552:
origin story of a folk song known as "Son de Má Teodora". Such story was first mentioned by Cuban historian Joaquín José García in 1845, who "cited" a chronicle supposedly written by
Hernando de la Parra in the 16th century. Parra's story was picked up, recycled and expanded by various authors throughout the second half of the 19th century, perpetuating the idea that such song was the first example of the son genre. Despite being given credence by some authors in the first half of the 20th century, including
803:
645:. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass. The sextet members were: Guillermo Castillo (conductor, guitar and second voice), Gerardo Martínez (first voice), Felipe Neri Cabrera (maracas and backing vocals), Ricardo Martínez (tres), Joaquín Velazco (bongos), and Antonio Bacallao (botija). Abelardo Barroso, one of the most famous soneros, joined the group in 1925.
625:). Subsequently, the RCA Victor contracted Godínez in 1918 to organize a group and record several songs. For that recording, the new group was called "Sexteto Habanero Godínez", which included: Carlos Godínez (conductor and tresero), María Teresa Vera (first voice and clave), Manuel Corona (second voice and guitar), Sinsonte (third voice and maracas), Alfredo Boloña (bongo), and another unknown performer who was not included in the list.
617:, and that same year some members of the group were reorganized in a quartet named Cuarteto Oriental. Those members were: Ricardo Martínez from Santiago de Cuba (conductor and tres), Gerardo Martínez (first voice and clave), Guillermo Castillo (botijuela), and Felipe Neri Cabrera (maracas). According to Jesús Blanco, quoted by Díaz Ayala, after a few months from its foundation the bongocero Joaquín Velazco joined the group.
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During the 1940s and 1950s, the tourism boom in Cuba and the popularity of jazz and
American music in general fostered the development of big bands and combos on the island. These bands consisted of a relatively small horn section, piano, double bass, a full array of Cuban percussion instruments and
780:
In 1928, they travelled to New York with a recording contract by RCA Victor, and their first album caused such a great impact in the public that they soon became very famous at a national as well as an international level. The Trío
Matamoros maintained great prominence until their official retirement
576:
It was in Havana where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 19th century took place. The guaracheros and rumberos who used to play with the tiple and the guiro finally met other rumberos who sang and danced accompanied
596:
Sindo Garay settled in Havana in 1906, many other trovadores followed him hoping to obtain a recording contract with one of the
American Companies such as RCA Victor and Columbia Records. Those trovadores from different parts of the country met others who already lived in Havana such as María Teresa
763:
in the history of Cuban son is so important that it deserves a separate section. Its development constitutes an example of the process that the trovadores usually followed until they became soneros. The Trío was founded by Miguel
Matamoros (vocals and first guitar), who was born in Santiago de Cuba
600:
Famous trovador Chico Ibáñez said that he composed his first "montuno" called "Pobre
Evaristo" (Poor Evaristo) in 1906: "It was a tonada with three or four words that you put on, and after it, we placed a repeated phrase, the real montuno to be sung by everybody…". Ned Sublette states about another
538:
in Havana around the second half of the 19th century. The contradanza included many of the traits that are shown in the son, such as duets with melodies in parallel thirds, the presence of a suggested clave rhythm, implicit short vocal refrains borrowed from popular songs, distinctive syncopations,
551:
Due to the very limited historiographical and ethnomusicological research devoted to the son (considered by Díaz Ayala the "least studied" Cuban genre), until the mid-20th century its origins were incorrectly traced back to the 16th century by many writers. This fallacy stemmed from the apocryphal
776:
on the bass strings. The counterpoint was completed by the first guitar, played by
Matamoros. They also occasionally included other instruments such as the bongo, and later they decided to expand the trio format to create a son conjunto by adding a piano, more guitars, tres and other voices. This
572:
The emergence of son significantly increased the interaction of cultures derived from Africa and Spain. A large number of former black slaves, recently liberated after the abolition of slavery in 1886 went to live in the slums "solares" of low class neighborhoods in Havana, and numerous laborers
849:
The commercialism of this new music movement led Cuban nightclub owners to recognize the revenue potential of hosting these types of bands to attract the growing flow of tourists. Additionally, as a result of the increasing popularity of big band music and in an effort to increase revenues, the
767:
They synthesized the style of the sextets and septets, adapting it to their ensemble. The different rhythmic layers of the son style were distributed between their three voices, guitars and maracas. Cueto plucked the strings of his guitar instead of strumming them as it was usual, providing the
608:
A partial list of trovadores that recorded rumbas, guarachas and sones in Havana at the beginning of the 20th century included: Sindo Garay, Manuel Corona, María Teresa Vera, Alberto Villalón, José Castillo, Juan Cruz, Juan de la Cruz, Nano León, Román Martínez, as well as the duos of Floro and
841:
By the late 1940s, son had lost its controversiality even among conservative Cubans which made it even less appealing to Cubans. A development that led to the decrease in popularity of the original son occurred in the 1940s. The son grew more sophisticated as it was adopted by conjuntos, which
793:
bands and amplified conjuntos. The very music that son had helped to create was now replacing son as the more popular and most requested music in Cuba. Original son conjuntos were faced with the options of either to disband and refocus on newer styles of Cuban music, or go back to their roots.
