752:
617:, some choral groups were founded during the 19th century that organized competitive activities, and in some occasions were visited by local authorities and neighbors that gave them money and presents. Those choral societies usually were named after their neighborhoods, and in some occasions they counted with one hundred or more members. Most probable of their chanting aimed to distract local authorities from investigating the real purpose of their gatherings, which was to celebrate ritual activities related to their original African religions.
746:
597:
in times of sickness and death, held masses for deceased members, collected funds to buy nation-brethren out of slavery, held regular dances and diversions on
Sundays and feast days, and sponsored religious masses, processions and dancing carnival groups (now called comparsas) around the annual cycle of Catholic festival days."
600:
At the cabildos in the town of
Trinidad some choral groups existed since mid-19th century that performed the so-called tonadas trinitarias. There are some references that by 1860, the tonadas trinitarias were interpreted during the local festivities by choirs from different neighborhoods, which used
596:
During the 19th century, the Cuban government only allowed black people, slaves or free, to cultivate their cultural traditions within the boundaries of certain mutual aid societies, which were founded during the 16th century. According to David H. Brown, those societies, called cabildos, "provided
662:
became popular in Cuba between the 1880s and the 1910s. They comprised as many as 150 men and women who sang in 6/8 time with
European harmonies and instruments. Songs began with a female solo singer followed by call-and-response choral singing. As many as 60
702:, which were considerably more africanized, gave rise some of the first authentic rumba groups, particularly guaguancó groups. Nonetheless, guaguancó also had its roots in another rumba style known as yambú, which itself derived from the Bantu
771:
Usually a soloist started a song by singing a nonlexical melody and also improvised variations of the themes sung by the choir. A participant called "censor" was dedicated to supervise the language utilized in the songs.
625:
The origin and development of the coros de clave is linked not only to the local cabildos, but also to the traditions imported by immigrants from northern Spain, in particular the similarly named
567:
which grew popular in northern Spain in the mid-19th century, and their popularization in the island was linked to the emancipation of
African slaves in 1886. The common instrumentation of the
753:
637:(French-style choirs) made up of working-class people in Barcelona. Similar choral traditions spread throughout the north of Spain, including Galicia, where the movement was called
784:, and particularly its rhythm, gave rise to a popular song genre called clave, which most probably served as the original prototype for the creation of the
305:
300:
254:
490:
950:
390:
541:
764:
The accompaniment of the choirs frequently included a guitar and the percussion was executed over the sound box of an
American
601:
to gather together to compete while they paraded through the streets. Also within the cabildos of certain neighborhoods from
505:
768:
from which the strings were removed, due to the fact that
African drums performance was strictly forbidden in Cuban cities.
1022:
Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Editorial
Corripio C. por A., República Dominicana, 1994, p. 122.
1043:
1007:
868:
841:
788:
genre. Both genres, the clave and the criolla, became very popular within the Cuban vernacular theater repertoire.
430:
480:
949:
Urfé, Odilio (1977). "Presencia africana en la música y la danza cubanas". In Moreno
Fraginals, Manuel (ed.).
742:
rhythm, and consists in the practice of superimposing a binary rhythmic pulse over a ternary one, as follows:
690:, the latter as director), and Paso Franco. Some scholars such as Argeliers León nonetheless argue that the
667:
might have existed by 1902, some of which denied any
African influence on their music. Examples of popular
500:
385:
534:
510:
415:
706:
genre. Some rumba groups such as Clave y
Guaguancó and Grupo Afrocuba de Matanzas carried part of the
896:
Frías, Johnny: Notes to the CD Tonadas Trinitarias. Conjunto Folklórico de Trinidad. EGREM LD – 4383.
1110:
527:
33:
935:
907:
829:
77:
630:
980:
Sin clave y bongó no hay son: música afrocubana y confluencias musicales de Colombia y Cuba
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8:
470:
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420:
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138:
687:
610:
337:
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999:
Nationalizing Blackness: Afrocubansimo and artistic Revolution in Havana, 1920-1940
455:
435:
410:
405:
181:
1033:
997:
982:(in Spanish). Medellín, Colombia: Editorial Universidad de Antioquia. p. 83.
858:
722:
share their name with the percussion instrument used as accompaniment, the Cuban
445:
264:
193:
118:
82:
52:
1076:
Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 60.
1067:
Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 54.
614:
450:
310:
1095:
1089:
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802:
682:, which comprised mostly men, had a 2/4 time, and incorporated drums. Famous
259:
163:
133:
128:
87:
66:
21:
1058:
Sublette, Ned: Cuba and its music. Chicago Review Press, Inc., 2004, p. 264.
189:
57:
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644:
290:
274:
47:
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were popular choral groups that emerged at the end of the 19th century in
177:
103:
955:(in Spanish). Mexico City, Mexico: Siglo XXI. p. 231. Archived from
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731:
362:
209:
203:
199:
173:
143:
92:
269:
168:
72:
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include El Arpa de Oro, La Juventud, La Generación and Flor del Día.
