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InSpain,music has played an important role in the development of Western music, and has greatly influencedLatin American music. Spanish music is often associated with traditional styles such asflamenco andclassical guitar. While these forms of music are common, there are many different traditional musical and dance styles across the regions. For example, music from the north-west regions is heavily reliant onbagpipes, thejota is widespread in the centre and north of the country, and flamenco originated in the south. Spanish music played a notable part in the early developments of western classical music, from the 15th through the early 17th century. The breadth of musical innovation can be seen in composers likeTomás Luis de Victoria, styles like thezarzuela ofSpanish opera, the ballet ofManuel de Falla, and the classical guitar music ofFrancisco Tárrega. Nowadays, in Spain as elsewhere, the different styles of commercialpopular music are dominant.
TheIberian Peninsula has had a history of receiving different musical influences from around theMediterranean Sea and across Europe. In the two centuries before the Christian era,Roman rule brought with it the music and ideas ofAncient Greece; early Christians, who had their own differing versions of church music arrived during the height of the Roman Empire; theVisigoths, a RomanizedGermanic people, who took control of the peninsula following the fall of the Roman Empire; theMoors and Jews in the Middle Ages. Hence, there have been more than two thousand years of internal and external influences and developments that have produced a large number of unique musical traditions.
Isidore of Seville wrote about the local music in the 6th century. His influences were predominantly Greek, and yet he was an original thinker, and recorded some of the first details about the early music of the Christian church. He perhaps is most famous in musical history for declaring that it was not possible to notate sounds, an assertion which revealed his ignorance of the notational system of ancient Greece, suggesting that this knowledge had been lost with the fall of the Roman Empire in the west.[citation needed]
TheMoors ofAl-Andalus were usually relatively tolerant of Christianity and Judaism, especially during the first three centuries of their long presence in the Iberian peninsula, during which Christian andJewish music continued to flourish.Music notation was developed in Spain as early as the 8th century (the so-called Visigothicneumes) to notate the chant and other sacredmusic of the Christian church, but this obscure notation has not yet been deciphered by scholars, and exists only in small fragments.[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 theGregorian chant as the standard around the time ofCharlemagne, by which time the Muslim armies had conquered most of the Iberian peninsula. As the Christianreconquista 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 theMozarabic) 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. In the royal Christian courts of the reconquistors, music like theCantigas de Santa Maria, also reflected Moorish influences. Other important medieval sources include theCodex Calixtinus collection fromSantiago de Compostela and theCodex Las Huelgas fromBurgos. The so-calledLlibre Vermell de Montserrat (red book) is an important devotional collection from the 14th century.[citation needed]
In the earlyRenaissance,Mateo Flecha el Viejo and the Castilian dramatistJuan del Encina ranked among the main composers in the post-Ars Nova period. Renaissance song books included theCancionero de Palacio, theCancionero de Medinaceli, theCancionero de Upsala (kept inCarolina Rediviva library), theCancionero de la Colombina, and the laterCancionero de la Sablonara. The organistAntonio de Cabezón stands out for his keyboard compositions and mastery.
An early 16th-centurypolyphonic vocal style developed in Spain was closely related to that of theFranco-Flemish composers. Merging of these styles occurred during the period when theHoly Roman Empire and theBurgundy were part of the dominions underCharles I (king of Spain from 1516 to 1556), since composers from the North of Europe visited Spain, and native Spaniards traveled within the empire, which extended to theNetherlands, Germany and Italy. Music composed for thevihuela byLuis de Milán,Alonso Mudarra andLuis de Narváez was one of the main achievements of the period. The AragoneseGaspar Sanz authored the first learning method for guitar. Spanish composers of the Renaissance includedFrancisco Guerrero,Cristóbal de Morales, andTomás Luis de Victoria (late Renaissance period), all of whom spent a significant portion of their careers in Rome. The latter was said to have reached a level of polyphonic perfection and expressive intensity equal or even superior toPalestrina andLassus[citation needed]. Most Spanish composers returned home from travels abroad late in their careers to spread their musical knowledge in their native land, or in the late 16th century to serve at the Court ofPhilip II.