601:
famous trovador and sonero: "As a child, Miguel
Matamoros played danzones and sones on his harmonica to entertain the workers at a local cigar factory. He said: 'the sones that were composed at that time were nothing more than two or three words that were repeated all night long.
438:
dates back to the 16th century, the son is a relatively recent musical invention whose precursors emerged in the mid-to-late 19th century. Historically, most musicologists have supported the hypothesis that the direct ancestors (or earliest forms) of the son appeared in Cuba's
620:
In 1917, the
Cuarteto Oriental recorded the first son documented on the catalog of Columbia Records which was entered as "Pare motorista-son santiaguero". Unexpectedly, a fifth member of the quartet is mentioned, Carlos Godínez, who was a soldier in the standing army
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album and feel it doesn't represent present-day Cuba, it has introduced the Cuban son to younger generations of people from around the world who had never heard of son. It has also introduced foreign audiences to an important part of Cuban music history.
1020:. The rhythmic pattern of the following generic guajeo is used in many different songs. Note that the first measure consists of all offbeats. The figure can begin in the first measure, or the second measure, depending upon the structure of the song.
672:, and also became a second home for trendy and influential bands from New York City. The son experienced a period of transformation from 1925 to 1928, when it evolved from a marginal genre of music to perhaps the most popular type of music in Cuba.
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The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the 1920s. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of
612:
In the Havana neighborhoods, the son groups played in any possible format they could gather and most of them were semi-professional. One of those groups, The
Apaches, was invited in 1916 to a party held by President Mario Menocal at the exclusive
257:, where the first recordings were made in 1917. This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre. While early groups had between three and five members, during the 1920s the
343:, denotes a pleasant sound, particularly a musical one. In eastern Cuba, the term began to be used to refer to the music of the highlands towards the late 19th century. To distinguish it from similar genres from other countries (such as
531:. For this reason, some academics such as Radamés Giro and Jesús Gómez Cairo indicate that awareness of the son was widespread in the whole island, including Havana, before the actual expansion of the genre in the 1910s.
956:
album, there has been a stream of solo CDs by the members of the "Club". These individuals were subsequently offered individual contracts, ensuring a continued flow of CDs that include many original Cuban son classics.
850:
recording industry focused on producing newer types of music and essentially removing son from their music repertoires. These developments were a big blow to the prospects of son and its popularity amongst even Cubans.
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album, film, and follow-up solo albums there has been a revival of the traditional son and a rediscovery of older son performers who had often fallen by the wayside. Although most Cubans don’t see the value of the
1031:
573:
also arrived from all over the country and some rural areas, looking to improve their living conditions. Many of them brought their Afro-Cuban rumba traditions, and others brought their rumbitas and montunos.
764:(Oriente) in 1894. There, he became involved with the traditional trova movement and in 1925 joined Siro Rodríguez (vocals and maracas) and Rafael Cueto (vocals and second guitar) to create the famous group.
