1392:"In the 1960s the coladera emerged as a more lively, upbeat counterpart to the morna. The coladera is performed in fast duple meter, accompanying informal pop-style couple dancing. its primary influences appear to be an obscure folk processional music by the same name, Afro-American commercial music, the morna, and most important, modern French Caribbean pop...more often it is played by a modern dance band, that is, with drums, bass, electric guitars, and the like." Peter Manuel, Popular Musics of the Non-Western World, p95. Oxford University Press 1988
876:
788:
1020:
1101:, Roger, Philip Monteiro, GalvĂŁo, Celestino. Roger, Alcides&Vanir. Not forgetting the person that revolutionate Zouk into its modernization as we listen today as in Ghetto Zouk Music and his name is Adilson Ben-David a.k.a. ToetStar, Cape Verdean descent born in Holland, Rotterdam, in 2004, along with Jonny Ramos, Nelson Freitas and E. Freitas.
576:
The footwork is a basic side-tap, side-tap. For example, the left foot moves to the left with a weight-shift to the left foot. The right foot then 'taps' (touching the floor without weight-shift) next to the left foot. This is followed by the same movement to the other side: the right foot moves back
572:
As a dance, the coladeira is a ballroom dance, danced in pairs. The performers dance with an arm embracing the partner, while with the other arm they hold hands. The dancing is made through two body swings and shoulder undulations to one side, marking the rhythmâs beats of the bar, while in the next
563:
In its most traditional form, the song starts by an introduction played in the soloist instrument (having this intro generally the same melody as the refrain), and then the song develops in an alternation between the main strophes and the refrain. Approximately after the middle of the song, instead
1401:...Acculturation has been further promoted by the growth of overseas communities (especially in New England) whose population now exceeds that of Cape Verde itself (around 300,000). Peter Manuel, Popular Musics of the Non-Western World, p95. Oxford University Press 1988
676:
continued to integrate influences from abroad, from
Brazilian music and also from Anglo-Saxon music. In the 1970s, with the appearance of movements against colonialism and relations with socialist countries, other influences came along, including Latin-American music
631:
Little by little, this new musical genre was consolidated, absorbing several musical influences, mostly from
Brazilian music. From S. Vicente this musical genre passed to the other islands, leading to the emergence of two schools, each one with its own style: one in
764:
and other French
Antillean musicians, whose main music is kompa , toured the islands on various occasions. Today, the new generation of Cape Verdean artists features a light compas close to Haitian and French Antillean compas music.
1070:" because of their similarities. This light compas has become popular in Portuguese speaking countries of Africa, Brazil and the rest of the world. Most of the songs are written in Portuguese/creole.
560:), being that usage much appreciated by some and criticized by others. In the late 1990s there is a comeback to the roots where unplugged (acoustic) performances are sought after again.
207:
769:"Dança mami Criola", from 1994, is a good example; this CD features music close to Haiti's Tabou Combo, Caribbean Sextet, Exile One, Tropicana and the French Antilles' Kassav'.
368:, i.e. composed in just one tonality. Compositions that use more than a tonality are rare and generally they are cases of passing from a minor to major tonality or vice versa.
1521:
Peter Manuel, Kenneth Bilby et
Michael Largey, Caribbean Currents: Caribbean Music from Rumba to Reggae, Temple University Press, Philadelphia, 2012 (revised edition), p. 75
200:
577:
to the right with a weigh-shift to the right foot, and the left foot comes back to tap beside the right also invented and mastered by Tommy
Andrade in 1995 from Brockton.