By the end of the 17th century the "classical" musical culture of Spain was in decline, and was to remain that way until the 19th century. Classicism in Spain, when it arrived, was inspired by Italian models, as in the works ofAntonio Soler. Some outstanding Italian composers such asDomenico Scarlatti andLuigi Boccherini were appointed to the Madrid royal court. The short-livedJuan Crisóstomo Arriaga is credited as the main beginner of Romantic sinfonism in Spain.[citation needed]
Although symphonic music was never too important in Spain, chamber, solo instrumental (mainly guitar and piano) vocal and opera (both traditional opera, and the Spanish version of the singspiel) music was written by local composers.Zarzuela, a native form of opera that includes spoken dialogue, is a secular musical genre which developed in the mid-17th century, flourishing most importantly in the century after 1850.Francisco Asenjo Barbieri was a key figure in the development of the romantic zarzuela; whilst later composers such asRuperto Chapí,Federico Chueca andTomás Bretón brought the genre to its late 19th-century apogee. Leading 20th-century zarzuela composers includedPablo Sorozábal andFederico Moreno Torroba.
Fernando Sor,Dionisio Aguado,Francisco Tárrega andMiguel Llobet are known as composers of guitar music. Fine literature for violin was created byPablo Sarasate andJesús de Monasterio.
Musical creativity mainly moved into areas of popular music until the nationalist revival of the late Romantic era. Spanish composers of this period includedFelipe Pedrell,Isaac Albéniz,Enrique Granados,Joaquín Turina,Manuel de Falla,Jesús Guridi,Ernesto Halffter,Federico Mompou,Salvador Bacarisse, andJoaquín Rodrigo.
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In the realm of classical music, Spain boasts a rich tradition of accomplished singers and performers who have made significant contributions to the global musical landscape. The country hosts a vibrant classical music scene, characterized by a multitude of professional orchestras and esteemed opera houses.
With over forty professional orchestras spread across its regions, Spain serves as a hub for orchestral excellence. Among these ensembles, notable names include theOrquestra Simfònica de Barcelona,Orquesta Nacional de España, and theOrquesta Sinfónica de Madrid. These orchestras showcase the nation's commitment to fostering musical talent and nurturing classical repertoire.
In addition to its orchestral prowess, Spain boasts a selection of distinguished opera houses that serve as pillars of the classical music community. Among these institutions, theTeatro Real, theGran Teatre del Liceu,Teatro Arriaga, and theEl Palau de les Arts Reina Sofía stand as esteemed venues renowned for their commitment to showcasing world-class opera productions. Theseopera houses provide platforms for both established and emerging singers to showcase their talents on a prestigious stage.
During the 1940s, Spanish music was shaped by the aftermath of the Civil War and Francisco Franco's dictatorship. Traditional genres like flamenco and classical music continued to thrive, albeit under strict censorship. Popular music forms such as zarzuela andpasodoble celebrated Spanish identity. The era reflected a complex interplay of cultural resilience, political control, and the influence of broader European events like World War II. Overall, music in 1940s Spain mirrored a society in transition, navigating between tradition and the constraints of authoritarian rule.
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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. Initially coined in France to describe a genre influenced by American rock and Britishbeat music of the early 1960s, such as thetwist, Yé-yé music quickly gained popularity for its lively and uplifting characteristics. In Spain,Concha Velasco is often credited as the catalyst for the Yé-yé scene with her 1965 hit "La Chica Ye-Yé." However, even before Velasco's breakthrough, artists likeKarina had already begun making significant strides with their infectious tunes as early as 1963. 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.