499:
gave rise to the first son groups proper. Nonetheless, it has become increasingly clear for musicologists that different versions of the son, i.e. styles that fall within the so-called
292:
The international presence of the son can be traced back to the 1930s when many bands toured Europe and North America, leading to ballroom adaptations of the genre such as the American
948:(Cuba's major economic mainstay) in 1991 forced Cuba to encourage tourism to attract sorely needed foreign currency. Along with tourism, music became one of Cuba's major assets. The
503:, appeared throughout the rural parts of the island by the end of the 1890s. Musicologist Marta Esquenazi Pérez divides the son complex into three regional variants: changüí in
888:
At present, the traditional-style son is seldom heard but has been assimilated into other genres and is present in them. Thus, other types of popular Cuban music and other
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Another important contribution of the son was the introduction of the drum to mainstream music. The increase in popularity of the son unveiled the potential of music with
880:
street culture and of the artists who created it. It also opened the door for other music genres with Afro-Cuban roots to become popular in Cuba and throughout the world.
691:
to perform at his birthday party. In addition, the acceptance of son as a popular music genre in other countries contributed to more acceptance of son in mainstream
789:
By the late 1930s, the heyday of "Classic son" had largely ended. The sextetos and septetos that had enjoyed wide commercial popularity increasingly lost ground to
577:
by the wooden box (cajón) and the Cuban clave, and the result was the fusion of both styles in a new genre called son. Around 1910 the son most likely adopted the
1910:
386:. Generally, there is an explicit difference between styles that incorporate elements of the son partially or totally, as evidenced by the distinction between
1878:
2078:
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Vera and Rafael Zequeira. They brought their repertoires of canciones (Cuban songs) and boleros that also included rumbas, guarachas and rural rumbitas.
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a vocalist fronting the ensemble. Their polished sound and "cosmopolitan" – read "commercial" – repertoire captivated both Cuban and foreign audiences.
838:
influences. He was perhaps the greatest sonero ("Castellano que bueno baila usted", "Vertiente Camaguey"); another important sonero was Roberto Faz.
842:
displaced sextetos and septetos. This led to big bands replacing the conjuntos, which managed to keep its flavor despite elaborate arrangements.
695:. At that time many sextets were founded such as Boloña, Agabama, Botón de Rosa and the famous Sexteto Occidente conducted by María Teresa Vera.
1234:
Fernández, Raúl A. (2000). "The Musicalia of Twentieth-Century Cuban Popular Music". In Fernández, Damián; Cámara-Betancourt, Madeline (eds.).
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rhythms. This led to the development and mass distribution of newer types of Latin music. Additionally, genres of the later 1940s such as
312:. While salsa achieved international popularity during the second half of the 20th century, in Cuba son evolved into other styles such as
925:, it is no longer a popular music genre in Cuba. Younger generations of Cubans prefer the faster, dance-oriented son-derivatives such as
534:
Musicologist Peter Manuel proposed an alternative hypothesis according to which a great deal of the son's structure originated from the
296:. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as
818:, extra trumpets, percussion and pianos, although all these elements had been used previously ("Papauba", "Para bailar son montuno").
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Giro, Radamés: Los Motivos del son. Panorama de la música popular cubana. Editorial Letras Cubanas, La Habana, Cuba, 1998, p. 203.
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Zorrilla, Pablito and Luna, Zalazar and Oriche, and also Adolfo Colombo, who was not a trovador but a soloist at Teatro Alhambra.
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Giro, Radamés:Los motivos del son. Panorama de la música popular cubana. Editorial Letras Cubanas, La Habana, Cuba, 1998, p. 201.
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genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical
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origin, in contrast to the Afro-Cubans of the western side of the island, which primarily descended from West African slaves (
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is most commonly used. In Cuba, various qualifiers are used to distinguish the regional variants of the genre. These include
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A few years later, in the late 1920s, son sextets became septets and son's popularity continued to grow with artists like
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Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994, p. 319.
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Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994, p. 318.
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project was joined by such important figures as Lorenzo Hierrezuelo, Francisco Repilado (Compay Segundo) and Beny Moré.
1756:
Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 256. Print.
1747:
Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 145. Print.
1738:
Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 252. Print.
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Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 130. Print.
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Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 121. Print.
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Gómez Cairo, Jesús (1998). "Acerca de la interacción de géneros en la música popular cubana". In Giro, Radamés (ed.).
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Díaz Ayala, Cristóbal: Música cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993, p. 116.
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Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994.