2153:
819:
shares some characteristics with the former, as the harmonic sequence, the verse structure and a varied and syncopated melodic line. According to J. Monteiro, the true
1595:
300:
990:, the rhythmic accentuation of the melody is on the first beat and the last half-beat of the bar. Perhaps the most internationally known example of this variant of
2226:
600:. According to the oral tradition, a new musical genre appeared in the 1930s when the composer Antonâ Tchitchâ intentionally speeded up the tempo of a
365:
2480:
2475:
472:(that plays the chords rhythmically), a solo instrument besides the singerâs voice and some percussion. A bigger band may include another guitar, an
353:
279:
2236:
1058:", Later, the new generation who grew up in Cape Verde featured a slow mixed version of electric pop music with Cape Verdean music styles, a light
2375:
1588:
2443:
2346:
214:
2334:
1051:
756:
or compas music to the Cape Verde islands. Cape
Verdeans artists have been exposed to compas in the USA and France. In addition, the
1581:
564:
of the sung refrain, the soloist instrument performs an improvisation. Recent composers, however, do not always use this sequence.
2219:
2867:
1156:
performed by Mité Costa and
Djosinha in the album âCabo Verde canta CPLPâ (reed. A. R. Machado, Lisboa, Ref: CD-005/07 â 19??)
1469:
1035:
In the 1980s, the cape verdean diaspora living in Europe and North
America have influenced the traditional "coladeira" with
865:
Later, these two styles influenced each other, and the compositions from the '60s are a blend of the two preceding styles.
2914:
2212:
1228:
performed by
Paulino Vieira in the album âCabo Verde, Poema tropicalâ from Quirino do Canto (ed. ?, ? â 1985)
862:), a melody well adapted to the rhythmics, a richer chord progression with passing chords, and a more varied thematic.
1549:
1526:
1479:
1445:
1184:
performed by Cabral & Cabo Verde Show in the album âBĂȘju cu jĂȘtuâ (ed. Syllart, ?, Ref: CD 38778-2 â 19??)
854:), a simpler melodic line, the traditional 3 chords series, the use of rhymes and a more sarcastic thematic; the â
286:. The tone is generally joyful and themes often include social criticism. Instrumentation typically includes a
1433:
310:
In the 1950s, it began to incorporate electronic influences, and beginning in the 1980s it was influenced by
178:
2924:
2411:
2455:
402:, for example the alternation between the main strophes and the refrain, the sweeping melodic line, the
668:
began to receive international attention, either through performances abroad or by the distribution of
905:
is a musical genre that was once in vogue in Cape Verde. Nowadays this genre is not known anymore. In
419:
2735:
2257:
1830:
926:
107:
1508:
1561:
17:
2919:
1422:
16. Jump up ^ Peter Manuel, Popular Musics of the Non-Western World, Oxford
University Press 1988
1216:
1110:
1055:
1044:
162:
383:
2857:
2329:
1140:
1113:
for Best Coladeira was created in 2011, it awards a best song related to this genre each year.
1089:, Cedric Cavaco, Elji, Loony Johnson, Klasszik, Mark G, To Semedo, Beto Dias, Heavy H, Marcia,
698:
398:
2539:
1073:
Cape Verdean Zouk And its transcendence into Ghetto Zouk Music: singers and producers include
1605:
906:
418:
talks about are satires, social criticism, jokes and playful and happy themes. According to
1233:
1177:
performed by Manecas Matos in the album Lamento de um Emigrante (ed. ?, ? â 1986)
501:
473:
426:
were precisely these ones. But after the thematic change in the passage from the Boa Vista
2470:
2431:
1892:
388:. Even so, many composers (especially more recent ones) do not always use this structure.
