Гваделупа және Мартиника музыкасы: дәстүрлер мен эволюция

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The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan Caribbean calypso tradition.

Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching across the island, and travelling and performing music known as C (or just videé) in a manner akin to Brazilian samba schools. Carnival in both islands declined following World War II, bouncing back with new band formats and new traditions only in the 1980s. Both islands feature participatory, call and response style songs during their Carnival celebrations.

Biguine vidé is an up tempo version of the biguine rhythm, combining other carnival elements. It is participatory music, with the bandleader singing a verse and the audience responding. It allows one to grab an improvised percussion instrument and join in. Traditionally, Carnival includes dances of African origin, including laghia, haut taille, grage, calinda and bel air. Traditional instruments include the chacha, tibwa, maké, boula, tanbou chan and tanbou bas drums. Aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties.

Gwo ka is a family of hand drums used to create a form of folk music from Guadeloupe. There are seven basic rhythms in gwo ka, and multiple variations on each. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. From Haiti the mini jazz formula replicated in the French Antilles in the 1970s.

The most influential figure in the promotion of Cadence lypso was the Dominican group Exile One (based on the island of Guadeloupe) that featured mostly the cadence rampa of Haiti and calypso music from the English speaking caribbean. It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim. Dominica cadence music has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock and roll, soul, and funk music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary". Aside from Exile One, other bands included the Grammacks, Black Roots, Black Machine, Naked Feet, Belles Combo, Mantra, Black Affairs, Liquid Ice, Wafrikai, Midnighte Groovers and Milestone, while the most famous singers included Bill Thomas, Chubby Marc, Gordon Henderson, Linford John, Janet Azouz, Sinky Rabess, Tony Valmond, Jeff Joseph, Mike Moreau, Anthony Gussie and Ophelia Marie.

Zouk Love is the French Antilles cadence or compas, characterized by a slow, soft and sexual rhythm. The lyrics of the songs often speak of love and sentimental problems. The music kizomba from Angola and cabo love from Cape Verde are also derivatives of this French Antillean compas style, which sounds basically the same, although there are notable differences once you become more familiar with these genres. A main exponent of this subgenre is Ophelia Marie. Other Zouk Love artists come from the French West Indies, the Netherlands, and Africa. Popular artists include French West Indian artists Edith Lefel and Nichols, or like Netherlands based Suzanna Lubrano and Gil Semedo, the African artist Kaysha.

A more modernized version of gwo ka is gwo ka moderne, which adds new instruments ranging from conga or djembe drums and chimes to electric bass guitar. At root, however, these styles all use the same fundamental seven rhythms as folk gwo ka. Zouk legends Kassav' played an important role in the modernization of gwo ka, giving urban credibility to a style that was seen as backward and unsophisticated; they initially played in a gro ka format, using songs from the gwo ka Carnival tradition of mas a St. Jean and even placing an homage to traditionalist drumming legend Velo on their earlier albums. The jump up had its heyday from the 90s with songs such as Met Veye WCK, but remained stamped background music or carnival. Over the years, thanks to inter trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the flagship group as Triple kay and MFR band began to democratize and local artists were inducted including the remix Allo Triple kay with Daly and "Big Ting Poppin 'Daly alone. A popular offshoot within the bouyon gwada is called bouyon hardcore, a style characterized by its lewd and violent lyrics. Popular Bouyon gwada musicians include, Wee Low, Suppa, Doc J, Yellow gaza, etc.

The French Antilles hip hop is a style of hip hop music originating from the French departments of Guadeloupe and Martinique in the Caribbean. Usually in French and Antillean creole, the French Antilles hip hop is most popular in the French Antilles and France.' Sidney Duteil (born Patrick Duteil in 1955 in Argenteuil, Val d'Oise), better known as Sidney, is a French musician, rapper, DJ, television and radio host, and occasional actor of Guadeloupean origin. He is well known in France for his connection with the beginnings of the French hip hop scene.