Cover of the first edition of Alma Llanera, unofficial second national anthem of Venezuela
Several styles of the traditional music of Venezuela, such as salsa and merengue, are common to its Caribbean neighbors. Perhaps the most typical Venezuelan music is joropo, a rural form which originated in the llanos, or plains.
Velorio de Cruz de Mayo, drawing by Anton Goering (1892)
Another very popular music in Venezuela is the Gaita Zuliana. This genre originated from the region of Zulia State and is very popular during the Christmas season. The gaita united to the Aguinaldo, conforms the national representation of the Venezuelan Christmas. In the east, the malagueña, punto and galerón accompanies the velorios de cruz de mayo, (religious tradition, that is celebrated on 3 May in honor to the Christian cross). In the Venezuelan Andes, the Venezuelan bambuco is a local variation of the bambuco. Other forms include polo and the Venezuelan waltz. The Quinteto Contrapunto, founded by Rafael Suárez and Aida Navarro, was a celebrated Venezuelan vocal quintet which reached nationwide and international celebrity in the early 1960s, and was very active for about a decade.
Aldemaro Romero directing the Municipal Symphony Orchestra of Caracas, at the celebration of the 50th anniversary of Dinner in Caracas
Then there is also the genre commonly known as "Onda Nueva" (New Wave), which is a combination of joropo and jazz music, with influences from the Brazilian Bossa Nova. The genre was introduced by Aldemaro Romero with a special contribution by famed drummer and timpanist Frank Hernandez, nicknamed "El Pavo" (The Turkey (Venezuelan slang for “the youth”)) by employing a very peculiar drum beat. The term was coined by jazz analyst Jacques Braunstein after having been shown a copy of Romero's earliest composition called "Araguita", (originally to be used as jingle material), which Braunstein described as "something of a new wave". Onda Nueva music was heralded as the Venezuelan Bossa Nova with a very particular seal.
In the late 1960s and early 1970s a few Venezuelan artists began experimenting with sounds, using emerging electronic equipment that was being produced. Artists like Vytas Brenner and Grupo C.I.M. used Moog style synthesizers and effects to embrace the shift in new sounds. Alfredo del Mónaco, who founded the Venezuelan branch of ISCM, is considered the pioneer in electronic music in Venezuela[1] having released Estudio electrónico I para cinta in 1968. Jose Enrique Sarabia also known as "Chelique," who was already internationally known for producing songs since the late 50s like "Ansiedad," helped by other gifted musicians, recorded and released a record in 1971 through a private press titled: 4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia (4 Phases of Four - Venezuelan Music Electronically Developed by Chelique Sarabia). In 1973, when exclusivity of the private contract ended, Chelique commercially released the record under a different title: Revolución "Electrónica" en Música Venezolana (Electronic Revolution in Venezuelan Music). Revolución "Electrónica" en Música Venezolana is notable for being one of the earliest electronic records in Venezuela and is considered a trailblazing album for electronic music in Latin America.
In the late 1990s a very strong electronic music movement spread through the country. Several big multimedia festivals took place, such as "Caracas No Duerme," "AX," "Petaquire," and "Mare Nostrum." These events combined music with the video and performance art of Venezuelan artists such as Luis Poleo, Frank Wow, and Sony. The main bands/DJ's of this era are Ojo Fatuo, DJ Oddo and DJ Wyz.
Juana Maria de la Concepcion, commonly referred to as Conny Méndez, born 11 April 1898 in Caracas, was a composer, singer, writer, caricaturist and actress who produced more than 40 compositions, such as: Yo soy venezolana, Chucho y Ceferina, La Negrita Marisol, Venezuela Habla Cantando, and many others.
Rubén Cedeño, composer of folk and children's music of Venezuela, he appears in the Venezuelan music encyclopedia.[2] Singer, composer, investigator, painter and writer.
His most recognized works are: The AguinaldoQue Navidad part of the Venezuelan Christmas repertoire and interpreted by the mezzo-soprano Morella Muñoz, Cantata infantil Simón Bolívar, Misa de mi Tierra among others. It was National Prize of popular music of the INAVI with his valse Nora. The hymn Hail to the Statue of Liberty, received the congratulation of President Ronald Reagan.
Antonio Lauro composed a large body of classical guitar works, adapting traditional Venezuelan waltz and folk songs for the instrument.
Gustavo Matamoros is a renowned Venezuelan composer dedicated to the experimentation with sound and its relationship with the human mind and culture. He has worked mainly with contemporary techniques such as electroacoustics, mixed media, performance, installations, radiophony and multimedia spectacles. He resides in the US. The work of composer, arranger and musical producer Jesús "Chuchito" Sanoja is considered an important part of the Venezuelan cultural patrimony.
Rosenberg, Dan and Phil Sweeney. Salsa con Gasolina. 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 624–630. Rough Guides Ltd, Penguin Books. ISBN1-85828-636-0