
imperceptible, even with people from that continent in the Paraguay.
Establishing the Paraguayan polka, whose rhythm is not the same as the original polka of
Bohemia (Europe); with numerous variants, on a similar rhythmic pattern, among them the
galopa, the polka canto, the polka fusion, the polka rock and the Paraguayan dance, with
styles shared with Argentine coastal music.
The Bohemian polka dates back to 1858, where Military Bands, intended for the
entertainment of the people, performed polkas and mazurkas. The Paraguayans
appropriated the name polka to define their music, due to the fact that the European polka
was a very popular dance.
At the time, evening parties, folkloric festivals and ballroom dances were organized. In the
War of the Triple Alliance, numerous epic music compositions emerged, among them the
Campamento Cerro León composition, belonging to an anonymous author that became
among the most acclaimed compositions in Paraguay. In the capital, the fashionable dances
were danced, brought from a good part of Europe by Marshal López's wife, the British-Irish
Madame Lynch. At these parties, which took place most frequently at the National Club,
lancero, cuadrilla, contradanza, londón, palomita, waltz, mazurka and polka were danced.
Over time these dances were adopted by the people with considerable modifications, and
incorporated into the repertoire of popular and traditional dances of the country.
In 1874 Luis Cavedagni, an Italian musician, began to reorganize musical activities in
Asunción, back in 1887 in Buenos Aires he published the oldest edition of printed music in
the history of the country, "Album of the Most Popular Touches of Paraguay", with
compositions : Palomita, Raído Tereré, Cerro León, Londón Karapé, Colorado, Mamá
Kumandá, Taitá Mandi'o, etc.
The National Theater was inaugurated in 1891, and the Paraguayan Institute Magazine was
established, which began publishing on topics of cultural interest. Visits from Spanish
zarzuela companies, dramatic companies and Double companies increased, whose
presentations were accompanied by local musicians directed by Cantalicio Guerrero.
The 20th century began with turbulent events in political life, until a period of calm began in
1912.
The First World War favors the economy of the region and makes possible the presence of
numerous artists and companies from abroad. The first comedy/zarzuela in Paraguay called
"Tierra Guaraní" is released, whose lyrics belong to the Spanish Fermín Domínguez and with
a musical interpretation by Nicolino Pellegrini. There are teachers in the country who were
in charge of training the first generation of musicians, who will transcend borders. The
musicians of the first generation are made up of Luis Cavedagni, who died in 1916; the
Spanish pianist and composer Mauricio Lefranck; piano teacher Cipriano Ochoa; the Catalan
Jaime Segalés and the Italian Emilio Malinverni.
Among the Paraguayan musicians who gained fame and projected their career abroad, the
violinist and composer Fernando Centurión (1886-1938) stands out, trained at the Liege and
Paris conservatories. Centurión founded the Haydn quartet in 1911 and directed the
"Gimnasio Paraguayo" school of performers. In his role as composer he wrote the first
symphonic works of Paraguay, among which we can mention "Marcha Heroica para
orchestra", "Serenata guaraní" and "Capricho sobre un tema paraguayo". At this time, the
first cultivators of Paraguayan music emerged, among them, the guitarist Gustavo Sosa
Escalada, promoter of the Paraguayan guitar school; and the pianist and compiler Aristóbulo
"Nonón" Domínguez, continuator of Cadevagni's work in the field of collecting and
publishing traditional music. In 1928, Domínguez edited the most important collection of
Paraguayan popular music, called "Aires Nacionales Paraguayos", in transcriptions for piano.
After the War of the Triple Alliance until the 1930s, numerous musicians performed
reconstructions of the National Anthem and through a decree ratified in 1934, the executive
branch declared as official the text by Francisco Acuña de Figueroa, published in 1853 and
attached the reconstruction of the music performed by Remberto Giménez.
With great acceptance in urban centers, the guarania created in 1925 by José Asunción
Flores translates the character of the "Paraguayan" name, being a combination of slow
rhythms and melodies, sometimes melancholic and others of a heroic nature, which since its
appearance became in the phenomenon of greatest significance for Paraguayan music in
the 20th century, first compositions: "Jejuí", "Kerasy" and "Arribeño Resay"; musical genre
projected in a symphonic style, which gave rise to small orchestral poems such as
"Mburicaó" and songs with symphonic accompaniment such as "India", "Ne rendape aju",
"Panambi vera", "Paraguaýpe" and finally, true poems stand out symphonic works of
universal significance such as "Pyharepyte", "Anderuvusu", "María de la Paz" and others.
Lasting in the countryside, the polkas and thepurahéi jahe'o, the compositions, the popular
religious songbook and other styles to which the people continue to cling.
 Composers of the Period
1. Carlos Miguel Giménez (1914-
1970) 5. Agustín Pío Barrios (1885-1944)

