1. The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Caribbean Latin America, Cuba

2. Cultural Heritage  Three geo-cultural influences Indigenous Indigenous Taíno (Arawak)Taíno (Arawak) Minimal influence on contemporary Cuban culture/musicMinimal influence on contemporary Cuban culture/music European European Spanish (1492-)Spanish (1492-) Introduced: instruments (i.e., laúd, bandurria, and guitar), military bands, metered performed poetry (decíma), dances, and balladryIntroduced: instruments (i.e., laúd, bandurria, and guitar), military bands, metered performed poetry (decíma), dances, and balladry African African Slaves brought primarily from West-African: Yoruba, Bantu, Carabalí (Dahomey, i.e., Ewe and Fon), HungueddeSlaves brought primarily from West-African: Yoruba, Bantu, Carabalí (Dahomey, i.e., Ewe and Fon), Hunguedde Cultural traditions and belief systems adapted to New World despite slaveryCultural traditions and belief systems adapted to New World despite slavery Significant influence on contemporary Cuban music cultureSignificant influence on contemporary Cuban music culture

3. Development of Contemporary Cuban Music  Three major phases: 1790-1902 1790-1902 Musical genres distinctly Cuban emergeMusical genres distinctly Cuban emerge i.e., Punto campesino, son, habanera, contradanza, rumba, comparsas i.e., Punto campesino, son, habanera, contradanza, rumba, comparsas Various influencesVarious influences Importation of European genres and musicians Importation of European genres and musicians Social and political climate Social and political climate 1902-1959 (The Republican period) 1902-1959 (The Republican period) Conscious development of a national musical cultureConscious development of a national musical culture Dissemination and influence of Cuban traditions beyond CubaDissemination and influence of Cuban traditions beyond Cuba Development of concert music and professional popular musicDevelopment of concert music and professional popular music Impact of media, recording industry, and tourism on Cuban musical traditionsImpact of media, recording industry, and tourism on Cuban musical traditions Post 1959 Post 1959 Transition to socialist governmentTransition to socialist government State sponsorship and oversight of Cuban musical traditions (preservation, documentation, education, and dissemination)State sponsorship and oversight of Cuban musical traditions (preservation, documentation, education, and dissemination)

4. Genres  Five main complexes Punto Cubano Punto Cubano Encompasses various rural genres of western and central Cuba (i.e., tonadas, puntos fijos, puntos libres, and seguidillas)Encompasses various rural genres of western and central Cuba (i.e., tonadas, puntos fijos, puntos libres, and seguidillas) Rumba Rumba Afro-Cuban genreAfro-Cuban genre Instrumentation, musical structure exhibits African influencesInstrumentation, musical structure exhibits African influences Son Son Most important musical genre (includes son montuno)Most important musical genre (includes son montuno) Origins in eastern, rural CubaOrigins in eastern, rural Cuba Blends European and African influences in instrumentation, musical structureBlends European and African influences in instrumentation, musical structure Canción Canción Embodied in Afro-Cuban forms and styles of singingEmbodied in Afro-Cuban forms and styles of singing Danzón Danzón Linked with European dance traditions (Late 1700s, French contredanses)Linked with European dance traditions (Late 1700s, French contredanses) Instrumentation and style encompasses various dance forms (i.e., mambo, and cha- cha-cha)Instrumentation and style encompasses various dance forms (i.e., mambo, and cha- cha-cha)  Ensembles Developed in relation to development of specific genres Developed in relation to development of specific genres

5. Music, Acculturation, and Stylistic Change  New World African Continuities African influence prevalent in contemporary Cuban musical traditions African influence prevalent in contemporary Cuban musical traditions InstrumentationInstrumentation Formal musical elementsFormal musical elements AestheticsAesthetics Approaches to, and uses of musicApproaches to, and uses of music Examples for discussion: santería, rumba, and son Examples for discussion: santería, rumba, and son Consider the following questions: Consider the following questions: In what ways do santería, rumba, and son exhibit a continuity with African musical traditions?In what ways do santería, rumba, and son exhibit a continuity with African musical traditions? Which might be considered the most African derived? Least? And Why?Which might be considered the most African derived? Least? And Why? How were such traditions able to survive?How were such traditions able to survive? In what ways do these genres reflect the confluence of African and European traditions and beliefs?In what ways do these genres reflect the confluence of African and European traditions and beliefs? How might addressing such questions help us to understand processes of cultural contact and change/adaptation [see Musical Dynamics]?How might addressing such questions help us to understand processes of cultural contact and change/adaptation [see Musical Dynamics]?