244:
158:
108:
606:
148:
123:
113:
249:
185:
153:
785:
735:
727:
98:
834:
Bloomsbury Encyclopedia of Popular Music of the World, Volume 9
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602:
580:
560:
62:
1002:. Pittsburgh, PA: University of Pittsburgh Press. p. 92.
765:
576:
219:
214:
863:. Oakland, CA: University of California Press. p. 311.
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and other Cuban cities. Their style was influenced by the
726:, which execute the main rhythmic pattern, the vertical
860:
Music and Revolution: Cultural Change in Socialist Cuba
643:. According to some authors, including Odilio Urfé and
887:. The University of Chicago Press: Chicago, IL. p. 34.
930:
Cuba and Its Music: From the First Drums to the Mambo
686:
include El Timbre de Oro, Los Roncos (both featuring
1038:(in Spanish). Madrid, Spain: Akal. pp. 68–70.
927:
1102:
977:
934:. Chicago, IL: Chicago Review Press. pp.
738:constitutes the most essential element of the
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535:
836:. London, UK: Bloomsbury. pp. 223–225.
823:
821:
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817:
1096:https://www.youtube.com/watch?v=AZ_2SuwWAs4
1090:https://www.youtube.com/watch?v=i8pjq4uGb9Q
991:
989:
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921:
919:
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832:. In Shepherd, John; Horn, David (eds.).
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698:evolved independently of each other. The
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710:repertoire into the late 20th century.
633:). Starting in 1845, Clavé established
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1088:Coro de Clave – Marcha la Moralidad:
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1094:Clave – Como brillan las estrellas:
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579:used as a percussion instrument),
14:
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647:, upon introduction in Cuba, the
348:Nationalistic and patriotic songs
978:Betancur Álvarez, Fabio (1999).
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926:Sublette, Ned (2004). "Rumba".
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1:
828:Bodenheimer, Rebecca (2014).
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583:, guitar, harp and jug bass.
730:(also characteristic of the
651:lost their accent, becoming
391:Aruba and the Dutch Antilles
7:
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10:
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780:The musical style of the
491:St Vincent and Grenadines
952:África en América Latina
629:(after Catalan composer
905:Veitia, Héctor (1974).
883:Brown, David H (2003).
714:Musical characteristics
761:
639:
996:Moore, Robin (1997).
857:Moore, Robin (2006).
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323:Media and performance
959:on 13 February 2017
908:Tonadas Trinitarias
501:Trinidad and Tobago
386:Antigua and Barbuda
1032:Roy, Maya (2003).
885:Santería Enthroned
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749:Vertical Hemiola.
708:coros de guaguancó
700:coros de guaguancó
684:coros de guaguancó
680:coros de guaguancó
631:Josep Anselm Clavé
481:St Kitts and Nevis
431:Dominican Republic
696:coros de guaguacó
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53:Afro-Cuban jazz
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332:Music awards
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15:
798:Cuban rumba
776:Clave genre
732:contradanza
621:Development
571:featured a
476:Puerto Rico
363:La Bayamesa
144:Nueva trova
93:Contradanza
78:Cha-cha-chá
809:References
755:Reproducir
592:Background
471:Montserrat
466:Martinique
441:Guadeloupe
190:batá-rumba
139:Mozambique
95:(habanera)
674:From the
640:coralismo
516:Venezuela
461:Louisiana
178:guaguancó
1105:Category
963:19 April
792:See also
635:orfeones
615:Trinidad
607:Matanzas
565:orfeones
496:Suriname
486:St Lucia
426:Dominica
401:Barbados
381:Anguilla
270:Santería
182:columbia
149:Pachanga
124:Guaracha
114:Descarga
83:Charanga
936:257–272
786:criolla
736:hemiola
728:hemiola
587:History
456:Jamaica
436:Grenada
421:Curaçao
411:Bonaire
406:Bermuda
396:Bahamas
291:Changüí
204:montuno
129:Hip hop
119:Guajira
104:Cubatón
99:Criolla
73:Canción
1042:
1006:
867:
840:
724:claves
603:Havana
581:claves
561:Havana
446:Guyana
306:Nengón
301:Kiribá
260:Makuta
245:Abakuá
159:Pregón
109:Danzón
63:Bolero
58:Bakosó
40:Genres
766:banjo
577:banjo
573:viola
569:coros
451:Haiti
255:Iyesá
250:Arará
220:Trova
215:Timba
210:Songo
186:yambú
174:Rumba
154:Pilón
134:Mambo
88:Conga
67:filin
1040:ISBN
1004:ISBN
965:2017
865:ISBN
838:ISBN
718:The
704:yuka
694:and
658:The
613:and
275:Yuka
265:Palo
169:Rock
48:Afro
200:Son
1107::
988:^
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816:^
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