|Music of Cuba|
|Media and performance|
|Music awards||Beny Moré Award|
|Nationalistic and patriotic songs|
|National anthem||La Bayamesa|
Cuban folk music includes a variety of traditional folk music of Cuba, and has been influenced by the Spanish and the African culture as well as the remaining indigenous population of the Caribbean.
During the 1960s, a methodological organization was consistently applied to the Cuban popular music; and that methodology, called of the "generic complexes" was mainly based on the works of Cuban musicologist Argeliers León. In his book Del canto y el tiempo, León divided the study of Cuban popular music in several sections presented in the following order: Música yoruba, Música bantú, Música abakuá, Música guajira, El son, La rumba, La guaracha, La canción y el bolero, Música instrumental, De la contradanza al danzón, al chachachá and Hacia el presente, en el presente.
Dr. Olavo Alén says about the "generic complex system": "In his book Música Folklórica Cubana as well as in his opus masterpiece Del canto y el tiempo, he (León) shows us a panoramic view of our music departing fundamentally from the description of the original genres of Cuba. But those divisions proposed by Argeliers didn't pretend to be as rigorous as a scientific organization that would be in compliance with the classificatory principles of coherence, exclusivity, exhaustivity and most importantly, dychotomy."
According to the Cuban popular music "Generic complex theory", Cuban folk music is classified as follows:
The "Generic complex theory" has been refuted since long time ago by renowned musicologists such as Leonardo Acosta, which explains in his article titled "About the Generic Complexes and other matters":
Fortunately, the theology [sic.] of the generic complexes has been viewed with skepticism within the musicology circles from various countries, including Cuba, where some musicologists have oscillated between rejection, skepticism and depise…
According to Cuban composer and musicographist Armando Rodríguez Ruidíaz:
Autochthonous Cuban popular music is indeed similar to a macroorganism in which all its components descend from a common origin and are related, in one way or another, through its entire evolutionary process, which is shown as the development of a formal and stylistic primeval prototype; the common ancestor of all posterior generic forms…
…the Spanish song-dances of sesquiáltera (hemiola) rhythm were the primeval starting point of the evolutionary process from which numerous Iberic-American autochthonous styles departed. The structure of those songs, which included its couplet-refrain as well as its hemiola rhythm from African origin, was replicated and modified in the American countries, thus originating diverse regional genres.
From the elaboration and fusion process of the first Spanish song-dances with sesquiáltera rhythm that arrived in Cuba, such as the Sarabanda and Chacona from the 16th century, three main lines of generic evolution originated, which may be classified as follows:
1 – The "song-dances", which include in chronological order: the Punto cubano and Zapateo, The Cuban Guaracha, the Rural Rumba, and the Urban Rumba,the popular conga, the son, the mambo, the songo and the timba.
2 – The "dance-songs", comprised by genres such as the Cuban Contradanza and Danza, the Danzón, the Danzonete, the Danzón-mambo and the Cha-cha-chá (music).
3 – The "songs", composed of the Habanera, the Cuban Bolero, the Guajira, the Clave, the Criolla, the Tango-congo, the Salon Conga, the Pregón, and other hybrid genres such as the Guaracha-Son, the Guajira-Son, the Bolero-Son, the Lamento-Son, the Criolla-Bolero, the Bolero-Danzón, the Canción-Habanera and the Canción-Bolero.
According to its encyclopedic definition, the term folk music (that derives from the German word "folk" or people in English) serves to designate the music spontaneously created and preserved by the people of a country, in contrast with the terms commercial and classical music, which are related to works generated by trained specialists.
In the case of Cuban music, some of its most popular musical genres may be considered within the boundaries of the previous definition. The first Cuban popular music genres that emerged to the public awareness at the beginning of the 19th century, known as Punto cubano and Zapateo,were created by peasants without any formal musical education; as well as the popular styles of Rumba Urbana or "de cajón" (wooden boxes) and the Cuban Carnival Conga (music).
Also the Cuban Guaracha was considered to be a product of the common people from Havana, in a similar way as the Rural Rumbas and other ancestors of the Son cubano (such as Changüí from Guantánamo and the Sucu-sucu in Isla de Pinos) were considered to be. The Son cubano itself was born from a synthesis of different popular styles such as the Rumba Urbana and Rumba Rural, and performed until the 1930s by amateur musicians.
Another Cuban folk music style emerged between the end of the 19th century and the beginning of the 20th in the poor neighborhoods of Havana. It was called Clave upon the name of the instrument utilized to accompany it, the Cuban Claves. This style was sung by popular choirs mostly integrated by colored people, called "Coros de Clave", and its rhythm was the vertical hemiola, also utilized in the ternary Cuban Contradanza.
Cuba also has produced a wealth of folk musical instruments. Among the most important ones we should mention the Claves, the Bongo drum and the Conga, derived from original African instruments; as well as the Tres, a descendant of the Spanish Laúd. There are also others less well known folk instruments such as the Tingo-Talango or Tumbandera (Ground bow), the Botija and the Marímbula, a sort of African Mbira.