8:
2847:
2801:
2770:
2727:
1773:
493:
243:
238:
93:
2302:
2909:
1729:
1695:
1496:
1001:
633:
1221:
performed by CesĂĄria Ăvora in the album âMiss Perfumadoâ (ed. LusĂĄfrica, Paris â 1992)
842:
That is due to the presence of two opposite styles in the '50s of this variant of the
2788:
2613:
2551:
2297:
2111:
1707:
1680:
1545:
1522:
1475:
1441:
1278:
performed by Gil & The Perfects in the album âSeparaduâ (ed. GIVA, ? â 1993)
939:
641:
2796:
2695:
2664:
2659:
2654:
2534:
2138:
1872:
1865:
1860:
1724:
1690:
1675:
1670:
1633:
1028:
884:
832:
796:
459:
2292:
2094:
1573:
1295:
performed by Suzanna Lubrano in the album âTudu pa bĂŽâ (ed. ?, ? â 2003)
1097:, Philip Monteiro, Gama, Juceila Cardoso, Djodje, and Denis Graça. Others include
2831:
2679:
2674:
2649:
2556:
2465:
2460:
2380:
2279:
2244:
2204:
2183:
2168:
2084:
2064:
1964:
1927:
1887:
1741:
1648:
1638:
1628:
1290:
1172:
1074:
757:
694:
549:
349:
299:
According to oral tradition, the genre originated in the 1930s when the composer
275:
2862:
2324:
2319:
1855:
1736:
1700:
1653:
1285:
performed by Unimusicabo in the album âHelp Fogoâ (ed. MESA Pro, ? â 1995)
1078:
909:
it subsists, not as a musical genre but as a specific song played in weddings.
2287:
1365:
1211:
performed by Djalunga in the album âAmor fingidoâ (ed. LusĂĄrica, Paris â 2000)
348:, and in its most traditional form by having an harmonic structure based in a
2903:
2755:
2700:
2669:
2582:
2448:
2370:
2365:
2351:
2312:
2049:
2044:
1932:
1616:
1351:
1164:
901:
530:
380:
follows a cycle of fifths. This characteristic is a direct heritage from the
305:
132:
42:
2487:
1249:
performed by DudĂș AraĂșjo in the album âNha visĂŁoâ (ed. Sons dâĂfrica â 199?)
2852:
2821:
2705:
2592:
2561:
2546:
2339:
2116:
2101:
2054:
1969:
1949:
1751:
1658:
1621:
1132:
664:. It is in this period that electric instruments began to be used, and the
557:
544:
and the bass / accompaniment play performed in the guitar is replaced by a
526:
1196:
2888:
2872:
2577:
2436:
2426:
2387:
1912:
1840:
1800:
1717:
1712:
1082:
741:
737:
686:
553:
545:
403:
345:
271:
256:
320:
also refers to a ballroom dance done in pairs accompanied by the music.
2811:
2806:
2778:
2618:
2587:
2524:
2401:
2396:
2358:
2178:
2024:
2009:
1902:
1273:
1261:
performed by Livity in the album âHarmoniaâ (ed. ?, ? â 19??)
935:
934:
went on absorbing external elements, for instance, from the Brazilians
766:
761:
682:
552:. From the 1980s there is a big scale usage of electronic instruments (
468:
292:
260:
72:
53:
1268:
performed by Beto Dias in the album ? (ed. ?, ? â 19??)
1974:
1850:
1835:
1825:
1785:
1768:
1763:
1643:
1562:
Breves Apontamentos sobre as Formas Musicais existentes em Cabo Verde
1412:
A dança do landu (Dos antigos reinos do Kongo e de Ngola à Boa Vista)
1316:
Breves Apontamentos sobre as Formas Musicais existentes em Cabo Verde
1239:
1192:
1146:
1086:
1063:
1011:
the bass line marks the first and the last quarter-beats of the bar.
749:
396:
Also in the melodic line one can find characteristics similar to the
274:, and (in its most traditional form) a harmonic structure based in a
2750:
1907:
122:
2519:
2069:
2059:
2039:
1922:
1897:
1820:
1795:
1758:
1685:
1567:
1093:, Kido Semedo, Ricky Boy, Klaudio Ramos, M&N Pro, Gilson, Gil,
965:. Due to some analogies with the bossa nova it occasionally called
839:
should have a 120 bpm tempo. However, this is not always the case.