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A marímbula, the "bass" instrument used by changüí ensembles. Some groups used the more rudimentary jug known as
223:
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Popularization began in earnest with the arrival of radio broadcasting in 1922, which came at the same time as
515:, and an array of styles which fall under the denomination of son montuno and were developed in places such as
1848:
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album and film as well as a stream of CDs triggered a worldwide Cuban music boom. In addition to the original
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Manuel, Peter (2009). "From contradanza to son: New perspectives on the prehistory of cuban popular music".
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933:. Older generations continue to preserve the son as one of the music genres they listen to, specifically in
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were known to perform; these groups consisted of singers and guitarists playing variants such as the
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1779:. Ed. Andrea O’Reilly Herrera. New York: State University of New York Press, 2007. 328–340. Print.
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Loza, Steven. "Poncho Sanchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis."
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Although the "classic son" continues to be a very important musical foundation for all kinds of
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743:'s Havana Casino Orchestra took the song to the United States, where it also became a big hit.
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refers to songs and styles which incorporate the tempo and syncopation of the son, or even its
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739:" became the first Cuban song to be a major hit in Paris and elsewhere in Europe. In 1930,
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1858:. Ed. Damian J. Fernandez. Gainesville: University Press of Florida, 2005. 104–120. Print.
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158:
147:
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1822:. Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 192–200. Print.
483:. Such early guitars are thought to have given rise to the tres some time around 1890 in
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Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 195–196. Print.
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1685:. Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 199. Print.
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La marcha de los jíbaros, 1898-1997: cien años de música puertorriqueña por el mundo
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A turning point that made this transformation possible occurred when then-president
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were repeatedly shown to be apocryphal in subsequent studies by Manuel Pérez Beato,
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Thomas, Susan. "Cosmopolitan, International, Transnational: Locating Cuban Music."
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Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 198. Print.
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describes not only their singing but also their vocal improvisation. The adjective
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28:
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719:: Miguelito Garcia (clave), Manuel Reinoso (bongo) and Francisco Sánchez (maracas)
496:
487:. The addition of a rhythm section composed of percussion instruments such as the
1317:
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Perhaps the most significant contribution of son is its influence on present day
265:) became the genre's primary format. By the 1930s, many bands had incorporated a
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Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 135
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937:, where they tend to maintain more traditional versions of the son compared to
869:, along with other forms of Afro-Cuban music contributed to the development of
451:, nengón, kiribá and regina, were developed by peasants, many of which were of
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became the most influential player of son. He used improvised solos, toques,
308:, a combination of son and other Latin American styles primarily recorded by
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https://www.academia.edu/8041795/The_origin_of_Cuban_music._Myths_and_Facts
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Ed. Peter Manuel. Maryland: University Press of America, 1991. 1–23. Print.
1595:
Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004. P. 336
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Sublette Ned: Cuba and its music. Chicago Review Press, Inc., 2004, p. 335.
1550:
Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004. P. 367
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https://www.academia.edu/8041795/The_origin_of_Cuban_music._Myths_and_Facts
285:. The son became one of the main ingredients in the jam sessions known as
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The basic son ensemble of early 20th-century Havana consisted of guitar,
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The mass popularization of son music led to an increased valorization of
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17:
1847:
Rodríguez Ruidíaz, Armando: The origin of Cuban music. Myths and facts:
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins.
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins.
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463:, etc.). These forms flourished in the context of rural parties such as
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Argeliers, Leon. "Notes toward a Panorama of Popular and Folk Music."
1716:. Ed. Peter Manuel. Maryland: Univ. Press of America, 1991. 22. Print.
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Ed. Peter Manuel. Maryland: Univ. Press of America, 1991. 160. Print.
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Robbins, James (1990). "The Cuban "Son" as Form, Genre, and Symbol".
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Ed. Peter Manuel. Maryland: Univ. Press of America, 1991. 21. Print.
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Moore, Robin. "Salsa and Socialism: Dance Music in Cuba, 1959–99."
1712:
Argeliers, L. "Notes toward a Panorama of Popular and Folk Music."
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Argeliers, L. "Notes toward a Panorama of Popular and Folk Music."
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in the United States, son also became extremely popular. After the
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Argeliers, L. "Notes toward a Panorama of Popular and Folk Music."
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orchestras, also developed dance music heavily influenced by son.
