Son Cubano - Wikipedia

12/18/2017 Son cubano - Wikipedia
Son cubano
Son cubano is a genre of music and dance that originated in the highlands of
eastern Cuba during the late 19th century. It is a syncretic genre that
Son cubano
amalgamates elements of Spanish and African origin. Among its fundamental Stylistic Chang nengn
Hispanic components are the vocal style, lyrical metre and the primacy of the origins kirib regina
tres, derived from the Spanish guitar. On the other hand, its characteristic Cultural Mid-19th century,
clave rhythm, call and response structure and percussion section (bongo, origins rural eastern Cuba
maracas, etc.) are all rooted in traditions of Bantu origin.[1]
Typical Vocals tres claves
Around 1909 the son reached Havana, where the first recordings were made in instruments bongo maracas
1917.[2] This marked the start of its expansion throughout the island, becoming giro double bass
Cuba's most popular and influential genre.[3] While early groups had between trumpet piano
three and five members, during the 1920s the sexteto (sextet) became the congas
genre's primary format. By the 1930s, many bands had incorporated a trumpet, Derivative Salsa music songo
becoming septetos, and in the 1940s a larger type of ensemble featuring congas forms timba
and piano became the norm: the conjunto. Besides, the son became one of the
Subgenres
main ingredients in the jam sessions known as descargas that flourished
Son montuno, sucu-sucu
during the 1950s.
Fusion genres
The international presence of the son can be traced back to the 1930s when
Danzonete afro-son bolero-son
many bands toured Europe and North America, leading to ballroom
guajira-son rhumba
adaptations of the genre such as the American rhumba. Similarly, radio
Congolese rumba
broadcasts of son became popular in West Africa and the Congos, leading to
Regional scenes
the development of hybrid genres such as Congolese rumba. In the 1960s, New
York's music scene prompted the rapid success of salsa, a combination of son Santiago de Cuba, Guantnamo,
and other Latin American styles primarily recorded by Puerto Ricans. While Havana
salsa achieved international popularity during the second half of the 20th Other topics
century, in Cuba son evolved into other styles such as songo and timba, the
Early Cuban bands
latter of which is sometimes known as "Cuban salsa".
Contents
Etymology and cognates
History
Origins
Apocryphal origins of the son
Early 20th century
1920s
Tro Matamoros
1930s
1940s
Current state of the son
https://en.wikipedia.org/wiki/Son_cubano 1/10
Instrumentation
See also
References
Bibliography
External links
Etymology and cognates

In Spanish, the word son, from Latin sonus, denotes a pleasant sound, particularly a musical one.[4] 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 son mexicano and son guatemalteco), the term son cubano is most commonly used.
In Cuba, various qualifiers are used to distinguish the regional variants of the genre. These include son montuno, son
oriental, son santiaguero and son habanero.[2]
Son singers are generally known as soneros, and the verb sonear describes not only their singing but also their vocal
improvisation.[5] The adjective soneado refers to songs and styles which incorporate the tempo and syncopation of the son,
or even its montunos. Generally, there is an explicit diffenrece between styles that incorporate elements of the son
partially or totally, as evidenced by the distinction between bolero soneado and bolero-son.[6][7] The term sonora refers to
conjuntos with smoother trumpet sections such as Sonora Matancera and Sonora Poncea.[8]
History
Origins
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. Musicologists agree that the direct ancestors (or earliest forms) of
the son appeared in Cuba's Oriente Province, particularly in mountainous regions
such as Sierra Maestra.[2] These early styles, which include chang, nengn, kirib
and regina,[9] were developed by peasants, many of which were of Bantu origin, in
contrast to the Afro-Cubans of the western side of the island, which primarily
descended from West African slaves (Yoruba, Ewe, etc.).[1] These forms flourished
in the context of rural parties such as guateques, where bungas were known to
A marmbula, the "bass"
perform; these groups consisted of singers and guitarists (playing variants such as instrument used by chang
the tiple, bandurria and bandola).[10] Such early guitars are thought to have given ensembles. Some groups used
rise to the tres some time around 1890 in Baracoa.[11] The addition of a rhythm the more rudimentary jug known
section composed of percussion instruments such as the bong and the as botija or botijuela.
botija/marmbula gave rise to the first son groups proper.[12] 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 island by the end of the 1890s.[13]
Musicologist Marta Esquenazi Prez divides the son complex into three regional variants: chang in Guantnamo, 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, Majagua and Pinar del Ro.[14] For this reason, some academics such as Radams
Giro and Jess Gmez 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.[15][16]
Musicologist Peter Manuel proposed an alternative hypothesis according to which a great deal of the son's structure
originated from the contradanza 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 melodies in parallel thirds "duet" form, the presence of a suggested clave
rhythm, implicit short vocal refrains borrowed from popular songs, distinctive syncopations, as well as the "two part" song
form with an ostinato section.[17]
Apocryphal origins of the son