745:
541:
485:
251:
2416:
916:
has not disappeared completely. Besides the transformation of the
787:
708:
began to slowly lose the traits that used to identify it with the
497:
2760:
2597:
2307:
2252:
2193:
2188:
2163:
2148:
2143:
2079:
2014:
2004:
1979:
1944:
1845:
1778:
1149:
in the album âCabo Verde em serenataâ (ed. MĂ©lodie, Paris â 2000)
1094:
1067:
752:, were very popular in Africa. Exile One was the first to export
637:
624:
appeared as a division in half of the length of the notes of the
489:
357:
283:
137:
127:
2740:
1877:
1790:
596:
112:
2529:
2264:
2158:
2133:
2121:
2106:
2034:
2029:
2019:
1999:
1989:
1984:
1815:
1810:
1746:
1098:
1090:
1059:
1048:
1036:
996:
875:
846:, that correspond to the preference of certain composers: the â
753:
729:
690:
678:
477:
311:
287:
66:
2089:
1066:" or "cabo zouk". It is often mistaken for the Angolan Zouk "
1019:
536:
From the 1960s it starts to happen the electrification of the
2826:
2497:
2421:
2406:
2269:
2173:
2128:
2074:
1994:
1954:
1939:
1805:
1663:
1040:
733:
645:
512:
505:
333:
267:
438:
would have taken over the initial thematic of the Boa Vista
2816:
1917:
594:
initially referred to the act of going out and singing the
1959:
780:
In spite of being a relatively recent musical genre, the
656:
In the 1950s, some innovations started to appear in the
540:, in which the percussion instruments are replaced by a
458:
is not rigid. A medium-sized band may include besides a
376:
As it was said before, in its most traditional form the
736:
artists and bands such as Claudette & Ti Pierre,
732:
influence in Cape Verdean music. During the 60s-80s,
1135:
in the album âSegredâ (ed. HM MĂșsica, Lisboa â 2004)
1603:
2234:
1167:in the album ? (ed. Discos Monte Cara â 19??)
1381:Mornas e Contra-Tempos (Coladeiras de Cabo Verde)
2901:
604:. Someone in the crowd is said to have shouted â
529:(played with the thumb, marking the beats) with
1331:â Capeverdean American Federation, Boston, 1973
1242:in the album âRaizâ (ed. MĂ©lodie, Paris â 1995)
533:(played with the other fingers, rhythmically).
2505:
1467:
492:, etc.) and several percussion instruments (a
2220:
1589:
1188:âParĂłdia familiarâ from Alcides Spencer Brito
660:, similar to the ones that appeared with the
616:performed with the tempo and liveliness of a
515:the strings in a guitar is popularly called â
352:, while the lyrics structure is organized in
208:
1438:Encyclopedia of Latin American Popular Music
772:
573:bar the swinging is made to the other side.
1366:https://www.youtube.com/watch?v=iF-4ehsII1E
1345:
1343:
1341:
1339:
1337:
712:. It was in this period that the dichotomy
454:The composition of a group for playing the
2227:
2213:
1596:
1582:
1375:
1373:
1225:âCabo Verde, poema tropicalâ from Miquinha
1043:in Haitian Creole) to create a version of
872:the bass line marks the beats of the bar.
215:
201:
1461:
1153:âIntentaçon d'Carnavalâ from Tony Marques
1116:
628:, through the acceleration of the tempo.
1334:
1018:
874:
786:
1468:Batalha, LuĂs; Carling, JĂžrgen (2008).
1370:
946:. Today, this variant is more known as
803:
422:, the original themes of the Boa Vista
278:. The lyrics structure is organized in
263:islands in the central Atlantic Ocean.
