In the 1930s and the 1940s, the morna gained special characteristics in São Vicente. The Brava style was much appreciated and cultivated in all Cape Verde by that time (there are records about E. Tavares being received in apotheosis in S. Vicente island and even the Barlavento composers wrote in Sotavento Creole, probably because the maintenance of the unstressed vowels in Sotavento Creoles gave more musicality). But specific conditions in S. Vicente such as the cosmopolitanism and openness to foreign influences brought some enrichment to the morna.