Due to the very little historiographical and ethnomusicological research devoted to the son (considered by Daz Ayala the
"least studied" Cuban genre),[2] 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 M Teodora". Such
story was first mentioned by Cuban historian Joaqun Jos Garca 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, the
Crnicas were repeatedly shown to be apocryphal in subsequent studies by Manuel Prez Beato, Jos Juan Arrom, Max
Henrquez Urea and Alberto Muguercia.[18]
Early 20th century

The emergence of son significantly increased the interaction of African-derived and Hispanic-derived cultures. 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 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.
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 that used to play with the Tiple and
the Guiro finally met other Rumberos that sung and danced accompanied by the wooden box (cajn) and the Cuban clave,
and the result was the fusion of both styles in a new genre called son.[19] Around 1910 the Son most likely adopted the
clave rhythm from the Havana-based rumba, which had been developed in the late 19th century in Havana and
Matanzas.[20]
After trovador 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 that already lived in Havana such as Mara Teresa Vera and Rafael Zequeira. They brought
their repertoires of Canciones (Cuban songs) and boleros that also included rumbas, guarachas and rural rumbitas. (Refer
to Trova in the article Music of Cuba)
Famous trovador Chico Ibez 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".[21] Ned Sublette states about another 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" [22]
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, Mara Teresa Vera, Alberto Villaln, Jos Castillo, Juan Cruz, Juan de la Cruz,
Nano Len, Romn Martnez, 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.[23]
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.[24] Those members were: Ricardo Martnez from Santiago de Cuba, conductor and tres; Gerardo
Martnez, first voice and clave; Guillermo Castillo, botijuela; and Felipe Neri Cabrera, maracas. According to Jess Blanco,
quoted by Daz Ayala, after a few month from its foundation the bongocero Joaqun Velazco joined the group.[25]
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. His name was Carlos
Godnez and he was a member of the army (Ejrcito Permanente). Subsequently, the RCA Victor contracted Godnez in
1918 to organize a group and record several songs. For that recording, the new group was called "Sexteto Habanero
Godnez". Its members were: Carlos Godnez, conductor and tresero; Mara Teresa Vera, first voice and clave; Manuel
Corona, second voice and guitar; "Sinsonte", third voice and maracas; Alfredo Boloa, bongo; and another unknown
performer who was not included in the list."[26]
1920s
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.[27] The sextet
members were: Guillermo Castillo, conductor, guitar and second voice; Gerardo
Martnez, first voice; Felipe Neri Cabrera, maracas and choir; Ricardo Martnez,
tresero, Joaqun Velazco, bongos; and Antonio Bacallao, botija. Abelardo Barroso,
one of the most famous soneros, joined the group in 1925.[28]
Popularization began in earnest

with the arrival of radio
broadcasting in 1922, which came
at the same time as Havana's
Sexteto Habanero 1920.
reputation as an attraction for
Americans evading Prohibition
laws. The city became a haven for the Mafia, gambling and prostitution in
Cuba, 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.
Sexteto Habanero 1925.
A turning point that made this transformation possible occurred when
then-president Machado publicly asked La Sonora Matancera 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 Cuba.[29] At that time many sextets were founded such as Boloa, Agabama, Botn de
Rosa and the famous Sexteto Occidente conducted by Mara Teresa Vera.[28]
A few years later, in the late 1920s, son sextets became septets and son's popularity continued to grow with artists like
Septeto Nacional and its leader Ignacio Pieiro (Echale salsita Donde estabas anoche). In 1928, Rita Montaner's El
Manicero became the first Cuban song to be a major hit in Paris and elsewhere in Europe. In 1930, Don Azpiazu's Havana
Casino
Orchestra
took the
song to the
United
States,
where it
also
became a
big hit.
Sexteto Occidente, New York 1926