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In 1920, the Cuarteto Oriental became a sextet and was renamed as
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585:, which had been developed in the late 19th century in Havana and
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is a genre of music and dance that originated in the highlands of
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Bloomsbury Encyclopedia of Popular Music of the World, Volume IX
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76:
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914:. Son is specifically considered to be the foundation on which
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styles of music continue using the essential style of the son.
27:"Son (music)" redirects here. For the Mexican music genre, see
1236:
Cuba, the Elusive Nation: Interpretations of National Identity
1770:
Essays on Cuban Music: North American and Cuban Perspectives.
1727:
Essays on Cuban Music: North American and Cuban Perspectives.
1633:
Essays on Cuban Music: North American and Cuban Perspectives.
1276:(in Spanish). Guaynabo, Puerto Rico: Plaza Mayor. p. 98.
1793:. Ed. Lise Waxer. New York: Routledge, 2002. 201–215. Print.
1714:
Essays on Cuban Music: North American and Cuban Perspectives
826:, "The Master of Rhythm") further evolved the genre, adding
1400:(in Spanish). San Juan, Puerto Rico: Cubanacán. p. 41.
401:
refers to conjuntos with smoother trumpet sections such as
320:, the latter of which is sometimes known as "Cuban salsa".
1815:. Ed. Lise Waxer. New York: Routledge, 2002. 51–74. Print.
1605:
1603:
1601:
1215:(in Spanish) (23rd ed.). Real Academia Española. 2017
1157:
Encyclopedic Discography of Cuban Music Vol. 1, 1898-1925
1844:
Burlington, VT: Ashgate Publishing Company, 2005. Print.
1798:
Caribbean Currents: Caribbean Music from Rumba to Reggae
1439:(in Spanish). Havana, Cuba: Letras Cubanas. p. 135.
1424:(in Spanish). Havana, Cuba: Letras Cubanas. p. 200.
1163:(in Spanish). Florida International University Libraries
1126:. Chicago, IL: Chicago Review Press. pp. 333–334.
772:
in the treble range, and the syncopated rhythms of the
273:, and in the 1940s a larger type of ensemble featuring
1796:
Manuel, Peter, with Kenneth Bilby and Michael Largey.
1398:
Géneros musicales de Cuba: de lo afrocubano a la salsa
1257:(in Spanish). Havana, Cuba: Letras Cubanas. pp.
1123:
Cuba and Its Music: From the First Drums to the Mambo
1042:
Later on, the double bass replaced the marímbula and
731:("Echale salsita", "Donde estabas anoche"). In 1928,
660:'s reputation as an attraction for Americans evading
1491:
Revista de la Biblioteca Nacional de Cuba José Martí
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1295:. London, UK: Bloomsbury Publishing. p. 786.
1250:
1885:More about the traditional evolution of Cuban son
903:manifest many characteristics derived from son.
1238:. Gainesville, FL: University Press of Florida.
1800:. 2nd edition. Temple University Press, 2006.
1784:Cuban Fire: The Story of Salsa and Latin Jazz.
1322:. Plymouth, UK: Scarecrow Press. p. xix.
443:, particularly in mountainous regions such as
2072:
1904:
1420:Giro, Radamés (1998). "Los motivos del son".
1115:
1113:
865:separated Cuba from the U.S., son, mambo and
564:, Max Henríquez Ureña and Alberto Muguercia.
304:'s music scene prompted the rapid success of
8:
3216:Hispanic-influenced music in the Philippines
1786:New York, Continuum Publishing, 2002. Print.
1667:The Cuba Reader: History, Culture, Politics.
1620:The Cuba Reader: History, Culture, Politics.
34:Style of dance and music originating in Cuba
1820:The Cuba Reader: History, Culture, Politics
1775:Benitez-Rojo, Antonio. "Music and Nation."
1683:The Cuba Reader: History, Culture, Politics
1677:
1675:
1661:
1659:
1487:"Teodora Ginés ¿mito o realidad histórica?"
1027:Basic son tres guajeo written in cut-time.
539:as well as the two-parts song form with an
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1911:
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715:(double bass), Julio Torres Biart (tres);
38:
1319:Origins of Cuban Music and Dance: Changüí
1291:. In Horn, David; Shepherd, John (eds.).
