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the cuban son

There are very few places in the world which have had as profound an impact on contemporary music as Cuba. Nowadays you can hear influences from traditional Cuban music anywhere from jazz to country and even popular music. From this it can only be deduced that if the music of Cuba has had such an effect internationally, then to Cubans themselves their music is more than just a form entertainment. This becomes more apparent as you take into account the current societal situation. As you might guess, since the people of Cuba have been under a communist dictatorship for quite some time, the musicians of the island cannot carry on their passions uninhibited. Suffering from low wages and dilapidated musical equipment, Cuban musicians have continued to make their music so as not to lose the most important part of their lifestyle. For most Cubans this lifestyle is embodied in music and dancing and is a way in which to identify themselves and cope with the extreme hardships faced through impoverished living conditions. At the heart of all this musical energy, is the most important genre of music called “son.” The “son Cubano,” as it is called in Spanish, is the original creation that has given rise to the many evolving styles of C


“Musical Atlas of Cuba: History.” http://www.pbs.org/buenavista/music/timeline.html (13 Mar. 2003).

“Roots-Son.” http://www.salsacrazy.com/salsaroots/roots_son.htm (12 Mar. 2003).

In order to verify the accuracy of all this internet information I decided to consult with the New Grove Dictionary of Music and Musicians. Origins of the genre seem to be inaccurate on the internet. Apparently the son was born out of the late 19th century in an area of Cuba known as “Oriente”, or eastern. The style of the music however, seems to be correct with every website. The son does indeed have a syncopated rhythm which has grown to its current style by gradual change throughout various performances in the region of its origin. At the time of these performances the son was mainly played by a small guitar named a tres, which employed three sets of strings, with vocal accompaniment (Béhague 87).

Béhague, Gerard and Carlos Borbolla. 1980. “Cuba” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, Vol. 5, London: Macmillan, P.87.

With so much information out on the internet one must wonder how accurate web pages can be distinguished from inaccurate ones. There might not be a definite answer for that question yet, but at least in the case of the Cuban music known as son we have found an answer. The internet can be a valuable source if one wants to find out reviews and see advertisements for various Cuban musicians, but as far finding out about Cuba’s music history it is still a long way off.

Some topics in this essay:
Cuba Nowadays, Musicians Origins, Maestra Rodríguez, Cuba History”, Composers Orchestra”, Havana Characterizing, Chucho Valdes, Cuban Music”, Má Teodora”, search engines, , cuban music, music cuba, mar 2003, sample music, las américas cuba, cuban musicians, de cuba, santiago de, grove dictionary, music musicians, de las américas, cuba sources, américas cuba , 13 mar 2003,

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Approximate Word count = 1218
Approximate Pages = 5 (250 words per page double spaced)


  

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