14:
2902:
1544:, Chandeigne, Paris, 1998, p. 75
1431:
1077:, Atim, Nilton Ramalho, Johnny Ramos,
521:â in Cape Verde. The strumming of the
332:is characterized by having a variable
250:
2208:
1577:
891:
693:) and African music (especially from
371:
303:intentionally sped up the tempo of a
237:
2496:
1321:
1308:
942:, and later from the emerging genre
740:, and especially Gesner Henry alias
442:. These themes remind the mediaeval
391:
1404:
1208:âCurral ca tem capĂłdââ, traditional
704:In terms of musical structure, the
476:, more than one solo instrument (a
24:
1534:
1195:in the album âIncondicionalâ (ed.
449:
266:It is characterized by a variable
25:
2936:
1568:MĂșsica e Cabo-verdianos em Lisboa
1555:
1246:âApocalipseâ from Manuel de Novas
414:Generally, the subjects that the
1432:Torres, George (27 March 2013).
1282:âTudu ta ficaâ from Djoy Delgado
1054:fusion of the French Antilleans
953:, and it has also been known as
608:â (you have transformed it in a
406:, etc. has changed it a little.
296:, and percussion, among others.
1515:
1425:
1181:âBĂȘju cu jĂȘtuâ from RĂ©nĂ© Cabral
823:is the one that results from a
1474:. Amsterdam University Press.
1416:
1395:
1386:
1358:
986:), simpler structure than the
13:
1:
1383:â Ed. do Autor, Mindelo, 1987
1302:
1265:âSi mâ sabebaâ from Beto Dias
831:is normally played with a 60
723:
651:
606:jĂĄ BocĂȘ vârĂĄ-âl nâum coladĂȘra
585:
567:
1047:called Cola-zouk, a similar
1014:
7:
879:Rhythmic model of the slow
784:has already some variants.
10:
2941:
924:(check the main article â
811:Being a derivative of the
580:
179:Festival de BaĂa das Gatas
2915:20th-century music genres
2881:
2840:
2787:
2769:
2726:
2688:
2642:
2635:
2606:
2570:
2512:
2456:MĂșsica popular brasileira
2278:
2243:
1612:
1258:âRosinhaâ from Jorge Neto
1139:âTchapeu di padjaâ, from
1104:
978:. It is a variant of the
815:, it is natural that the
409:
235:Portuguese pronunciation:
59:
49:
37:
32:
1542:Les musiques du Cap-Vert
1272:âBye-bye, my loveâ from
323:
27:Cape Verdean music genre
1364:based on demonstration
1217:Armando Zeferino Soares
1160:âTeresinhaâ from Ti Goi
868:In this variant of the
858:â has a quicker tempo (
420:Carlos Filipe Gonçalves
163:Cabo Verde Music Awards
2571:Fusion genres of Samba
2330:Brazilian thrash metal
2154:Sudanese popular music
1171:âCâmĂȘ catchorrââ from
1111:Cabo Verde Music Award
1032:
1023:Rhythmic model of the
888:
850:â has a slower tempo (
800:
791:Rhythmic model of the
356:that alternate with a
282:that alternate with a
2868:SĂŁo TomĂ© and PrĂncipe
2481:MĂșsica Sertaneja Raiz
1606:African popular music
1327:Sousa, P.e J. M. de,
1022:
982:with a slower tempo (
878:
790:
484:â in Cape Verde â, a
446:songs from Portugal.
434:, the emerging genre
328:As a music genre the
146:Media and performance
1128:âSaudââ, traditional
511:The specific way of
480:â popularly called â
474:acoustic bass guitar
239:[kulÉËĂ°ÉjÉŸÉ]
2925:Music of Cape Verde
2237:Lusophone countries
1774:African heavy metal
1540:Vladimir Monteiro,
1007:In this variant of
620:. Technically, the
466:â in Cape Verde) a
462:(popularly called â
444:escĂĄrnio e maldizer
252:[kolÉËdeÉŸÉ]
244:Cape Verdean Creole
94:Music of Cape Verde
60:Typical instruments
1349:Gonçalves, C. F.,
1289:âTudu pa bĂŽâ from
1033:
889:
856:Tony Marques style
801:
728:There is a strong
372:Harmonic structure
314:music from Haiti.