1046:and a trumpet were added, giving rise to
1154:Díaz Ayala, Cristóbal (2014). "El son".
246:, etc.) are all rooted in traditions of
230:. On the other hand, its characteristic
1818:Moore, Robin. "Afrocubanismo and Son."
1253:Otra visión de la música popular cubana
1109:
806:Conjunto de Arsenio Rodríguez ca. 1949.
1920:Cuban musical forms, genres and styles
664:laws. The city became a haven for the
214:during the late 19th century. It is a
1842:Timba: The Sound of the Cuban Crisis.
7:
1437:Panorama de la música popular cubana
1422:Panorama de la música popular cubana
1188:. Bath, UK: Tumi. pp. 203–205.
1149:
1147:
1145:
1143:
447:. These early styles, which include
1681:Moore, R. "Afrocubanismo and Son."
1665:Moore, R. "Afrocubanismo and Son."
1618:Moore, R. "Afrocubanismo and Son."
1012:. The tres plays the typical Cuban
370:Son singers are generally known as
289:that flourished during the 1950s.
238:structure and percussion section (
25:
1212:Diccionario de la lengua española
1777:Cuba: Idea of a Nation Displaced
1078:
1064:
702:Sexteto Occidente, New York 1926
347:and son guatemalteco), the term
75:Mid-19th century, rural eastern
1829:Redway, CA: Bembe Inc., 2009.
1396:Alén Rodríguez, Olavo (1992).
1272:Díaz Ayala, Cristóbal (1998).
1:
547:Apocryphal origins of the son
1507:Rodríguez Ruidíaz, Armando:
253:Around 1909 the son reached
1485:Muguercia, Alberto (1971).
1452:Latin American Music Review
1345:Latin American Music Review
3258:
1316:Lapidus, Benjamin (2008).
26:
1926:
1870:La música bailable cubana
1249:Acosta, Leonardo (2004).
873:, initially in New York.
192:
172:
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113:
1410:Lapidus (2008) p. xviii.
884:Current state of the son
434:Although the history of
1524:Redway, CA: Bembe Inc.
1185:Cuban Music from A to Z
967:Buena Vista Social Club
962:Buena Vista Social Club
954:Buena Vista Social Club
950:Buena Vista Social Club
222:and the primacy of the
1881:March 4, 2016, at the
1182:Orovio, Helio (2004).
1120:Sublette, Ned (2004).
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652:Sexteto Habanero 1925.
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637:Sexteto Habanero 1920.
581:from the Havana-based
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324:Etymology and cognates
3237:Cuban styles of music
1386:Miller (2014) p. 783.
1377:Lapidus (2008) p. 18.
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281:became the norm: the
2087:Music genres in the
1782:Leymarie, Isabelle.
1520:Peñalosa (2009: 83)
1287:Miller, Sue (2014).
853:With the arrival of
824:El Bárbaro del Ritmo
759:The presence of the
679:Sexteto Boloña 1926.
670:prostitution in Cuba
3050:Afro-Peruvian music
2373:Afro-Peruvian music
689:La Sonora Matancera
623:Ejército Permanente
513:Isla de la Juventud
226:, derived from the
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2388:Son de los Diablos
1856:Cuba Transnational
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1825:Peñalosa, David.
812:Arsenio Rodríguez
709:María Teresa Vera
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300:. In the 1960s,
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1813:Situating Salsa
1791:Situating Salsa
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2188:Flamenco jazz
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2153:Catalan rumba
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2145:Spaniard folk
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2089:Hispanosphere
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2021:punto guajiro
2019:
2017:
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1129:
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1099:Dance in Cuba
1097:
1095:
1094:Music of Cuba
1092:
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529:Pinar del Río
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3183:Spanish jazz
3106:Other genres
2929:
2708:Puerto Rican
2025:
1872:(in Spanish)
1855:
1851:, p. 89
1841:
1826:
1819:
1812:
1797:
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1776:
1769:
1763:Bibliography
1752:
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1338:
1318:
1311:
1292:
1282:
1273:
1267:
1252:
1244:
1235:
1229:
1217:. Retrieved
1211:
1204:
1184:
1177:
1165:. Retrieved
1156:
1122:
1086:Music portal
1051:
1047:
1041:
987:
959:
943:
920:
909:
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848:
844:
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823:
809:
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758:
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722:
716:
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682:
655:
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622:
619:
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607:
599:
591:
579:clave rhythm
575:
571:
557:
550:
533:
500:
468:
464:
433:
398:
394:
387:
379:
375:
371:
369:
365:son habanero
364:
360:
357:son oriental
356:
352:
348:
345:son mexicano
340:
333:
327:
291:
270:
258:
252:
212:eastern Cuba
207:
206:
188:Other topics
36:
29:Son mexicano
3204:Latin music
3128:Contradanza
3020:Tecnocumbia
2995:New Chilean
2980:Bullerengue
2836:Cha-cha-cha
2769:jalisciense
2759:Mexican Son
2643:Alternative
2606:Nuevo tango
2505:Duranguense
2453:Nueva trova
2298:Alternative
2252:Latin urban
2110:Carnavalito
2031:son montuno
1936:cha-cha-chá
1072:Cuba portal
923:Latin music
912:Latin music
871:salsa music
855:cha-cha-chá
751:big bands.