Some well known Cuban folk music artists are: Punto singer Celina González, trovadores Sindo Garay and María Teresa Vera as well as soneros Ignacio Piñeiro, Máximo Francisco Repilado Muñoz Telles (Compay Segundo), Ibrahim Ferrer and Rubén Gonzalez.
Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano. These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s and new derivative styles appeared, such as dengue; by the 1970s it had been largely incorporated into salsa.
The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.
Bolero refers to two distinct genres of slow-tempo Latin music and their associated dances. The oldest type of bolero originated in Spain during the late 18th century as a form of ballroom music, which influenced art music composers around the world, most famously Maurice Ravel's Boléro, as well as a flamenco style known as boleras. An unrelated genre of sung music originated in eastern Cuba in the late 19th century as part of the trova tradition. This genre gained widespread popularity around Latin America throughout the 20th century and continues to thrive.
The tres is a three-course chordophone of Cuban origin. The most widespread variety of the instrument is the original Cuban tres with six strings. Its sound has become a defining characteristic of the Cuban son and it is commonly played in a variety of Afro-Cuban genres. In the 1930s, the instrument was adapted into the Puerto Rican tres, which has nine strings and a body similar to that of the cuatro.
Son montuno is a subgenre of son cubano developed by Arsenio Rodríguez in the 1940s. Although son montuno had previously referred to the sones played in the mountains of eastern Cuba, Arsenio repurposed the term to denote a highly sophisticated approach to the genre in which the montuno section contained complex horn arrangements. He also incorporated piano solos and often subverted the structure of songs by starting with the montuno in a cyclic fashion. For his approach, Arsenio had to expand the existing septeto ensemble into the conjunto format which became the norm in the 1940s alongside big bands. Arsenio's developments eventually served as the template for the development of genres such as salsa, songo and timba.
The Guajira is a music genre derived from the Punto cubano.
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section are all rooted in traditions of Bantu origin.
The guaracha is a genre of music that originated in Cuba, of rapid tempo and comic or picaresque lyrics. The word had been used in this sense at least since the late 18th and early 19th century. Guarachas were played and sung in musical theatres and in low-class dance salons. They became an integral part of bufo comic theatre in the mid-19th century. During the later 19th and the early 20th century the guaracha was a favourite musical form in the brothels of Havana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and Cuban-style big bands.
Criolla is a genre of Cuban music which is closely related to the music of the Cuban Coros de Clave and a genre of Cuban popular music called Clave.
Cha-cha-chá is a genre of Cuban music. It has been a popular dance music which developed from the Danzón-mambo in the early 1950s, and became widely popular throughout the entire world.
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based coros de clave. According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba, as well as their contemporary derivatives and other minor styles.
Early Cuban bands played popular music for dances and theatres during the period 1780–1930. During this period Cuban music became creolized, and its European and African origins gradually changed to become genuinely Cuban. Instrumentation and music continually developed during this period. The information listed here is in date order, and comes from whatever records survive to the present day.
Adolfo Columbo was a leading singer in the Alhambra Theatre in Havana, and also an actor and a leading personality in the theatre. Colombo was the most recorded artist in Cuba up to 1925: records show he recorded about 350 numbers between 1906 and 1917.
Punto guajiro or punto cubano – or simply punto – is a sung genre of Cuban music, a poetic art with music. It became popular in the western and central regions of Cuba in the 17th century, and consolidated as a genre in the 18th century. It has Andalusian and Canary Islands origins, and it integrated African elements in Cuba.
Cuban culture encompasses a wide range of dance forms. The island's indigenous people performed rituals known as areíto, which included dancing, although little information is known about such ceremonies. After the colonization of Cuba by the Spanish Kingdom, European dance forms were introduced such as the French contredanse, which gave rise to the Cuban contradanza. Contradanza itself spawned a series of ballroom dances between the 19th and 20th centuries, including the danzón, mambo and cha-cha-cha. Rural dances of European origin, such as the zapateo and styles associated with punto guajiro also became established by the 19th century, and in the 20th century son became very popular. In addition, numerous dance traditions were brought by black slaves from West Africa and the Congo basin, giving rise to religious dances such as Santería, yuka and abakuá, as well as secular forms such as rumba. Many of these dance elements from European dance and religious dances were fused together to form the basis of la técnica cubana. Cuban music also contributed to the emergence of Latin dance styles in the United States, namely rhumba and salsa.
Armando Rodríguez Ruidíaz is a Cuban composer, guitarist, professor and bagpiper.
Throughout the years, the Cuban nation has developed a wealth of musicological material created by numerous investigators and experts on this subject.
Raimunda Paula Peña Álvarez, better known as Paulina Álvarez, was a renowned Cuban singer of danzonetes. She became the leading exponent of the genre during the 1930s, being nicknamed La Emperatriz del Danzonete. Her greatest hit was the song "Rompiendo la rutina", the first danzonete, composed by Aniceto Díaz in 1929. In 1960 she recorded her only LP record.
Galician rumba belongs to those songs and dances called cantes de ida y vuelta, "of departure and return", like the Habanera, that travelled back from Cuba to the Spanish motherland to establish themselves as musical genres cultivated and cherished by the Spanish population.
José Marín Varona was a Cuban composer, conductor, pianist and professor.