2. Mauricio Cardozo Ocampo (1907- 6. Agustín Pio Barboza (1913-1974)

1982)

3. Carlos Sosa Melgarejo (1926-1989)

7. Eladio Martínez (1912-1990)

4. Félix Pérez Cardozo (1908-1973)

8. Emiliano R. Fernandez (1894-1949)

Under the bower the wheel is already formed

1. GALLOPS
Lyrics and Music: Mauricio
Cardozo Ocampo

In a neighborhood of Asunción people come And the gallop comes out, the gallop gallops
people go to dance
The drum is already calling, the gallop is going Wearing the kyguavera three-earring earrings
to begin Rings seven branches and a coral rosary
February 3rd arrived and the patron saint,
Mr. San Blas Galopera dance your sorcerous dance
The Trinity Band enlivens the function Galopera move your bare soles
Shaking the waist in your promise of love
 the chaco lion ijykerekuéra,
The galloping moray eel of the Indo-Latin Major Knight, pray ruvicha.
lineage
She shows off two flowery braids and wears Tiger cub is usually monkey,
the typoi jeguá male ra'ýre male jevy,
On his upright head he carries a native oime ikuatiápe January 20
pitcher peneñongatu peê mbohapy.
Water for the pilgrim the beautiful mitacuña
Oimevevaerã ku ore raperãme,
And so the performance continues to the beat orera'arõvo laurelty porã
of the gallop ojupi haguã umíva ru'ãme
The shrill notes of the piston sound joyful Regiment 13 oñekuãmbopu.
While you hear the hum of the bass drum and
cymbals Ore pópe model "Tujuti" ore réra,
The trombone complains and the drum rolls mitã'i pyatã lampinokuete
guyra ha yvytu oñesûpehêva
Galopera follow your sorcerous dance ore rovasávo ohasa jave.
Galopera I am your ardent dreamer
Give me some fresh water from your love pot Oikove pukúva mante ohechapáne,
Give me some fresh water from your love pot Regiment 13 rapykue reta,
ha lyrics by oropema ojeguáne
2. 13 TUYUTI story pyahu ko'êramogua.
Lyrics and Music: Emiliano R.
Fernandez Reínte Boliva heko ensuguýva,
ndohechamo'ãi and Paraguay.
Number 13 che regiment oî haperãme ipopîa rasýva
also ojekuaa. Regiment 13 kavichu pochy.
Nanawa fort che camp
the living wall oje'eha. Kundt ko oimo'ãnte iñepyrûrõ
ojuhúta ápe pire pererî
Tahupimi hand to the visor ha ojetîjoka gringo tuja výro
ha tambojoja che mbarakami, Nanawa rokême eyey itî.
amongaraívo Nanawa trench
taropurahéi 13 Tujuti. Oguahê jave twenty of January,
iko'êha ára friday rovasy
Aropurahéita Regiment 13 ohua'î va'ekue in blood and fire
Nanawa of glory jeroviahaite oikepávo ápe Ña Boli memby.
ha ityvyra'i, Regiment Seven,
the Mopu'ãhare Living Wall. Ko'etî guive ore retainer two-pe
Kundt rembijokuái ndikatúi oike
Ro'atamahágui tesaraietépe osêgui hapépe Rodolfito López,
peteî ko'ême roñeñanduka mboka'i ratápe ohovapete.
roheja haguã ore ra'yrépe
pedestal of glory omaña haguã. Umi one hundred and five ipu apenóva
mbohapy hendáguio ihu'u tata,
Ore avei paraguaietéva jehechapyrãmi tatatî ojapóva
soldier ja'érõ urunde'ymi, wildebeest ha ka'aguy osununumba.
ndaha'eivoínte rojalabaséva
ndoroikotevêi ñererochichî. Ñahendurõ hína guyryry oikóva
ndaja'éi voi jaikovetaha
My command Irra hendive Brizuela, ndaipóri rupi ipy'apopóva,
mokõive voi añambaraka,
tape ndojuhúi tembiguái ava.
3. NE PORÃ CHE PARAGUAY
Ipyahê cannon ndosovéi shrapnel, Lyrics: Carlos Sosa
never mboka'i ha yvate plane Music: T. Rodriguez Mendoza
ha ni upevére ndoku'éi wall
omoî vaekue Fifth Division. Oiménepa ko arapype ndéicha iporãva tetã
ojeguapava yvotype omimbí ha ojajaipa
Ñane tî ko'õ oúvo yvytúre tovéna ku pyharéro tajahechá pe jasy
canyon ha mboka ratatînengue arapeguãramo guaicha omyasãiro ñasaindy.
ha eye'ari jahecha pe ñure
inevu jo'a Boli re'ongue. Che Paraguay rasá harã
ndaiporichene mamové
Ava'i akãngue ko'ápe ha pépe, che Paraguay ndéve ha'é
akãverakuéra omosarambi, rohayhuve every ko'ẽ
like chirkaty machete haimbépe
ikokuépe guáicha lo mitã okopi. Pejuna mombyry guava pehechamí ko tetã
katueteí pejuhúta tory, joayhú ha vy'á
Péichane voi aipo aña retãme ko'ápe jeko ymami Ñandejára oikó oguatá
the mba'e pochy iffunction jave. ha ipyporépe ohejá hetairé mba'é porã
Ohecha ohendúva mante ogueroviáne
Nanawa de Gloria performs karape. 4. MA'ERAPA REIKUAASE
Lyrics: Rogelio Recalde
Another Nanawa whistle from Gloria, Music: Mauricio Cardozo
Ocampo
héra opytáma mandu'arãmi,
owritechupe ipyahúva story
"With deep love this Guarani song
tamoñarõkuéra 13 Tujuti.
my heart sings to you that dreams of being
panambi
Tuguy eta apytépe ou la victoria
And to his flowering mouth arrive in gentle
Regiment 13 pe opukavymi
flight
ãga ikatúma he'i the story:
give him his honey of love and so I can live
ndopamo'ãiha guarani breed.
Your eyes when they look at me
He holds his hand to the visor
They say: I love you new year
ha tamondoho chepuraheimi,
but your lips respond
amongaraíma Nanawa trench
always ma´erãpa reikuaase
ha che Regiment 13 Tujuti.
So I live in pain
Nanawa Fort, what camp,
for you dreaming che mborayhu
the heroic Fifth, che division
that fortunate day
number 13 che regiment
that you offer me your kunu´û".
The One who battalion has alone.