741:Don Azpiazu
737:El Manicero
662:Prohibition
536:contradanza
501:son complex
436:Cuban music
397:. The term
353:son montuno
332:, the word
269:, becoming
117:, sucu-sucu
115:Son montuno
90:Salsa music
3242:Son cubano
3231:Categories
3188:Villancico
3070:Latin jazz
3043:Afro-Latin
3000:Panamanian
2930:Son cubano
2723:Venezuelan
2683:Latin rock
2678:Ecuadorian
2338:Chamarrita
2331:Litoraleña
2318:Panamanian
2308:Moombahton
2214:Isa (from
2001:mozambique
1105:References
897:Afro-Cuban
878:Afro-Cuban
822:(known as
711:(guitar),
521:Manzanillo
505:Guantánamo
395:bolero-son
349:son cubano
208:Son cubano
178:Guantánamo
42:Son cubano
3209:subgenres
3148:Pasacalle
3123:Christian
3113:Aguinaldo
2985:Colombian
2975:Argentine
2952:Vallenato
2923:romántica
2906:Guaguancó
2786:Zamacueca
2739:Chacarera
2718:Uruguayan
2698:Nueva ola
2673:Dominican
2663:Colombian
2648:Argentine
2616:Bandoneon
2438:Colombian
2425:Latin pop
2415:Zamacueca
2393:Toro Mata
2313:Neoperreo
2290:Reggaeton
2237:Tajaraste
2232:Pasodoble
2227:Malagueña
1976:guaguancó
1966:danzonete
1472:191278080
1219:March 11,
1167:March 11,
1002:marímbula
820:Beny Moré
781:in 1960.
543:section.
509:sucu-sucu
497:marímbula
477:bandurria
465:guateques
287:descargas
216:syncretic
131:Danzonete
109:Subgenres
18:Son music
3065:Candombe
3005:Peruvian
2896:Pachanga
2891:Méringue
2886:Merengue
2876:Guaracha
2861:Cuarteto
2851:Charanga
2841:Champeta
2813:Tropical
2796:Marinera
2764:huasteco
2703:Peruvian
2601:Neotango
2548:Candombe
2525:Ranchera
2515:Mariachi
2478:Conjunto
2463:Regional
2400:Marinera
2343:Guarania
2303:Bachatón
2242:Zarzuela
2183:Cantiñas
2178:Bulerías
2168:Flamenco
2163:Fandango
2125:Morenada
2115:Diablada
2006:pachanga
1991:habanera
1981:guaracha
1946:columbia
1879:Archived
1058:See also
1052:septetos
1048:sextetos
1014:ostinato
905:Charanga
828:guaracha
594:trovador
587:Matanzas
558:Crónicas
541:ostinato
491:and the
467:, where
384:montunos
302:New York
283:conjunto
271:septetos
250:origin.
234:rhythm,
3197:Related
3153:Pasillo
3133:Criolla
3087:Milonga
3030:Cachaca
3025:Villera
2990:Mexican
2935:montuno
2871:Guajira
2846:Changüí
2831:Calypso
2821:Bachata
2774:jarocho
2713:Spanish
2693:Mexican
2658:Chilean
2653:Chicano
2591:Milonga
2563:Milonga
2500:Grupera
2483:Norteño
2473:Corrido
2465:Mexican
2443:Mexican
2405:Tondero
2378:Festejo
2353:Chamamé
2275:R&B
2260:Hip hop
2173:Alboreá
2105:Bambuco
1986:guajira
1956:criolla
1941:changüí
1511:, p. 89
1209:"son".