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Spanish pop music's journey through the tumultuous years ofFrancisco Franco's regime was marked by resilience and adaptation. Despite strict censorship and limited outlets for contemporary music, theBenidorm International Song Festival emerged as a beacon of opportunity for Spanish musicians. Inspired by Italy'sSan Remo Music Festival, Benidorm provided a crucial platform for artists to showcase new musical styles to eager audiences. This festival not only introduced international influences but also nurtured local talent, laying the groundwork for future developments in Spanish pop. An injuredReal Madrid football player-turned-singer, for example, became the world-famousJulio Iglesias. During the 1960s and early 1970s, tourism boomed, bringing yet more musical styles from the rest of the continent and abroad. 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. However, some managed to break through these constraints, contributing to the vibrant underground music scene that emerged despite censorship. Artists likeMarisol, who started as a child star in the 1960s, andRocío Dúrcal, who became a prominent figure in Spanish music and film, navigated these challenges to become beloved icons of their time.
The 1980s ushered in a transformative era withLa Movida Madrileña, a countercultural movement centered in Madrid. 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. Female artists such as Alaska (ofAlaska y los Pegamoides and laterFangoria) andMartirio emerged as influential figures, challenging traditional gender roles and exploring new sounds and styles.
Julio Iglesias,Enrique Iglesias, andAlejandro Sanz stand as icons of Spanish pop music's international success. These artists not only captivated audiences within Spain but also resonated globally, showcasing the universal appeal of Spanish-language 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.[1] In Spain itself, the 1990s were characterized by a vibrant underground music scene that thrived in major cities like Madrid and Barcelona. Alternative rock bands such asLos Planetas andDover gained prominence, bringing a fresh energy to Spanish pop with their indie rock influences and experimental sounds. This period also saw the emergence of electronic music and dance clubs, further diversifying the musical landscape and fostering a new generation of DJs and producers. 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, andAna Belén, whose sophisticated style and versatile voice made her a prominent figure. These artists contributed to a diverse and vibrant era in Spanish music, each leaving a lasting impact with their distinctive contributions to the genre.
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Artists likeEnrique Iglesias andAlejandro Sanz have become successful internationally winning major music awards such as theGrammy Award. As Spanish is commonly spoken in Spain and most of Latin America, music from both regions have been able to crossover with each other.[2] According to theSociedad General de Autores y Editores (SGAE), Spain is the largest Latino music market in the world.[3] As a result, theLatin music industry encompasses Spanish-language music from Spain.[4][5] TheLatin Academy of Recording Arts & Sciences, the organization responsible for theLatin Grammy Awards, includes music from Spain including a category forBest Flamenco Album with voting members living in the country.[6][7]
The regions of Spain have distinctive musical traditions. There is also a movement of singer-songwriters with politically active lyrics, paralleling similar developments in Latin America andPortugal. The singer and composerEliseo Parra (b 1949) has recorded traditional folk music from the Basque country and Castile as well as his own compositions inspired from the musical styles of Spain and abroad.
ThoughAndalusia is best known forflamenco music, there is also a tradition ofgaita rociera (tabor pipe) music in western Andalusia and a distinct violin and plucked-string type of band music known aspanda de verdiales inMálaga.
Sevillanas is related to flamenco and most flamenco performers have at least one classic sevillana in their repertoire. The style originated as a medieval Castilian dance, called theseguidilla, which was adopted with a flamenco style in the 19th century. Today, this lively couples' dance is popular in most parts of Spain, though the dance is often associated with the city of Seville's famousEaster feria.
The region has also produced singer-songwriters likeJavier Ruibal andCarlos Cano [es], who revived a traditional music calledcopla. CatalanKiko Veneno andJoaquín Sabina are popular performers in a distinctly Spanish-stylerock music, whileSephardic musicians likeAurora Moreno,Luís Delgado andRosa Zaragoza keep AndalusianSephardic music alive.