2897:
2896:
2722:
2721:
2718:
2717:
2714:
2713:
2631:
2630:
2627:
2626:
2614:Samba de Gafieira
2298:Brazilian hip hop
2258:BatidĂŁo romĂąntico
2202:
2201:
1296:
1286:
1279:
1269:
1262:
1250:
1243:
1232:âNha CodĂȘâ, from
1229:
1222:
1212:
1200:
1185:
1178:
1168:
1157:
1150:
1136:
720:was established.
640:, and another in
392:Melodic structure
364:is almost always
225:
224:
192:
186:
185:
88:
87:
38:Stylistic origins
16:(Redirected from
2932:
2797:Cante Alentejano
2640:
2639:
2633:
2632:
2540:Pagode romĂąntico
2510:
2509:
2503:
2502:
2494:
2493:
2452:
2384:
2355:
2343:
2303:BrasĂlia hip hop
2229:
2222:
2215:
2206:
2205:
2139:Shangaan Electro
1598:
1591:
1584:
1575:
1574:
1529:
1519:
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1500:
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1414:
1408:
1402:
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1377:
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1356:
1347:
1332:
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1319:
1312:
1294:
1284:
1277:
1267:
1260:
1248:
1237:
1227:
1220:
1210:
1190:
1183:
1176:
1162:
1155:
1144:
1130:
773:Variants of the
254:
241:
236:
217:
210:
203:
191:
152:
151:
90:
89:
50:Cultural origins
30:
29:
21:
2940:
2939:
2935:
2934:
2933:
2931:
2930:
2929:
2900:
2899:
2898:
2893:
2877:
2836:
2832:Portuguese rock
2783:
2765:
2710:
2684:
2623:
2602:
2566:
2557:Samba de breque
2506:Rio urban samba
2492:
2466:Sertanejo music
2446:
2378:
2349:
2337:
2274:
2239:
2233:
2203:
2198:
2184:Zimbabwean jazz
2065:Muziki wa dansi
1928:Burger-highlife
1888:Congolese rumba
1742:Nigerian reggae
1629:African hip hop
1608:
1602:
1570:â In Portuguese
1564:â In Portuguese
1558:
1537:
1535:Further reading
1532:
1520:
1516:
1504:
1503:
1494:
1493:
1486:
1484:
1482:
1466:
1462:
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1371:
1363:
1359:
1348:
1335:
1326:
1322:
1313:
1309:
1305:
1293:
1291:Suzanna Lubrano
1283:
1276:
1266:
1259:
1247:
1236:
1226:
1219:
1209:
1205:Slow coladeira
1199:, Paris â 2004)
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2822:Hip hop tuga
2745:
2706:Samba reggae
2680:Samba-raiado
2675:Samba junino
2650:Samba-batido
2636:Bahian samba
2593:Samba reggae
2562:Samba-enredo
2552:Samba-canção
2547:Partido alto
2376:Electrobrega
2112:Santé engagé
2055:Moroccan pop
1970:Kadongo Kamu
1950:Isicathamiya
1893:Coupé-décalé
1882:
1752:Zimdancehall
1622:desert blues
1541:
1517:
1485:. Retrieved
1470:
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1451:. Retrieved
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1133:Nancy Vieira
1118:
1117:Examples of
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155:Music awards
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2889:Latin music