1010:maracas
935:Oriente
685:Machado
525:Majagua
485:Baracoa
481:bandola
449:changüí
418:Origins
413:History
391:soneado
380:soneado
372:soneros
336:, from
330:Spanish
267:trumpet
259:sexteto
244:maracas
148:guajira
54:Changüí
3163:Pregón
3143:Décima
3092:Tambor
3082:Mapalé
2967:Cumbia
2866:Danzón
2826:Bolero
2781:Tonada
2754:Joropo
2532:Trival
2520:Jarabe
2493:Tejano
2488:Nortec
2433:Ballad
2270:Reggae
2120:Huayno
2097:Andean
2016:pregón
1961:danzón
1931:bolero
1833:
1804:
1528:
1470:
1365:780124
1363:
1326:
1299:
1261:, 256.
1192:
1130:
1044:bongos
1018:guajeo
1008:, and
1006:botija
998:bongos
994:claves
983:Claves
939:Havana
832:bolero
816:congas
774:tumbao
770:guajeo
658:Havana
592:After
556:, the
517:Bayamo
493:botija
469:bungas
457:Yoruba
428:botija
399:sonora
389:bolero
376:sonear
294:rhumba
275:congas
263:sextet
255:Havana
182:Havana
154:rhumba
142:bolero
64:regina
61:kiribá
58:nengón
3158:Plena
3138:Danza
3055:Bomba
3010:Porro
2947:Trova
2942:Timba
2913:Salsa
2901:Rumba
2881:Mambo
2856:Conga
2801:Zamba
2791:Cueca
2688:Metal
2668:Cuban
2578:Tango
2568:Murga
2553:Cueca
2510:Banda
2383:Landó
2265:House
2210:Folia
2203:Soleá
2198:Saeta
2158:Copla
2135:Tinku
2046:yambú
2041:timba
2036:songo
2011:pilón
1996:mambo
1971:filin
1951:conga
1468:S2CID
1361:JSTOR
1289:"Son"
1161:(PDF)
931:salsa
927:timba
916:salsa
901:mambo
890:Latin
867:rumba
859:mambo
836:mambo
798:1940s
785:1930s
717:front
666:Mafia
629:1920s
583:rumba
489:bongó
473:tiple
453:Bantu
341:sonus
338:Latin
318:timba
314:songo
306:salsa
279:piano
248:Bantu
240:bongo
232:clave
220:metre
100:timba
95:songo
3173:Seis
2918:dura
2749:Gato
2635:Rock
2596:Vals
2410:Vals
2280:Trap
2222:Jota
2130:Saya
1831:ISBN
1802:ISBN
1526:ISBN
1324:ISBN
1297:ISBN
1221:2017
1190:ISBN
1169:2017
1128:ISBN
1050:and
1033:Play
990:tres
946:USSR
857:and
834:and
791:jazz
749:jazz
735:'s "
705:back
693:Cuba
527:and
479:and
405:and
393:and
363:and
316:and
277:and
224:tres
150:-son
144:-son
138:-son
136:afro
77:Cuba
3015:Rap
2026:son
1460:doi
1353:doi
1004:or
929:or
511:in
461:Ewe
334:son
328:In
3233::
1674:^
1658:^
1600:^
1489:.
1466:.
1456:30
1454:.
1359:.
1349:11
1347:.
1259:61
1142:^
1112:^
1054:.
1000:,
996:,
992:,
941:.
830:,
707::
605:"
589:.
523:,
519:,
507:,
475:,
459:,
409:.
367:.
359:,
355:,
242:,
180:,
176:,
2958:)
2954:(
2218:)
2080:e
2073:t
2066:v
1912:e
1905:t
1898:v
1837:.
1808:.
1532:.
1497:.
1495:3
1474:.
1462::
1367:.
1355::
1332:.
1305:.
1223:.
1198:.
1171:.
1136:.
621:(
603:'
495:/
261:(
31:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.