The Garland The Garland Handbook of Latin Handbook of Latin American MusicAmerican Music

Part Three: Nations and Musical Part Three: Nations and Musical Traditions, Caribbean Latin Traditions, Caribbean Latin

America, CubaAmerica, Cuba

Cultural HeritageCultural Heritage

Three geo-cultural influencesThree geo-cultural influences IndigenousIndigenous

• TaTaííno (Arawak)no (Arawak)• Minimal influence on contemporary Cuban culture/musicMinimal influence on contemporary Cuban culture/music

EuropeanEuropean• Spanish (1492-)Spanish (1492-)• Introduced: instruments (i.e., laIntroduced: instruments (i.e., laúúd, bandurria, and guitar), military d, bandurria, and guitar), military

bands, metered performed poetry (decbands, metered performed poetry (decííma), dances, and balladry ma), dances, and balladry AfricanAfrican

• Slaves brought primarily from West-African: Yoruba, Bantu, Slaves brought primarily from West-African: Yoruba, Bantu, CarabalCarabalíí (Dahomey, i.e., Ewe and Fon), Hunguedde (Dahomey, i.e., Ewe and Fon), Hunguedde

• Cultural traditions and belief systems adapted to New World despite Cultural traditions and belief systems adapted to New World despite slaveryslavery

• Significant influence on contemporary Cuban music cultureSignificant influence on contemporary Cuban music culture

Development of Contemporary Development of Contemporary Cuban MusicCuban Music

Three major phases:Three major phases: 1790-19021790-1902

• Musical genres distinctly Cuban emergeMusical genres distinctly Cuban emerge i.e., Punto campesino, son, habanera, contradanza, rumba, comparsasi.e., Punto campesino, son, habanera, contradanza, rumba, comparsas

• Various influencesVarious influences Importation of European genres and musicians Importation of European genres and musicians Social and political climateSocial and political climate

1902-1959 (The Republican period)1902-1959 (The Republican period)• Conscious development of a national musical cultureConscious development of a national musical culture• Dissemination and influence of Cuban traditions beyond CubaDissemination and influence of Cuban traditions beyond Cuba• Development of concert music and professional popular music Development of concert music and professional popular music • Impact of media, recording industry, and tourism on Cuban musical Impact of media, recording industry, and tourism on Cuban musical

traditionstraditions Post 1959Post 1959

• Transition to socialist governmentTransition to socialist government• State sponsorship and oversight of Cuban musical traditions (preservation, State sponsorship and oversight of Cuban musical traditions (preservation,

documentation, education, and dissemination)documentation, education, and dissemination)

GenresGenres Five main complexesFive main complexes

Punto CubanoPunto Cubano• Encompasses various rural genres of western and central Cuba (i.e., tonadas, puntos Encompasses various rural genres of western and central Cuba (i.e., tonadas, puntos

fijos, puntos libres, and seguidillas)fijos, puntos libres, and seguidillas) RumbaRumba

• Afro-Cuban genre Afro-Cuban genre • Instrumentation, musical structure exhibits African influencesInstrumentation, musical structure exhibits African influences

SonSon• Most important musical genre (includes son montuno)Most important musical genre (includes son montuno)• Origins in eastern, rural CubaOrigins in eastern, rural Cuba• Blends European and African influences in instrumentation, musical structureBlends European and African influences in instrumentation, musical structure

CanciCancióónn• Embodied in Afro-Cuban forms and styles of singingEmbodied in Afro-Cuban forms and styles of singing

DanzDanzóónn• Linked with European dance traditions (Late 1700s, French contredanses) Linked with European dance traditions (Late 1700s, French contredanses) • Instrumentation and style encompasses various dance forms (i.e., mambo, and cha-Instrumentation and style encompasses various dance forms (i.e., mambo, and cha-

cha-cha) cha-cha) EnsemblesEnsembles

Developed in relation to development of specific genresDeveloped in relation to development of specific genres

Music, Acculturation, and Stylistic Music, Acculturation, and Stylistic ChangeChange

New World African ContinuitiesNew World African Continuities African influence prevalent in contemporary Cuban musical traditionsAfrican influence prevalent in contemporary Cuban musical traditions

• InstrumentationInstrumentation• Formal musical elementsFormal musical elements• AestheticsAesthetics• Approaches to, and uses of musicApproaches to, and uses of music

Examples for discussion: santerExamples for discussion: santeríía, rumba, and sona, rumba, and son

Consider the following questions:Consider the following questions:• In what ways do santerIn what ways do santeríía, rumba, and son exhibit a continuity with African a, rumba, and son exhibit a continuity with African

musical traditions?musical traditions?• Which might be considered the most African derived? Least? And Why?Which might be considered the most African derived? Least? And Why?• How were such traditions able to survive? How were such traditions able to survive? • In what ways do these genres reflect the confluence of African and In what ways do these genres reflect the confluence of African and

European traditions and beliefs? European traditions and beliefs? • How might addressing such questions help us to understand processes of How might addressing such questions help us to understand processes of

cultural contact and change/adaptation [see Musical Dynamics]? cultural contact and change/adaptation [see Musical Dynamics]?