and other musical influences were added, eventually giving rise to the tango. Milonga music is still used for dancing, but the milonga dancing of today is derivative of tango. Murga Murga is a kind of Montevidean musical theatre for Carnival celebrations. A traditional murga group comprises a chorus and three percussionists and this is the type of murga performed on stages at Carnival. The singers perform in harmony using up to five vocal parts. Vocal production tends to be nasal and loud with little variation in volume. The percussion instruments, derived from the European military band, are the bombo (a shallow bass drum worn at the waist and played horizontally), redoblante (snare drum) and platillos (cymbals). The two most important pieces of the performance are the opening song (saludo) and the exit song (retirada or despedida). Popular music Canto popular Canto popular (popular song), which arose around 1975, eschewed contemporary instrumentation, including electric instruments, allowing only native styles and rhythms. This can be compared to Spanish-language singer-songwriter developments like nueva canción, nueva trova and tropicalismo. Daniel Viglietti was by far the most important Uruguayan exponent of canto popular; his song "A Desalambrar" became an international popular classic. Canto popular peaked in about 1977. Uruguayan artists involved in canto popular include Alfredo Zitarrosa, El Sabalero and Los Olimareños. Candombe beat Candombe beat began in the late 1960s with El Kinto, a band featuring Ruben Rada and Eduardo Mateo. Emerging at the same time as Los Shakers they forged their own identity with very little Western influence. The beat of candombe formed the rhythm, bossa nova played a large role in its chords and structure, as did traditional Uruguayan folk music. Mateo and Rada would both go on to have successful solo careers, and the music's influence would play a large role in Popular Music and Uruguayan rock. Totem was the most important group of Candombe Beat in the early 1970s. One of the later exponents of candombe beat was Jaime Roos whose popularity in Uruguay began in the 1970s and has continued through to the 21st century. Cumbia By mid-2015, the Uruguayan bands Rombai and Márama of the emerging subgenres "cumbia cheta" and "cumbia pop" enjoyed great success all over Latin America even before publishing their first albums; particularly in their home country and in Argentina, where in a given moment they had together nine songs at the Spotify Top Ten