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{{Infobox music genre
| name = Son cubano
| bgcolor =
| stylistic_origins = {{hlist|[[Changüí]]|nengón|kiribá|regina}}
| cultural_origins = Mid-19th century, rural eastern [[Cuba]]
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| regional_scenes = [[Santiago de Cuba]], [[Guantánamo]], [[Havana]]
| other_topics = {{hlist|[[Early Cuban bands]]}}
}}
'''Son cubano''' is a genre of music and dance that originated in the highlands of [[Oriente Province|eastern Cuba]] during the late 19th century. It is a [[Syncretism|syncretic]] genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical [[Metre (poetry)|metre]] and the primacy of the [[Tres (musical instrument)|tres]], derived from the [[Classical guitar|Spanish guitar]]. On the other hand, its characteristic [[clave (rhythm)|clave]] rhythm, [[call and response]] structure and percussion section ([[bongo drum|bongo]], [[maracas]], etc.) are all rooted in traditions of [[Bantu peoples|Bantu]] origin.<ref name="Sublette333">{{cite book|last1=Sublette|first1=Ned|title=Cuba and Its Music: From the First Drums to the Mambo|date=2004|publisher=Chicago Review Press|location=Chicago, IL|pages=333–334|isbn=9781569764206|url=https://books.google.com/books?id=fZZ4QKZEumIC}}</ref>
Around 1909 the son reached [[Havana]], where the first recordings were made in 1917.<ref name="DA">{{cite book|last1=Díaz Ayala|first1=Cristóbal|title=Encyclopedic Discography of Cuban Music Vol. 1, 1898-1925|date=2014|publisher=Florida International University Libraries|url=http://latinpop.fiu.edu/VIII%20El%20son.pdf|access-date=March 11, 2017|language=es|chapter=El son}}</ref> This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre.<ref name="HO">{{cite book|last1=Orovio|first1=Helio|title=Cuban Music from A to Z|date=2004|publisher=Tumi|location=Bath, UK|pages=203–205|isbn=9780822385219|url=https://books.google.com/books?id=JUr9ZtK1Wn0C}}</ref> While early groups had between three and five members, during the 1920s the ''sexteto'' ([[sextet]]) became the genre's primary format. By the 1930s, many bands had incorporated a [[trumpet]], becoming ''septetos'', and in the 1940s a larger type of ensemble featuring [[congas]] and [[piano]] became the norm: the [[Conjunto#Cuban conjunto|conjunto]].
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 [[rhumba]]. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as [[Congolese rumba]]. In the 1960s, [[New York City|New York]]'s music scene prompted the rapid success of [[salsa music|salsa]], a combination of son and other Latin American styles primarily recorded by [[Puerto Ricans]]. While salsa achieved international popularity during the second half of the 20th century, in Cuba son evolved into other styles such as [[songo music|songo]] and [[timba]], the latter of which is sometimes known as "Cuban salsa".
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====Apocryphal origins of the son====
Due to the very limited historiographical and ethnomusicological research devoted to the son (considered by Díaz Ayala the "least studied" Cuban genre),<ref name="DA" /> until the mid-20th century its origins were incorrectly traced back to the 16th century by many writers. This fallacy stemmed from the apocryphal 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 [[Fernando Ortiz Fernández|Fernando Ortiz]], the ''Crónicas'' were repeatedly shown to be apocryphal in subsequent studies by Manuel Pérez Beato, [[José Juan Arrom]], Max Henríquez Ureña and Alberto Muguercia.<ref>{{cite journal|last1=Muguercia|first1=Alberto|title=Teodora Ginés ¿mito o realidad histórica?|journal=Revista de la Biblioteca Nacional de Cuba José Martí|date=1971|volume=3|url=http://revistas.bnjm.cu/index.php/revista-bncjm/article/view/1736|language=es}}</ref>
===Early 20th century===
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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 Zorrilla, Pablito and Luna, Zalazar and Oriche, and also Adolfo Colombo, who was not a trovador but a soloist at Teatro Alhambra.<ref>Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994.</ref>
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 [[Vedado Tennis Club]], and that same year some members of the group were reorganized in a quartet named Cuarteto Oriental.<ref>Sublette Ned: Cuba and its music. Chicago Review Press, Inc., 2004, p. 335.</ref> 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.<ref>Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994, p. 318.</ref>
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 (''Ejército Permanente''). 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.<ref>Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial Corripio C. por A., República Dominicana, 1994, p. 319.</ref>
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[[File:S. Habanero.jpg|thumb|left|200px|Sexteto Habanero 1920.]]
In 1920, the Cuarteto Oriental became a sextet and was renamed as [[Sexteto Habanero]]. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass.<ref>Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004. P. 336</ref> 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.<ref name="Díaz Ayala 1993, p. 116">Díaz Ayala, Cristóbal: Música cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993, p. 116.</ref>
[[File:SextHabanero72.jpg|thumb|right|250px|Sexteto Habanero 1925.]]
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The demise of the [[USSR]] (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 [[Buena Vista Social Club]] album and film as well as a stream of CDs triggered a worldwide Cuban music boom.<ref>Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 145. Print.</ref> In addition to the original [[Buena Vista Social Club]] 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.
Thanks to the [[Buena Vista Social Club]] 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.<ref>Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 256. Print.</ref>
==Instrumentation==
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== External links ==
* Llopis, Frank. [http://www.contactomagazine.com/bailable100.htm La música bailable cubana] (in Spanish)
* [http://salsablanca.com/ethnomusicology/cuban-music-styles/cuban-son-complex/ Cuban son complex] {{Webarchive|url=https://web.archive.org/web/20160304023346/http://salsablanca.com/ethnomusicology/cuban-music-styles/cuban-son-complex/ |date=March 4, 2016 }} More about the traditional evolution of Cuban son
{{Cuban musical forms}}
{{Music in spanish}}
[[Category:Cuban styles of music]]
[[Category:Son cubano| ]]
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