The music that today is called bachata emerged from and belongs to a long-standin Pan-Latin American tradition of guitar music, msica de guitarra, which was typically played by trios or quartets comprised of one or two guitars (or other related stringed instrument such as the smaller requito), with percussion provided by maracas and/or other instruments such as claves (hardwood sticks used for percussion), bongo drums, or a gourd giro scraper. Sometimes a large thumb bass called marimba or marimbula was included as well. Although the word bachata had been in use since the early 1920s, it was not associated with an actual musical genre until the late 1950s early 1960s. When bachata emerged as a musical genre in the early 1960s, it was part of an important subcategory of guitar music, romantic guitar music -as distinguished from guitar music intended primarily for dancing such as the Cuban son or guaracha- although in later decades, as musicians began speeding up the rhythm and dancers developed a new dance step, bachata began to be considered dance music as well. The most popular and widespread genre of romantic guitar music in this century, and the most influential for the development of bachata, was the Cuban bolero (not to be confused with the unrelated Spanish bolero). Bachata musicians, however, also drew upon other genres of msica de guitarra that accomplished guitarists would be familiar with, including Mexican rancheros and corridos, Cuban son, guaracha and guajira, Puerto Rican plena and jibaro music, and the Colombian-Ecuadorian vals campesino and pasillo- as well as the Dominican merengue, which was originally guitar-based.

Before the development of a Dominican recording industry and the spread of the mass media, guitar-based trios and quartets were almost indispensable for a variety of informal recreational events such as Sunday afternoon parties known as pasadas and spontaneous gatherings that took place in back yards, living rooms, or in the street that were known as bachatas. Dictionaries of Latin American Spanish define the term bachata as juerga, jolgorio, or parranda, all of which denote fun, merriment, a good time, or a spree, but in the Dominican Republic, in addition to the emotional quality of fun and enjoyment suggested by the dictionary definition, it referred specifically to get-togethers that included music, drink, and food. The musicians who played at bachatas were usually local, friends and neighbors of the host, although sometimes reputed musicians from farther away might be brought in for a special occasion. Musicians were normally recompensed only with food and drink, but a little money might be given as well. Parties were usually held on Saturday night and would go on until dawn, at which time a traditional soup, the sancocho, was served to the remaining guests. Because the music played at these gatherings was so often played on guitars (although accordion-based ensembles were also common), the guitar-based music recorded in the 1960s and 1970s by musicians of rural origins came to be known as bachata.

The word bachata also had certain associations, upper-class parties would never be called bachatas. In his book Al amor del boho (1927), Ramn Emilio Jimnez, a distinguished Dominican "man of leters" and "writer of manners," described a bachata in terms that reflect how such gatherings were associated by the elite with low-class debauchery and dissipation:

The "bachata" is a center of attraction for all the men, where the social classes go those who attend them are leveled and where the coarsest and libertarian forms of democracy predominate. The most elegant figures of the barrio are there, daring and audacious. The setting of these dissolute pleasures is a small living room impregnated by odors that seem conjured to challenge decency....In an adjoining room a guitarist plucks and unleashes into the contaminated air of the house (a) blazing street-level couplet, to which a singer with a well-established reputation as a "second" makes a duo, provisioned with a pair of spoons which he strikes to accompany the melody. Click to read Part 2

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_{This text was taken from the book "Bachata, A social history of a Dominican popular music", published by Temple University Press in 1995, written by Deborah Pacini Hernandez.}