Cuba et la Musique Cubaine
1999
Tracks:
01. Merceditas Valdés - Chango
02. Obbinisa Aché - Yuca
03. Celeste Mendoza - Poder Mayor
04. Folkloyuma - El conde con Samaleon
05. Joseito Fernandez - Guajira Guantanemera
06. Septeto Nacional - Suavecito
07. Celeste Mendoza - Carinito ven ven ven
08. Magaly Bernal - La Carinosa
09. Estrella de la Charanga - Angoa
10. Noemi y Froilan - El duce de Coco
11. Sexteto Aché - Conga Matancera
12. Aliamen de Santa Clara - Llega de Noche
13. Tipica Juventud - Rescatemos el cha cha cha
14. Chepin Choven - Como Campana
15. Cuartetos de Saxofones de Santiago - El Manisero
16. Yakaré - Rumberos de Ayer
1999
Tracks:
01. Merceditas Valdés - Chango
02. Obbinisa Aché - Yuca
03. Celeste Mendoza - Poder Mayor
04. Folkloyuma - El conde con Samaleon
05. Joseito Fernandez - Guajira Guantanemera
06. Septeto Nacional - Suavecito
07. Celeste Mendoza - Carinito ven ven ven
08. Magaly Bernal - La Carinosa
09. Estrella de la Charanga - Angoa
10. Noemi y Froilan - El duce de Coco
11. Sexteto Aché - Conga Matancera
12. Aliamen de Santa Clara - Llega de Noche
13. Tipica Juventud - Rescatemos el cha cha cha
14. Chepin Choven - Como Campana
15. Cuartetos de Saxofones de Santiago - El Manisero
16. Yakaré - Rumberos de Ayer
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Large numbers of African slaves and European (mostly Spanish) immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, paso doble and retambico. Later, northern European forms like minuet, gavotte, mazurka, contradanza, and the waltz appeared among urban whites. There was also an immigration of Chinese indentured laborers later in the 19th century.
Fernando Ortiz, the first great Cuban folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large sugar plantations and Spaniards or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants made many percussion instruments and preserved rhythms they had known in their homeland. The most important instruments were the drums, of which there were originally about fifty different types; today only the bongos, congas and batá drums are regularly seen (the timbales are descended from kettle drums in Spanish military bands). Also important are the claves, two short hardwood batons, and the cajón, a wooden box, originally made from crates. Claves are still used often, and cajons (cajones) were used widely during periods when the drum was banned. In addition, there are other percussion instruments in use for African-origin religious ceremonies. Chinese immigrants contributed the corneta china (Chinese cornet), a Chinese reed instrument still played in the comparsas, or carnival groups, of Santiago de Cuba.
The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition. Hernando de la Parra's archives give some of our earliest available information on Cuban music. He reported instruments including the clarinet, violin and vihuela. There were few professional musicians at the time, and fewer still of their songs survive. One of the earliest is Ma Teodora, by a freed slave, Teodora Gines of Santiago de Cuba, who was famous for her compositions. The piece is said to be similar to ecclesiastic European forms and 16th century folk songs.
Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Important among these are France (and its colonies in the Americas), and the United States.
Cuban music has been immensely influential in other countries. It contributed not only to the development of jazz and salsa, but also to the Argentinian tango, Ghanaian high-life, West African Afrobeat, Dominican Bachata and Merengue, Colombian Cumbia and Spanish Nuevo flamenco.
The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic percussion is an inherent part of African music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting. The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms.
Fernando Ortiz, the first great Cuban folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large sugar plantations and Spaniards or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants made many percussion instruments and preserved rhythms they had known in their homeland. The most important instruments were the drums, of which there were originally about fifty different types; today only the bongos, congas and batá drums are regularly seen (the timbales are descended from kettle drums in Spanish military bands). Also important are the claves, two short hardwood batons, and the cajón, a wooden box, originally made from crates. Claves are still used often, and cajons (cajones) were used widely during periods when the drum was banned. In addition, there are other percussion instruments in use for African-origin religious ceremonies. Chinese immigrants contributed the corneta china (Chinese cornet), a Chinese reed instrument still played in the comparsas, or carnival groups, of Santiago de Cuba.
The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition. Hernando de la Parra's archives give some of our earliest available information on Cuban music. He reported instruments including the clarinet, violin and vihuela. There were few professional musicians at the time, and fewer still of their songs survive. One of the earliest is Ma Teodora, by a freed slave, Teodora Gines of Santiago de Cuba, who was famous for her compositions. The piece is said to be similar to ecclesiastic European forms and 16th century folk songs.
Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Important among these are France (and its colonies in the Americas), and the United States.
Cuban music has been immensely influential in other countries. It contributed not only to the development of jazz and salsa, but also to the Argentinian tango, Ghanaian high-life, West African Afrobeat, Dominican Bachata and Merengue, Colombian Cumbia and Spanish Nuevo flamenco.
The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic percussion is an inherent part of African music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting. The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms.
Cuba et la Musique Cubaine. Editions du Chêne, Paris, 1999.
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