Jota, popular across Spain, might have its historical roots in the southern part ofAragon. Jota instruments include thecastanets, guitar,bandurria,tambourines and sometimes the flute. Theguitarro, a unique kind of small guitar also seen in Murcia, seems Aragonese in origin. Besides its music for stick-dances anddulzaina (shawm), Aragon has its owngaita de boto (bagpipes) andchiflo (tabor pipe). As in the Basque country, Aragonese chiflo can be played along to achicotén string-drum (psaltery) rhythm.
Northwest Spain (Asturias, Galicia andCantabria) is home to a distinct musical tradition extending back into the Middle Ages. The signature instrument of the region is thegaita (bagpipe). The gaita is often accompanied by asnare drum, called thetamboril, and is played in processional marches. Other instruments include therequinta, a kind offife, as well asharps,fiddles,rebec andzanfona (hurdy-gurdy). The music itself runs the gamut from uptempomuiñeiras to stately marches. As in the Basque Country,Cantabrian music also features intricate arch and stick dances but thetabor pipe does not play as an important role as it does in Basque music. Traditionally, Galician music included a type of chanting song known asalalas. Alalas may include instrumental interludes, and were believed to have a very long history, based on legends.
There are local festivals of whichOrtigueira'sFestival Internacional do Mundo Celta is especially important. Drum and bagpipe couples range among the most beloved kinds of Galician music, that also includes popular bands likeMilladoiro.Pandereteiras are traditional groups of women that play tambourines and sing - bands likeTanxugueiras are directly influenced by this tradition. The bagpipe virtuososCarlos Núñez andSusana Seivane are especially popular performers.
Asturias is also home to popular musicians such as José ÁngelHevia (bagpiper) and the groupLlan de cubel. Circular dances using a 6/8 tambourine rhythm are a hallmark of this area. Vocalasturianadas show melismatic ornamentations similar to those of other parts of the Iberian Peninsula. There are many festivals, such as "Folixa na Primavera" (April, inMieres), "Intercelticu d'Avilés" (Interceltic festival ofAvilés, in July), as well as many "Celtic nights" in Asturias.
In theBalearic Islands,Xeremiers orcolla de xeremiers are a traditional ensemble that consists offlabiol (a five-holetabor pipe) andxeremias (bagpipes).Majorca'sMaria del Mar Bonet was one of the most influential artists ofnova canço, known for her political and social lyrics.Tomeu Penya,Biel Majoral,Cerebros Exprimidos andJoan Bibiloni are also popular.
The most popular kind ofBasque music is named after the dancetrikitixa, which is based on theaccordion andtambourine. Popular performers areJoseba Tapia andKepa Junkera. Highly appreciated folk instruments are thetxistu (atabor pipe similar to Occitaniangaloubet recorder),alboka (a doubleclarinet played in circular-breathing technique, similar to other Mediterranean instruments likelauneddas) andtxalaparta (a hugexylophone, similar to the Romaniantoacă and played by two performers in a fascinating game-performance). As in many parts of the Iberian peninsula, there are ritual dances with sticks, swords and arches made from vegetation. Other popular dances are thefandango,jota and 5/8zortziko.
Basques on both sides of the Spanish-French border have been known for their singing since theMiddle Ages, and a surge of Basque nationalism at the end of the 19th century led to the establishment of large Basque-languagechoirs that helped preserve their language and songs. Even during the persecution of theFrancisco 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.
In theCanary Islands, Isa, a local kind ofJota, is now popular, andLatin American musical (Cuban) influences are quite widespread, especially with thecharango (a kind of guitar).Timple, a local instrument which resemblesukulele /cavaquinho, is commonly seen in plucked-string bands. A popular set onEl Hierro island consists of drums and woodenfifes (pito herreño). Thetabor pipe is customary in some ritual dances on the island ofTenerife.
