History of Music in Spain

The music of Spain has a long record and has played an essential role in the establishment of western music and especially strong effect upon Latin American music. Apart from Spain, the country is frequently related with folk pattern such as flamenco and classical guitar, but Spanish music is in fact very different, revealing the vast ethnic difference between areas. The flamenco pattern, for instance derived from Andalusia in the south part of the country, whereas the music customs in the north-western areas such as Galicia are pointed around bagpipes as a result of the Celtic record of the area. Spain played a popular role in the record of western classical music, especially during in the early period from the 15^th to the 17th centuries, from composers such as zarzuela of Spanish opera, Tomas Luis de Victoria, the ballet of Manuel de Falla, to the classical guitar music of Pepe Romero. Currently like elsewhere commercial renowned music leads.

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The Iberian peninsula has long been a melting pot of diverse cultural effects, especially during the initial centuries of the Christian period: the Roman culture, which was lead for several hundred years, introduced the music and ideas of Olden Greece; and also the early Christian, who had their own section of the Roman Rite; the Visigoths, Germanic people who invaded the Iberian peninsula during in the 5^th century; Jews of the diaspora; and eventually the long standing effect of the Moors during the 8^th and 15^th centuries. Hence, there have been more than two thousand years of internal and external effects and establishments defining the culture of Spain as it is popular as now, producing a vast number of distinctive musical customs.

Isidore of Seville wrote about the indigenous music during the 6^th century. His influences were mainly Greek, and then were an initial thinker, and documented some of the first details about the early music of the Christian church. He is possibly  very popular in musical record for stating that it was not possible to notate beats, an declaration which shown his ignorance of the notational system of olden Greece, proposing that this idea had been lost (or not transported to Spain) by that period.

The Moors of Al-Andalus was regularly relatively tolerant of Christianity and Judaism, particularly during the initial three centuries of their long presence in the Iberian Peninsula, in which Christian and Jewish music remained to be successful. Music notation was established in Spain during in the early 8^th century (the so-known Visigothic neumes) to notate the song and other scared music of the Christian church, but this unintelligible notation has not then been decoded by scholars, and exists only in small fragment. The music of the early medieval Christian church in Spain is popular, untruthfully, as the Mozarabic songs, which established in segregation prior to the Islamic attack and was not subject to the Papacy’s enforcement of the Gregorian chant as the standard within the period of Charlemagne, by which time the Muslim armies had captured most of the Iberian Peninsula. As the Christian Reconquista progressed, these songs were almost completely substituted by the Gregorian standard, once Rome had recovered dominant of the Iberian churches. The pattern of Spanish renowned chants of the period is assumed to have been heavily affected by Moorish music, particularly in the south, but still part of the country still speak different Latin languages while under Moorish administration (popular now as the Mozarabic (earlier musical traditional patterns from the pre-Islamic era remained in the countryside where most of the populace stayed, in the same pattern as the Mozarabic song remained to successful churches. In the royal Christian courts of the reconquistors music like the Cantigas de Santa Maria, also revealed Moorish effects. Other essential medieval sources include the Codex Calixtinus group from Santiago de Compostela and the Codex Las Huelgas from Burgos. The so-known Llibre Vermell de Montserrat (red book) is an essential devotional group from the 14^th century.

During in the early rebirth, Mateo Flecha el Viejo and the Castilian dramatist Juan de Encina graded among the main composers in the post-Ars era. The rebirth songs books include the Cancionero de Upsala (kept in Caroline Rediviva library), the Cancionero de Palacio, the Cancionero de la Colombina, Cancionero de Medinaceli and the later Cancionero de la Sablonara. The organist known as Antonio de Cabezon stand out for his keyboard work and discipline.

In the early 16^th century polyphonic choral established in Spain closely connected to that of the Franco-Flemish composer. Merging of these patterns occurred during the year when the Holy Roman territory and the Burgundy were part of the dominion under Charles 1 (the king of Spain from 1516 to 1556), since composers from the North Europe came to Spain, and the local Spaniards toured around the territory, which ranged to the Netherlands, Italy and Germany. Music composed for the vihuela by Luis Milan Alonso Mudarra and Luis de Narvaez were one of the major successes of the year. The Aragonese Gaspar Sanz led the first learning pattern for guitar. Spanish composers of the rebirth include Tomas Luis de Victoria (late rebirth year), Francisco Guerrero, and Cristobal de Morales, all of whom expended a significant part of their professions in Rome. The later was said to have extended a level of polyphonic perfection and expressive concentration equal or even greater to Palestrina and Lassus. Most of the Spanish composers came back home from toured oversea late in their professions to extent their musical idea in their local land, or in the late 16^th century to serve art the Court of Philip II.

During in the end of the 17^th century, the classical musical culture of Spain was fallen, and it was to continue that way until the 19^th century, Classicism in Spain, when it came, was encouraged by Italian replicas, as in the compositions of Antonio Soler. Some of the outstanding Italian composers like Domenico Scarlatti and Luigi Boccherini were nominated to the Madrid royal court. The short-lived Juan Crisostomo Arraiga is recognized as the major learner of Romantic sinfonism in Spain.

Miguel Llobet, Francisco Tarrega, Fernando Sor and Dionisio were popular as composers of guitar music. Fine literature for violin was formed by Jesus de Monsasterio and Pablo Sarasate.

Zarzuela, which is a local type of opera that comprises spoken dialogue, it is a secular musical genre which established in the mid-17^th century, popular most importantly in the century after 1850. Francisco Asenjo Barbieri was the major person in the establishment of the romantic zarzuela; while later composers like Tomas Beryon, Federico Chueca and Ruperto Chapi introduced the genre during in the late 19^th century apogee.  Federico Morenco Torroba and Pablo Sorozabal were the leading 20^th century zarzuela composers.

The musical creativity primarily moved into regions of renowned music until the nationalist restoration of the late Romantic year. Spanish composers of that period include Joaquin Rodrigo, Jesus Guridi, Federico Mompou, Felipe Pedrell, Enrique Granados, Ernesto Halffter, Isaac Albenix, Joaquin Turina and Manuel de Falla.