CARLOS MIGUEL GIMENEZ

He was born in Pilar, capital of the Ñe'êmbuku, on July 5, 1914.

His parents were Felicia Giménez and Carlos Baeckbusch.

Since he was a child he lived immersed in "the musical jungle of the word" and acquired an
admirable knowledge of grammar, distinguishing himself as a disciple of Professor Delfín
Chamorro.

By transferring this virtue to the use of the language of poetry, he manages to produce
pieces of immaculate beauty — sonorous, vibrant, with dynamic verbs and precise
adjectives.

The soul boiled in the being of the infant poet and, with his peculiar rebellion, he knew how
to express truths that nestled in the soul of the people, even at the price of being confined
to Peña Hermosa, where, imprisoned, he founded a school and taught the Indian the path of
alphabet that drives away ignorance and frees from illiteracy.

From that unjust confinement, he dreamed of a different homeland, "without walls for
thought, free as the wind, without fear of shrapnel..." and wrote the verses of My Dreamed
Homeland, a vigorous plea for the freedoms of Man.

Carlos Miguel Giménez spoke his truth with love. His word exalted the beauty of women,
whether from Pilar or from the mountains, and the same word, virile and blunt, denounced
the injustice of an "emerald prison." Furthermore, the same elegance that poured into his
Castilian verses identified his production in Guaraní — authentic, refined, free of all
barbarism, in its natural state, wild and sweet, expressive and lively.

A large majority of his literary production has music, most with Agustín Barboza and Emilio
Bobadilla Cáceres, but Ruinas de Humaitá and Mater Dolorosa, not set to music, are also
jewels of Paraguayan poetry.

In his last years, he endured poverty and blindness with admirable dignity, and died on
August 29, 1970 in Asunción, which he called "the luminary of libertarian causes." Darío
Gómez Serrato, when drawing with the word the profile of his companion of dreams and
cause, said of Carlos Miguel "...who is that poet with a hard and soft face / as if carved by
blows of a hammer and a flower / that roars like a tiger, who sings like a bird / hungry for
justice and drunk with love..."

The verses of the songs Alma Vibrant, Ángel de la Sierra, Alondra Feliz, Mi Patria Soñada,
Okarayguami Akã Sa'yju, Flor de Pilar, En mi Esmeralda Prison, Sobre el Corazón de mi
Guitarra, among others, immortalize the memory of the Pilar poet. many others.

Conclusion

Paraguayan music, unique in the world, with European roots, is music that transmits
tranquility, is nostalgic, abstracts man from everything that happens around him, expresses
our culture and our history, Paraguayan music is the best music in the world.

Mayra Emilia Núñez Fariña

1st. Basic Sciences Course
Santo Tomas Italian School
FROSEP
PILAR ÑEEMBUCU
3/11/2021