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The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. [1] Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world.
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.
A marímbula, the "bass" instrument used by changüí ensembles. Some groups used the more rudimentary jug known as botija or botijuela.. Although the history of Cuban music dates back to the 16th century, the son is a relatively recent musical invention whose precursors emerged in the mid-to-late 19th century.
[46] The songs Buena Vista sings are often not their own compositions. Some songs they sing have long been popular in Cuba and people have always performed them in the street. Despite the appeal of the "Buena Vista" ambience to tourists, Cubans themselves were less aware of the "Buena Vista Social Club" than international music listeners.
Songo is a genre of popular Cuban music, created by the group Los Van Van in the early 1970s. Songo incorporated rhythmic elements from folkloric rumba into popular dance music, and was a significant departure from the son montuno/mambo-based structure which had dominated popular music in Cuba since the 1940s.
Trova is a style of Cuban popular music originating in the 19th century. Trova was created by itinerant musicians known as trovadores who travelled around Cuba's Oriente province, especially Santiago de Cuba, and earned their living by singing and playing the guitar. [1]
Nueva Trova was one aspect of the Pan-Latin American "new song movement" which tended to use lyrics that were self-consciously literary, formal and schooled. [2] Another influence was that of filín (feeling), a romantic song movement of the late 1940s to the early 1960s. Pablo Milanés, for one, was a filín singer. [3]
The creation of cha-cha-chá has been traditionally attributed to Cuban composer and violinist Enrique Jorrín, who began his career playing for the charanga band Orquesta América. [ 2 ] : 130 According to the testimony of Enrique Jorrín , he composed some danzones in which musicians of the orchestra had to sing short refrains, and this style ...