same thing throughout the 19th century. But although the contradanza and danza were musically identical, the dances were different. A danza entitled "El Sungambelo", dated 1813, has the same structure as the contradanza – the four-section scheme is repeated twice, ABAB and the cinquillo rhythm can already be heard. The danza dominated Cuban music in the second half of the 19th century, though not as completely as the contradanza had in the first half. Two famous Cuban composers in particular, Ignacio Cervantes (1847–1905) and Ernesto Lecuona (1895–1963), used the danza as the basis of some of their most memorable compositions. In Cuba the danza was supplanted by the danzón from the 1870s onwards, though the danza continued to be composed as dance music into the 1920s. By this time, the charanga had replaced the orquesta típica of the 19th century. The danzón has a different but related rhythm, the baqueteo, and the dance is quite different. The Argentine milonga and tango makes use of the habanera rhythm of a dotted quarter-note followed by three eighth-notes, with an accent on the first and third notes. As the consistent rhythmic foundation of the bass line in Argentine tango the habanera lasted for a relatively short time until a variation, noted by Roberts, began to predominate. In 1883 Ventura Lynch, a scholar of the dances and folklore of Buenos Aires, noted the milonga dance was "so universal in the environs of the city that it is an obligatory piece at all the lower-class dances (bailecitos de medio pelo), and ... has also been taken up by the organ-grinders, who have arranged it so as to sound like the habanera dance. It is danced in the low life clubs ..." The contradanza remains an essential part of the tango's music. For example, Aníbal Troilo's 1951 milonga song "La trampera" (Cheating Woman) uses the same habanera heard in Georges Bizet's opera 1875 Carmen. African-American music African-American music began incorporating Cuban musical motifs in the 1800s. Musicians from Havana and New Orleans would take the twice-daily ferry between those cities to perform. Whether the rhythm and its variants were directly transplanted from Cuba or merely reinforced similar rhythmic tendencies already present in New Orleans is probably impossible to determine. The habanera rhythm is heard prominently in New Orleans second line music, and there are examples of similar rhythms in some African-American folk music such as the