A large inland region,Castile, Madrid andLeon wereCeltiberian 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. Ever since, the area has been a musical melting pot; includingRoman,Visigothic, Jewish,Moorish, Italian, French andRoma influences, but the longstanding influences from the surrounding regions andPortugal continue to play an important role. Areas within Castile and León generally tend to have more musical affinity with neighboring regions than with more distant parts of the region. This has given the region diverse musical traditions.
Jota is popular, but is uniquely slow in Castile and León, unlike its more energetic Aragonese version. Instrumentation also varies much from the one in Aragon. Northern León, that shares a language relationship with a region in northern Portugal and the Spanish regions of Asturias and Galicia, also shares their musical influences. Here, thegaita (bagpipe) andtabor pipe playing traditions are prominent. In most of Castile, there is a strong tradition of dance music fordulzaina (shawm) androndalla groups. Popular rhythms include 5/8charrada and circle dances,jota andhabas verdes. As in many other parts of the Iberian peninsula, ritual dances includepaloteos (stick dances).Salamanca is known as the home oftuna, aserenade played with guitars andtambourines, mostly by students dressed in medieval clothing.Madrid is known for itschotis music, a local variation to the 19th-centuryschottische dance.Flamenco, although not considered native, is popular among some urbanites but is mainly confined to Madrid.
ThoughCatalonia is best known forsardana music played by acobla, there are other traditional styles of dance music likeball de bastons (stick-dances),galops,ball de gitanes. Music is at the forefront incercaviles and celebrations similar toPatum inBerga.Flabiol (a five-holetabor pipe),gralla ordolçaina (ashawm) andsac de gemecs (a localbagpipe) are traditional folk instruments that make part of somecoblas.
Catalangipsies and Andalusian immigrants to Catalonia created their own style ofrumba calledrumba catalana which is a popular style that's similar to flamenco, but not technically part of the flamenco canon. The rumba catalana originated in Barcelona when the rumba and other Afro-Cuban styles arrived from Cuba in the 19th and early 20th centuries. Catalan performers adapted them to the flamenco format and made it their own. Though often dismissed by aficionados as "fake" flamenco, rumba catalana remains wildly popular to this day.
Thehavaneres singers remain popular. Nowadays, young people cultivateRock català popular music, as some years ago theNova Cançó was relevant.
Having long been the poorest part of Spain,Extremadura is a largely rural region known for the Portuguese influence on its music. As in the northern regions of Spain, there is a rich repertoire fortabor pipe music. Thezambomba friction-drum (similar to Portuguesesarronca or Braziliancuica) is played by pulling on a rope which is inside the drum. It is found throughout Spain. Thejota is common, here played withtriangles,castanets, guitars,tambourines,accordions and zambombas.
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. The guitar-accompaniedcante jondoFlamenco style is especially associated with Murcia as arerondallas, plucked-string bands. Christian songs, such as the polyphonic chant of theAuroro singers, are traditionally sunga cappella, sometimes accompanied by the sound ofchurch bells, and cuadrillas are festive songs primarily played during holidays, like Christmas.
Navarre andLa Rioja are small northern regions with diverse cultural elements. Bordered by Aragon and the Basque Autonomous Community, they also share much of the music found in those two regions. Northern Navarre isBasque in language, while the Southern section shares moreAragonese features. Thejota genre is also known in both Navarre and La Rioja. Both regions have rich dance anddulzaina (shawm) traditions.Txistu (tabor pipe) anddulzaina ensembles are very popular in the public celebrations of Navarre.
Traditional music fromValencia is characteristically Mediterranean in origin. Valencia also has its local kind ofJota. Moreover, Valencia has a high reputation for musical innovation, and performingbrass bands calledbandes are common, with one appearing in almost every town. Dolçaina (shawm) is widely found. Valencia also shares some traditional dances with other Iberian areas, like for instance, the ball de bastons (stick-dances).The groupAl Tall is also well-known, experimenting with the Berber bandMuluk El Hwa, and revitalizing traditional Valencian music, following theRiproposta Italian musical movement.
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