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Revised by Sue Steward. Find album release information for La Habana: Contemporary Cuban Music - Various Artists on AllMusic The international Journal of Cuban studies, 2 December 2008.
Although Alejo Carpentier, Emilio Grenet and Cristóbal Díaz Ayala support the "Eastern origin" theory, Argeliers León doesn't mention anything about it in his pivotal work "Del Canto y el Tiempo", as well as María Teresa Linares in "The Music between Cuba and Spain. From this peculiar sound, a music genre was born which motivated people from around the world to dance at its catchy rhythm.According to Olavo ALén: "During the 1950s, Chachachá maintained its popularity thanks to the efforts of many Cuban composers who were familiar with the technique of composing The Chachachá was first presented to the public through the instrumental medium of the Filin was a Cuban fashion of the 1940s and 1950s, influenced by popular music in the US. Since then to present times, the Cuban people have highly enjoyed opera, and many Cuban composers have cultivated the operatic genre, sometimes with great success at an international level. Discussed in more detail by Carpentier, Alejo 2001 [1945]. When he was 14, he obtained the First Award at the Municipal Conservatory of Havana and was appointed as Concertino of the Havana Symphony Orchestra. In 1990, the ICAP Workshop changed its name to Laboratorio Nacional de Música Electroacústica (LNME) and its main objective was to support and promote the work of Cuban electroaocustic composers and sound artists. 1895) and Diego Bonilla (1898-).During the first half of the 20th century the name of Eduardo Hernández Asiaín (1911-2010) was born in Havana, began his musical studies at a very early age and offered his first concert with just seven years old. The origin of the word is a corruption of the English term "country dance".The Contradanza is a communal sequence dance, with the dance figures conforming to a set pattern. Cuba was the last country in the Americas to abolish the importation of slaves, and the second last to free the slaves. Evelio Tieles began to study music in Cuba with his father, Evelio Tieles Soler, when he was just seven years old,Evelio Tieles has offered numerous presentations as a concert performer, in a duo with his brother, pianist Cecilio Tieles, or accompanied by the Cuban National Symphony Orchestra and other symphonic and chamber ensembles. Most of them had obtained degrees in reputable Schools outside the country thanks to scholarships granted by the government, like Sergio Fernández Barroso (also known as During the early 1970s, a group of musicians and composers, most of them graduated from the National School of Arts and the Havana Conservatory, gathered around an organization recently created by the government as the junior section of UNEAC (During the last decades of the 20th century and the beginning of the 21st century a new generation of composers emerged into the Cuban classical music panorama.
Philadelphia: Temple University Press. Juan Blanco, the LNME and the electroacoustic music in Cuba. Because Cuba has so many indigenous types of music there has always been a problem in marketing the 'product' abroad to people who did not understand the differences between rhythms that, to a Cuban, are quite distinct. Composed of free blacks that had arrived from Seville on an undetermined date, this group was integrated to the population of free blacks and mulattos that lived in the marginal zones of the city of Havana.José Victoriano Betancourt a Cuban "costumbrista" writer from the 19th century described them as follows: "…they [the curros] had a peculiar aspect, and was enough to look at them to recognize them as curros: their long hunks of kinky braids, falling over their face and neck like big millipedes, their teeth cut (sharp and pointed) to the carabalí style, their fine embroidered cloth shirts, their pants, almost always white, or with colored stripes, narrow at the waist and very wide in the legs; the canvas shoes, cut low with silver buckles, the short jacket with pointed tail, the exaggerated straw hat, with black hanging silk tassles, and the thick gold hoops that they wore in their ears, from which they hung harts and padlocks of the same metal, forming an ornament that only they wear; …those were the curros of El Manglar (The mangrove neighborhood)..."The curro was dedicated to laziness, theft and procuring, while his companion, the curra, also called "mulata de rumbo", exercised the But the Curros also provided entertainment, including songs and dances to the thousands of Spanish men that came to the Island every year in the ships that followed the "Carrera de Indias", a route established by the Spanish Crown for their galleons in order to avoid attacks from pirates and privateers, and stayed for months until they returned to the Port of Seville.
From the 16th to the 18th century some danceable songs that emerged in Spain were associated with Hispanic America, or considered to have originated in America. The first to introduce a vocal part in a On January 20, 1801, Buenaventura Pascual Ferrer published a note in a newspaper called "El Regañón de La Habana," in which he refers to certain chants that "run outside there through vulgar voices".