As mentioned on another page, Julio De Caro started a new era in the composition of tango, embellishing melodies through harmonized piano accompaniment, phrasing and various variations of the bandoneon, refined violin arrangements as well as piano and bandoneon solos.
Some of the most recognized songs of that time were Yira Yira, Cambalache, Confessions, Malena, Barrio de Tango, Che bandoneon, Sadness Corrientes, Naranjo en Flor, etc. During the period between 1950 and 1970, tango lost its hegemony and other newer foreign danceable rhythms like the conga, rumba, rock and roll and mambo made tango lose ground, although it was never forgotten, given that even today there are thousands if not millions of people who still practice tango in milongas organized around the world.
In the 1980s, there was a wave of new tango, which was greatly influenced by maestro Astor Piazzolla. The polemic rivalry between tango and classical musicians has always been a part of the struggle that tango fans and musicians had to endure. Snobby academics stated that tango was not sophisticated enough to be taken seriously, despite the profound change that it had undergone from being played in the streets by semi amateur musicians to being performed by well-respected professionals with a solid musical education and background.
The main reason that the upper classes or snobbish people considered tango as belonging to an inferior music category is that it sprang from “common people” and was played for “common people”. In any case, there came yet a new wave of tango music, not so long ago, which is popularly known as electronic tango. Electronic tango is nowadays very popular all over the world. Perhaps the very first band that experimented with electronic tango was Ultratango, formed in Buenos Aires by the Satragno brothers (pioneers in the electronic music scene of the region in the 80s).