2689:Urban sambo
2643:Rural sambo
2578:Samba-choro
2447: [
2437:Rasteirinha
2427:Funk melody
2388:Tecno brega
2379: [
2350: [
2338: [
2235:Music from
1801:Ambasse bey
1718:Zenji flava
1713:Bongo Flava
1505:|work=
1487:December 3,
1453:December 3,
1329:Hora di Bai
1314:Brito, M.,
1083:Mika Mendes
962:contratempo
835:tempo, the
804:The proper
742:Coupe Cloue
738:Tabou Combo
612:), i.e., a
546:bass guitar
404:syncopation
344:, a 2-beat
270:, a 2-beat
257:music genre
2904:Categories
2848:East Timor
2812:Desgarrada
2807:Chamarrita
2779:Marrabenta
2771:Mozambique
2728:Cape Verde
2701:Samba afro
2670:Samba duro
2619:Samba rock
2588:Samba-jazz
2583:Samba-funk
2525:Bossa nova
2444:Guitarrada
2402:Chamarrita
2371:Brega funk
2359:Samba rock
2347:Rock Rural
2179:Ziglibithy
2025:Marrabenta
2010:Mahraganat
1873:Chimurenga
1730:Zimbabwean
1696:Senegalese
1604:Genres of
1303:References
1274:Gil Semedo
1255:Cola-zouk
1125:Coladeira
1119:coladeiras
968:cola-samba
936:bossa nova
795:, 106~120
744:, and the
724:3rd period
683:son cubano
652:2nd period
634:Barlavento
586:1st period
568:As a dance
469:cavaquinho
293:cavaquinho
261:Cape Verde
78:Percussion
73:Cavaquinho
54:Cape Verde
2910:Coladeira
2873:Sri Lanka
2746:Coladeira
2335:Forrocore
2169:Wassoulou
2085:Palm-wine
1975:Kidandali
1883:Coladeira
1851:Cape jazz
1836:Bend-skin
1826:Bantowbol
1786:Afro-soul
1769:Afro-rock
1764:Afrobeats
1708:Tanzanian
1681:Mauritian
1507:ignored (
1497:cite book
1471:Cabo zouk
1240:Simentera
1197:LusĂĄfrica
1193:Ildo Lobo
1147:Simentera
1087:Manu Lima
1064:cabo love
1027:, 90~120
1025:cola-zouk
1015:Cabo-zouk
1009:coladeira
992:coladeira
980:coladeira
975:coladeira
973:âsambedâ
950:coladeira
944:coladeira
907:Boa Vista
894:coladeira
892:The slow
881:coladeira
870:coladeira
844:coladeira
837:coladeira
821:coladeira
817:coladeira
806:coladeira
793:coladeira
782:coladeira
775:coladeira
750:Exile One
746:Dominican
718:coladeira
706:coladeira
674:coladeira
670:coladeira
666:coladeira
658:coladeira
642:Sotavento
622:coladeira
610:coladeira
590:The word
538:coladeira
523:coladeira
513:strumming
508:, etc.).
456:coladeira
436:coladeira
416:coladeira
378:coladeira
366:monotonic
362:coladeira
330:coladeira
318:Coladeira
259:from the
248:koladera,
230:coladeira
118:Coladeira
33:Coladeira
2789:Portugal
2520:Batucada
2471:Funknejo
2432:Funknejo
2070:Ndombolo
2060:Motswako
2040:Mbaqanga
1923:Highlife
1898:Edo Funk
1866:Moroccan
1861:Algerian
1821:Bajourou
1796:Amapiano
1759:Afrobeat
1725:Togolese
1691:Nigerien
1686:Nigerian
1676:Moroccan
1671:Malawian
1644:Ghanaian
1634:Algerian
1354:' â 2006
1062:called "
852:moderato
618:koladera
592:koladera
542:drum kit
486:clarinet
