Afro-Cuban Music

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Since the early years of American colonization, cuban music has always attracted audiences from different parts of the world whether is because of the Afro-Cuban rhythms or the use of the adapted Spanish guitar style, the tres. In this case, the book Cuando Sali de la Habana 1898-1997: Cien Anos de Musica por el Mundo by Cristobal Diaz Ayala is about the evolution of Cuban music since the end of the 19th century to the modern times. The book deals with the influential aspects of Cuban music and the functionality into the creation of new music genres and styles such as Habaneras, danzones, boleros and even contemporaries genres such as nueva trova and latin jazz. The author depicts the Havana as the center of Cuban music distribution in where…show more content…
That is, the Havana, the capital of Cuba, was a forced port for Spanishs who travelled constantly to America during the colonization times; accordingly, during the months of stay Spanish sailors, soldiers and people from Central and South America started to create music through experimentation and fusion of sounds from their native countries and then carried their creations to Spain to make them popular. In the same way, because of the Haitian Revolution in 1791, a lot of French settler and freed African slaves arrived to Cuba, carrying with them more elements of African rhythms which later were exported to other styles of music. These two aspects of history combined to the creation of habanera or tango congo and cinquillo rhythms. Thus, around the 1840s, composers started to compose habaneras in Mexico, Venezuela, Puerto Rico and especially in Spain. Elements of Cuban music became predominantly influential in classical venues as well as vernacular…show more content…
As in other countries of America, music with African traits was prohibited by the Cuban elite social class; nonetheless, with the discovery of the gramophone and a desire of economic expansion in the music industry, U.S. record companies started to record national music from their colonies and other parts of America like Cuba. In fact, Afro-Cuban musicians recorded their music with U.S. record companies before African-American musicians. As a result, technology influenced the transmission of cuban music to the world because of the high demand of selling music. In the third, fourth and fifth part of the book, author introduces names of important Cuban musical figures who were the responsible for the creation of new genres like the Son, Bolero, Danzón, Punto Guajiro, Mambo and Latin Jazz. Also, the format of cuban orchestras, septets, quartets and latin Jazz influenced orchestras in New York. Diaz Ayala implies that cuban percussionist contributed to a refine sound in Latin

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