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The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music.〔Orovio, H. ''Cuban Music from A to Z''. Duke University Press Books, 2004.〕 Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.〔They were the Taíno, a Neolithic people in Oriente, the Siboney people in the center of the island and the Guanahatabeys, primitive hunter-gatherers in the West. The Arawaks were a people from mainland South America. The style of religion, music and dance of these Indian groups is called areíto, but was never recorded and is virtually lost today. Only a few Cubans show features of Indian descent.〕 Since the 19th century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genre and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa and Europe. Examples include rhumba, Afro-Cuban jazz, salsa, soukous, many West African re-adaptations of Afro-Cuban music (Orchestra Baobab, Africando), Spanish fusion genres (notably with flamenco), and a wide variety of genres in Latin America. ==Overview== Large numbers of African slaves and European, mostly Spanish, immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, paso doble and retambico. Later, northern European forms like minuet, gavotte, mazurka, contradanza, and the waltz appeared among urban whites. There was also an immigration of Chinese indentured laborers later in the 19th century. Fernando Ortiz, the first great Cuban folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large sugar plantations and Spaniards from different regions such as Andalusia and Canary Islands. The African slaves and their descendants made many percussion instruments and preserved rhythms they had known in their homeland.〔Ortiz, Fernando 1952. ''Los instrumentos de la musica Afrocubana''. 5 volumes, La Habana.〕 The most important instruments were the drums, of which there were originally about fifty different types; today only the bongos, congas and batá drums are regularly seen (the timbales are descended from kettle drums in Spanish military bands). Also important are the claves, two short hardwood batons, and the cajón, a wooden box, originally made from crates. Claves are still used often, and cajons (''cajones'') were used widely during periods when the drum was banned. In addition, there are other percussion instruments in use for African-origin religious ceremonies. Chinese immigrants contributed the ''corneta china'' (Chinese cornet), a Chinese reed instrument still played in the comparsas, or carnival groups, of Santiago de Cuba. The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition. Hernando de la Parra's archives give some of our earliest available information on Cuban music. He reported instruments including the clarinet, violin and vihuela. There were few professional musicians at the time, and fewer still of their songs survive. One of the earliest is ''Ma Teodora'', supposed to be related to a freed slave, Teodora Ginés of Santiago de Cuba, who was famous for her compositions. The piece is said to be similar to 16th-, 17th- and 18th-century Spanish popular songs and dances.〔Discussed in more detail by Carpentier, Alejo 2001 (). ''Music in Cuba''. Minneapolis MN. p84 et seq〕 Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Important among these are France (and its colonies in the Americas), and the United States. Cuban music has been immensely influential in other countries. It contributed not only to the development of jazz and salsa, but also to the Argentine tango, Ghanaian high-life, West African Afrobeat, Dominican Bachata and Merengue, Colombian Cumbia and Spanish Nuevo flamenco and to the music 〔(National Geographic )〕 developed by Michel Elefteriades in the 1990s. The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic percussion is an inherent part of African music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting.〔Ortiz, Fernando 1950. ''La Afrocania de la musica folklorica de Cuba''. La Habana, revised ed 1965.〕 The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music of Cuba」の詳細全文を読む スポンサード リンク
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