354:strophes
280:strophes
18:Coladera
2882:Related
2761:Tabanka
2736:Batuque
2598:Sambass
2488:VanerĂŁo
2461:Seresta
2397:Calypso
2308:Stronda
2253:Kizomba
2194:Zouglou
2189:Zoblazo
2164:Tabanka
2149:Soukous
2144:Singeli
2095:RaĂŻ'n'B
2080:Odi Pop
2015:Makossa
2005:Madiaba
1980:Kizomba
1945:Hiplife
1846:Bikutsi
1831:Batuque
1779:Zamrock
1649:Ivorian
1639:Gambian
1095:G-Amado
1068:kizomba
1052:(kompa)
984:andante
930:), the
920:to the
883:, ± 96
860:allegro
762:Kassav'
754:cadence
734:Haitian
638:Mindelo
581:History
548:and an
518:mĂŁozada
502:cowbell
490:trumpet
358:refrain
342:andante
338:allegro
336:, from
284:refrain
255:) is a
138:Tabanka
128:Kizomba
108:Batuque
2751:FunanĂĄ
2530:Pagode
2280:Brazil
2265:Kuduro
2245:Angola
2159:Taarab
2134:Shaabi
2122:Seggae
2107:Salegy
2102:Sakara
2035:Mbalax
2030:Maloya
2020:Marabi
2000:Logobi
1990:Kwaito
1985:Kuduro
1908:FunanĂĄ
1856:Chaabi
1816:Azonto
1811:Assiko
1747:Seggae
1659:Boomba
1654:Kenyan
1548:
1525:
1478:
1444:
1434:"zouk"
1318:â 1998
1105:Legacy
1099:Kaysha
1091:Gilyto
1060:compas
1049:compas
1037:Compas
997:Sodade
932:lundum
918:lundum
914:lundum
902:lundum
748:group
730:compas
695:Angola
691:cumbia
679:bolero
531:chords
506:congas
494:shaker
482:rabeca
478:violin
464:violĂŁo
460:guitar
410:Themes
360:. The
312:compas
288:guitar
123:FunanĂĄ
100:Genres
81:Vocals
67:Guitar
2863:Macau
2841:Other
2827:Pimba
2802:Chula
2756:Morna
2498:Samba
2451:]
2422:Frevo
2417:ForrĂł
2412:Chula
2407:Choro
2383:]
2366:Brega
2354:]
2342:]
2293:BaiĂŁo
2270:Semba
2174:Zaley
2129:Semba
2075:Njuup
2050:Morna
2045:Mbube
1995:Kwela
1955:Jaiva
1940:Hipco
1913:Gnawa
1841:Benga
1806:Apala
1664:Genge
1041:Kompa
988:morna
956:toada
948:slow
927:morna
922:morna
829:morna
825:morna
813:morna
760:band
714:morna
710:morna
687:salsa
662:morna
646:Praia
626:morna
614:morna
602:morna
498:gĂŒiro
440:morna
432:morna
428:morna
424:morna
399:morna
384:morna
334:tempo
324:Genre
306:morna
268:tempo
133:Morna
43:Morna
2817:Fado
2741:ColĂĄ
2117:Sega
1965:JĂčjĂș
1918:Gqom
1903:Fuji
1878:ColĂĄ
1791:Alté
1546:ISBN
1523:ISBN
1509:help
1489:2005
1476:ISBN
1455:2005
1442:ISBN
1165:Bana
1109:The
1056:zouk
1045:zouk
1039:(or
938:and
899:The
697:and
597:colĂĄ
527:bass
500:, a
496:, a
488:, a
290:, a
227:The
113:ColĂĄ
2853:Goa
2288:Axé
2090:RaĂŻ
1960:Jit
1029:bpm
971:or
959:or
885:bpm
833:bpm
797:bpm
701:).
346:bar
340:to
272:bar
2906::
2449:pt
2381:pt
2352:pt
2340:pt
1501::
1499:}}
1495:{{
1440:.
1436:.
1372:^
1336:^
1085:,
1081:,
1004:.
716:\
689:,
685:,
681:,
648:.
556:,
504:,
246::
242:;
2228:e
2221:t
2214:v
1597:e
1590:t
1583:v
1511:)
1491:.
1457:.
1031:.
887:.
799:.
677:(
308:.
233:(
216:e
209:t
202:v
20:)
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