At the beginning  of the XXth century, the tango leaves the suburbs and starts being danced in "genteel" brothels by affluent people who will insist on certain figures being banned.It can also be  heard in the Academias, cafés where people can dance and in the restaurants of  Buenos Aires' new middle class. Little by little, the dance of the exiled sub-proletarians loses some of its crudeness. To improvising guitars, flutes and violins, there succeed more formal compositions and choreographies. Between 1865 and 1870, the bandonion turns up, coming from Germany; according to Vicente Gesualdo, this instrument owes its name to Mr Band's firm, the Bandunion, later corrupted to bandonion. It contributes to the change in manners, playing a leading role in the band to such an extent  that embodies the tango self.

Shortly before World War I, the tango, which still wafts a whiff of sin, is brought to Europe by a few well-to-do- Argentines. London's variety magazines make 1913 the Year of the Tango, and in Paris, the tango craze spreads in haute couture, hairdressing and attitudes... A pledge of good taste,   parisianism thus allows Buenos Aires' trendsetters to practise their own dance. So the tango, formerly the crude expression of few suburbs peopled with poverty-stricken   exiles, becomes Argentina's music, song, dance, cult and mood.

After the war , soloists and singers add to growth of the tango to such an extent that Carlos Gardel is idolized by Argentina. The "sad tango" is substituted for the tango of fringe groups.

Today, the tango is still deeply rooted in Argentines' hearts. "The gloomy thoughts that can be danced" ( Discepolo) has outlived the degenerate interpretations and adaptations which have come from abroad since the beginning of the XXth century. It is devoutly to be wished that the tango will survive both its yearning to the past and the musics of today