the danzón-mambo style transformed the more traditional danzón through
Danzón-mambo Generally speaking, the danzón-mambo represents a further and stronger incorporation of elements of the son into the danzón. The first sections, or danzones, did not depart significantly from the traditional danzón structure [1]. But, the final section of the danzón-mambo was based on tumbaos and guajeos from the montuno section of the son, which created a complex, clave-oriented polyphony with strong accents on the upbeat (Santos 1982). In order to further reinforce the son feeling, Arcaño added the tumbadora (conga drum) to the traditional charanga percussion lineup of pailas and güiro. Also, the paila player began to use a cowbell in the final section (Santos 1982). This final section, at first called nuevo ritmo, later came to be called mambo.[1]
En plein air Artists have long painted outdoors, but in the mid-19th century, working in natural light became particularly important to the Barbizon school, Hudson River School, and Impressionists. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century.[1] The popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes (like those for toothpaste). Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil.