Pedro Yañez

Nueva trova is a Cuban singer‑songwriter movement that emerged in the late 1960s, blending the poetic intimacy of the island’s older trova tradition with socially conscious, often revolutionary, lyrics. It is typically guitar‑led and intimate, but can expand to small ensembles with subtle jazz‑inflected harmonies, echoing the filin (feeling) style and the romanticism of bolero while drawing rhythmic color from Cuban son and guajira. While aesthetically close to the broader Latin American nueva canción, nueva trova is distinctly Cuban in its idiom, metaphorical language, and engagement with post‑1959 cultural life.

Canto a lo poeta is a traditional Chilean art of sung poetry centered in the rural Central Valley. It is performed by cantores who declaim or sing strophic verses with great poetic density, often accompanied by the distinctive guitarrón chileno and by a guitar in special scordaturas known locally as guitarra traspuesta. The repertoire divides into two major branches: canto a lo humano (secular themes: love, daily life, history, and social commentary) and canto a lo divino (sacred themes: biblical narratives, saints’ lives, and devotional poetry). Versification typically uses the décima espinela (ten octosyllabic lines with the ABBAACCDDC rhyme scheme), glosas that expand a short “pie forzado” (a fixed or quoted line/verse), and improvised payas (contests of extemporaneous verse). Musically, the style favors modal melodies, flexible rhythm with speech-like delivery, and drones and resonances produced by the many sympathetic strings of the guitarrón. Performances occur in intimate vigils (velorios and vigilias) and community gatherings, where poetic skill, memory, and religious or social meaning are foregrounded over virtuosic display.