Son cubano: Difference between revisions

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. Historically, most musicologists have supported the hypothesis that the direct ancestors (or earliest forms) of the son appeared in Cuba's [[Oriente Province]], particularly in mountainous regions such as [[Sierra Maestra]].<ref name="DA" /> These early styles, which include [[changüí]], nengón, kiribá and regina,<ref>{{cite book|last1=Lapidus|first1=Benjamin|title=Origins of Cuban Music and Dance: Changüí|date=2008|publisher=Scarecrow Press|location=Plymouth, UK|page=xix|url=https://books.google.co.uk/books?id=MmngXz9-vPwC}}</ref> were developed by peasants, many of which were of [[Bantu peoples|Bantu]] origin, in contrast to the Afro-Cubans of the western side of the island, which primarily descended from West African slaves ([[Yoruba people|Yoruba]], [[Ewe people|Ewe]], etc.).<ref name="Sublette333" /> These forms flourished in the context of rural parties such as ''guateques'', where ''bungas'' were known to perform; these groups consisted of singers and guitarists (playing variants such as the [[tiple]], [[bandurria]] and [[bandola]]).<ref>{{cite journal|last1=Robbins|first1=James|title=The Cuban "Son" as Form, Genre, and Symbol|journal=Latin American Music Review|date=1990|volume=11|issue=2|pages=182–200|doi=10.2307/780124|jstor=780124}}</ref> Such early guitars are thought to have given rise to the tres some time around 1890 in [[Baracoa]].<ref>Lapidus (2008) p. 18.</ref> The addition of a rhythm section composed of percussion instruments such as the [[bongó]] and the [[botija]]/[[marímbula]] gave rise to the first son groups proper.<ref>Miller (2014) p. 783.</ref> Nonetheless, it has become increasingly clear for musicologists that different versions of the son, i.e. styles that fall within the so-called '''son complex''', appeared throughout the rural parts of the island by the end of the 1890s.<ref>{{cite book|last1=Alén Rodríguez|first1=Olavo|title=Géneros musicales de Cuba: de lo afrocubano a la salsa|date=1992|publisher=Cubanacán|location=San Juan, Puerto Rico|page=41|language=Spanish}}</ref> Musicologist Marta Esquenazi Pérez divides the son complex into three regional variants: changüí in [[Guantánamo]], [[Music of Cuba#Sucu-Sucu|sucu-sucu]] in [[Isla de la Juventud]], and an array of styles which fall under the denomination of son montuno and were developed in places such as [[Bayamo]], [[Manzanillo, Cuba|Manzanillo]], [[Majagua, Cuba|Majagua]] and [[Pinar del Río]].<ref>Lapidus (2008) p. xviii.</ref> 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.<ref>{{cite book|last1=Giro|first1=Radamés|title=Panorama de la música popular cubana|date=1998|publisher=Letras Cubanas|location=Havana, Cuba|page=200|language=Spanish|chapter=Los motivos del son}}</ref><ref>{{cite book|last1=Gómez Cairo|first1=Jesús|editor1-last=Giro|editor1-first=Radamés|title=Panorama de la música popular cubana|date=1998|publisher=Letras Cubanas|location=Havana, Cuba|page=135|language=Spanish|chapter=Acerca de la interacción de géneros en la música popular cubana}}</ref>

 

 

====Apocryphal origins of the son====