Sexteto Boloa 1926. back: Mara Teresa Vera (guitar), Ignacio Pieiro
(double bass), Julio Torres Biart (tres); front: Miguelito
Garcia (clave), Manuel Reinoso (bongo) and Francisco
The instrumentation was expanded to include cornets or
Snchez (maracas)
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 jazz big bands.[30]
Tro Matamoros
The presence of the Tro Matamoros 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
Tro was founded by Miguel Matamoros (vocals and first guitar), who was born in Santiago de Cuba (Oriente) in 1894.
There, he became involved with the traditional trova movement and in 1925 joined Siro Rodrguez (vocals and maracas)
and Rafael Cueto (vocals and second guitar) to create the famous group.[31]
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 patterns of the "guajeo" in the treble range, and the syncopated rhythms of
the "tumbao" on the bass strings. The counterpoint was completed by the first guitar, played by Miguel.[32] They also
occasionally included other instruments such as the bongo, and at a later time they decided to expand the Trio format to
create a son "conjunto" by adding a piano, more guitars, tres and other voices. In this project participated such important
figures as Lorenzo Hierrezuelo, Francisco Repilado (Compay Segundo) and Beny Mor.
In 1928, they traveled to New York with a recording contract by RCA Victor, and his 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 Tro Matamoros
maintained great prominence until their official retirement in 1960.[28]
1930s
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 jazz bands and amplified conjuntos.[33] 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 option to disband and refocus on newer styles of Cuban music or go back to their roots.
1940s
In the 1940s, Arsenio Rodrguez became the most influential player of

son. He used improvised solos, toques, congas, extra trumpets,
percussion and pianos, although all these elements had been used
previously (Papauba Para bailar son montuno). Beny Mor (known as
the El Brbaro del Ritmo, "The Master of Rhythm") further evolved the
genre, adding guaracha, bolero and mambo influences. He was perhaps
the greatest sonero (Castellano que bueno baila usted Vertiente
Camaguey ); another important sonero was Roberto Faz.
By the late 1940s, son had lost its controversiality even among
conservative Cubans which made it even less appealing to Cubans.[34] A
Conjunto de Arsenio Rodrguez ca. 1949.
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 displaced sextetos and septetos. This led to big bands replacing the conjuntos, which
managed to keep its flavor despite elaborate arrangements.[35]
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 a vocalist fronting the ensemble. Their polished sound and
"cosmopolitan" read "commercial" repertoire captivated both Cuban and foreign audiences.
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 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 sonand its
popularity amongst even Cubans.
With the arrival of cha-cha-ch and mambo in the United States, son also became extremely popular. After the Cuban
Revolution separated Cuba from the U.S., son, mambo and rumba, along with other forms of Afro-Cuban music
contributed to the development of salsa music, initially in New York.[36]
The mass popularization of son music led to an increased valorization of Afro-Cuban 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. .[33]
Current state of the son

