![]() ![]() In this essay the timbre component of the most prominent genres and styles of Cuban music is analyzed, and the following aspects are addressed: The Renaissance vihuela and viol were the first musical instruments heard in Cuba after the drums, flutes and conchs performed by the original population of the Island the 17th and 18th century guitar in Cuba how were the first African drums heard on the Island? what instruments was the Esteban Salas's orchestra composed of? instrumental groups, orchestras and bands in the 18th century the guitar, piano and violin in the 19th century with what instruments was the Cuban contradance performed? Afro-Cuban instruments are integrated for the first time into the symphony orchestra the sounds of the Carnival in the 19th century the tiple and the güiro in the Cuba countryside music How did the danzón sounded like? What is a French charanga? the duos, trios, quartets, sextets and septets of the son, and the new Afro-Cuban instruments orchestras and bands in the 20th century the guitar and the piano in the 20th century the Cuban jazz band popular ensembles and orchestras in the 20th century Cuban rock the new conga of Miami Sound Machine the songo, the timba, the reggaetón and the guapanga. The purpose of this essay is to present to the readers a chronological summary of the evolution of instrumental ensembles in the history of Cuban music, from the discovery of the Island to the present day. Deepening these complex dynamics is the main objective of our proposal, which is approached from a sociological, cultural, and musicological perspective by authors such as Frith (1987), Clifford (1988), Bhabha (1994), Hall (1996), Brah (1996), Braziel and Mannur (2003), and García Canclini (2008). The effect of this historic moment in Cuban society is evident both in the multifaceted physiognomy that music acquires on the island and abroad as well as in the social and cultural uses music entails as a process of constructing new identities. In the case of timba, it was manifested in the development of musical and performatic resources of radical complexity and social background while in contemporary classical music, it was manifested in the increasing expansion of the work of its composers in the new spaces of the Cuban diaspora. ![]() ![]() As we will see, evasion was a feature shared by both music scenes. Consequently, the Cuban musical map of the 90s was marked by two main events: the boom of timba in popular dance music and the exodus of most of the island’s classical composers. The political changes that shook Eastern Europe between 19 brought about one of the biggest fractures in Cuba’s political and sociocultural life after the triumph of the revolution. ![]()
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