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 Latin styles of music continue using the essential style of the son.[37]
Another important contribution of the son was the introduction of the drum to mainstream music. The increase in
popularity of the son unveiled the huge potential of music with Afro-Cuban rhythms. This led to the development and
mass distribution of newer types of Latin music. Additionally, genres of the later 1940s such as mambo manifest many
characteristics derived from son. Charanga orchestras, also developed dance music heavily influenced by son.[34]
Perhaps the most significant contribution of son is its influence on present day Latin music. Son is specifically considered
to be the foundation on which salsa was created.[38]
Although the "classic son" continues to be a very important musical foundation for all kinds of Latin music it is no longer a
popular music genre in Cuba. Younger generations of Cubans prefer the faster, dance-oriented son-derivatives such as
timba or salsa. Older generations continue to preserve the son as one of the music genres they listen to, specifically in
Oriente, where they tend to maintain more traditional versions of the son compared to Havana.[39]
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.[40] 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.[41] Although most Cubans dont see the
value of the Buena Vista Social Club 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 that had never heard of son. It has also introduced an important
part of Cuban music history to foreign audiences.
Instrumentation
The basic son ensemble of early 20th-century Havana consisted of guitar, tres, claves,
bongos, marmbula or botija, and maracas. The tres plays the typical Cuban ostinato figure
known as guajeo. 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.
Claves
Basic son tres guajeo written in cut-time. Play
Later on, the double bass replaced the marmbula and bongos and a trumpet were added, giving rise to sextetos and
septetos.
See also
Music of Cuba
Dance in Cuba
References
1. Sublette, Ned (2004). Cuba and Its Music: From the First Drums to the Mambo (https://books.google.co.uk/books?id=
fZZ4QKZEumIC). Chicago, IL: Chicago Review Press. pp. 333334.
2. Daz Ayala, Cristbal (2014). "El son". Encyclopedic Discography of Cuban Music Vol. 1, 1898-1925 (http://latinpop.fi
u.edu/VIII%20El%20son.pdf) (PDF) (in Spanish). Florida International University Libraries. Retrieved March 11, 2017.
3. Orovio, Helio (2004). Cuban Music from A to Z (https://books.google.co.uk/books?id=JUr9ZtK1Wn0C). Bath, UK:
Tumi. pp. 203205.
4. "son". Diccionario de la lengua espaola (http://dle.rae.es/?id=YLU1m5v) (in Spanish) (23rd ed.). Real Academia
Espaola. 2017. Retrieved March 11, 2017.
5. Fernndez, Ral A. (2000). "The Musicalia of Twentieth-Century Cuban Popular Music". In Fernndez, Damin;
Cmara-Betancourt, Madeline. Cuba, the Elusive Nation: Interpretations of National Identity. Gainesville, FL:
University Press of Florida.
6. Acosta, Leonardo (2004). Otra visin de la msica popular cubana (in Spanish). Havana, Cuba: Letras Cubanas.
pp. 61, 256.
7. Daz Ayala, Cristbal (1998). La marcha de los jbaros, 1898-1997: cien aos de msica puertorriquea por el mundo
(in Spanish). Guaynabo, Puerto Rico: Plaza Mayor. p. 98.
8. Miller, Sue (2014). "Son". In Horn, David; Shepherd, John. Bloomsbury Encyclopedia of Popular Music of the World,
Volume IX (https://books.google.co.uk/books?id=liV8AwAAQBAJ&pg=PA786). London, UK: Bloomsbury Publishing.
p. 786.
9. Lapidus, Benjamin (2008). Origins of Cuban Music and Dance: Chang (https://books.google.co.uk/books?id=Mmng
Xz9-vPwC). Plymouth, UK: Scarecrow Press. p. xix.
10. Robbins, James (1990). "The Cuban "Son" as Form, Genre, and Symbol" (https://www.jstor.org/stable/780124). Latin
American Music Review. 11 (2): 182200. doi:10.2307/780124 (https://doi.org/10.2307%2F780124).
11. Lapidus (2008) p. 18.
12. Miller (2014) p. 783.
13. Aln Rodrguez, Olavo (1992). Gneros musicales de Cuba: de lo afrocubano a la salsa (in Spanish). San Juan,
Puerto Rico: Cubanacn. p. 41.
14. Lapidus (2008) p. xviii.
15. Giro, Radams (1998). "Los motivos del son". Panorama de la msica popular cubana (in Spanish). Havana, Cuba:
Letras Cubanas. p. 200.
16. Gmez Cairo, Jess (1998). "Acerca de la interaccin de gneros en la msica popular cubana". In Giro, Radams.
Panorama de la msica popular cubana (in Spanish). Havana, Cuba: Letras Cubanas. p. 135.
17. Manuel, Peter (2009). "From contradanza to son: New perspectives on the prehistory of cuban popular music". Latin
American Music Review. 30 (2): 184212. doi:10.1353/lat.0.0045 (https://doi.org/10.1353%2Flat.0.0045).
18. Muguercia, Alberto (1971). "Teodora Gins mito o realidad histrica?" (http://revistas.bnjm.cu/index.php/revista-bncj
m/article/view/1736). Revista de la Biblioteca Nacional de Cuba Jos Mart (in Spanish). 3.
19. "The origin of Cuban music. Myths and realities" (https://www.academia.edu/4832395/El_origen_de_la_m%C3%BAsi
ca_cubana._Mitos_y_realidades). academia.edu. p. 90. Retrieved July 4, 2015.
20. Pealosa (2009: 83) The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe
Inc. ISBN 1-886502-80-3.
21. Giro, Radams:Los motivos del son. Panorama de la msica popular cubana. Editorial Letras Cubanas, La Habana,
Cuba, 1998, p. 201.
22. Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004. P. 367
23. Daz Ayala, Cristbal: Discografa de la Msica Cubana. Editorial Corripio C. por A., Repblica Dominicana, 1994.
24. Sublette Ned: Cuba and its music. Chicago Review Press, Inc., 2004, p. 335.
25. Daz Ayala, Cristbal: Discografa de la Msica Cubana. Editorial Corripio C. por A., Repblica Dominicana, 1994, p.
318.
26. Daz Ayala, Cristbal: Discografa de la Msica Cubana. Editorial Corripio C. por A., Repblica Dominicana, 1994, p.
319.
27. Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004. P. 336
28. Daz Ayala, Cristbal: Msica cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993, p. 116.
29. Moore, R. "Afrocubanismo and Son." The Cuba Reader: History, Culture, Politics. Ed. Chomsky, Carr, and Smorkaloff.
Durham: Duke University Press, 2004. 195196. Print.
30. Argeliers, L. "Notes toward a Panorama of Popular and Folk Music." Essays on Cuban Music: North American and
Cuban Perspectives. Ed. Peter Manuel. Maryland: Univ. Press of America, 1991. 21. Print.
31. Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 135
32. Giro, Radams: Los Motivos del son. Panorama de la msica popular cubana. Editorial Letras Cubanas, La Habana,
Cuba, 1998, p. 203.
35. Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 121.
Print.
Print.
Print.
Print.
Print.
Bibliography
Argeliers, Leon. "Notes toward a Panorama of Popular and Folk Music." Essays on Cuban Music: North American
and Cuban Perspectives. Ed. Peter Manuel. Maryland: University Press of America, 1991. 123. Print.
Benitez-Rojo, Antonio. "Music and Nation." Cuba: Idea of a Nation Displaced. Ed. Andrea OReilly Herrera. New York:
State University of New York Press, 2007. 328340. Print.
Leymarie, Isabelle. Cuban Fire: The Story of Salsa and Latin Jazz. New York, Continuum Publishing, 2002. Print.
Loza, Steven. "Poncho Sanchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis." Situating Salsa. Ed.
Lise Waxer. New York: Routledge, 2002. 201215. Print.
Manuel, Peter, with Kenneth Bilby and Michael Largey. Caribbean Currents: Caribbean Music from Rumba to
Reggae. 2nd edition. Temple University Press, 2006. ISBN 1-59213-463-7.
Moore, Robin. "Salsa and Socialism: Dance Music in Cuba, 195999." Situating Salsa. Ed. Lise Waxer. New York:
Routledge, 2002. 5174. Print.
Moore, Robin. "Afrocubanismo and Son." The Cuba Reader: History, Culture, Politics. Ed. Chomsky, Carr, and
Smorkaloff. Durham: Duke University Press, 2004. 192200. Print.
Pealosa, David. The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc.,
2009. ISBN 1-886502-80-3.
Perna, Vincenzo. Timba: The Sound of the Cuban Crisis. Burlington, VT: Ashgate Publishing Company, 2005. Print.
Thomas, Susan. "Cosmopolitan, International, Transnational: Locating Cuban Music." Cuba Transnational. Ed.
Damian J. Fernandez. Gainesville: University Press of Florida, 2005. 104120. Print.
External links
Llopis, Frank. La msica bailable cubana (http://www.contactomagazine.com/bailable100.htm) (in Spanish)
"Valle Son Music" (http://www.valleson.com) Traditional and Contemporary Son from Viales, Cuba
Cuban son complex (http://salsablanca.com/ethnomusicology/cuban-music-styles/cuban-son-complex/) More about
the traditional evolution of Cuban son
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Son Cubano - Wikipedia

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12/18/2017 Son cubano - Wikipedia

Etymology and cognates

Apocryphal origins of the son

Early 20th century

Popularization began in earnest

Sexteto Occidente, New York 1926

In the 1940s, Arsenio Rodrguez became the most influential player of

Current state of the son

Basic son tres guajeo written in cut-time. Play

Retrieved from "https://en.wikipedia.org/w/index.php?title=Son_cubano&oldid=803740389"

This page was last edited on 4 October 2017, at 09:47.

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