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''Trova'' is one of the great roots of the Cuban music tree. In the 19th century a group of itinerant musicians known as ''trovadores'' moved around Oriente, especially Santiago de Cuba, earning their living by singing and playing the guitar.〔Canizares, Dulcila 1995. ''La trova tradicional''. 2nd ed, La Habana.〕 According to one writer, to qualify as a trovador in Cuba, a person should a) sing songs of his own composition, or of others of the same kind; b) accompany himself on the guitar; and c) deal poetically with the song.〔"Trata de poetizar con su canto" in the original. Nicola, Noel . Por qué nueva trova? ''El Caimán Barbudo'' #92, p10-12.〕 This definition fits best the singers of boleros, and less well the Afrocubans singing funky sones (El Guayabero) or even guaguancós and abakuá (Chicho Ibáñez). It rules out, perhaps unfairly, singers who accompanied themselves on the piano.〔Bola de Nieve was an unusual case: a trained pianist who accompanied his piano with a gravelly voice. He is better classified as a salon entertainer than a trova artist.〕 Probably, this kind of life had been going on for some time, but it comes into focus when we learn about named individuals who left their marks on Cuban popular music. ''Trova'' musicians have played an important part in the evolution of Cuban popular music. Collectively, they have been prolific as composers, and have provided a start for many later musicians whose career lay in larger groupings. Socially, they reached every community in the country, and have helped to spread Cuban music throughout the world.〔Giro Radamés 2007. ''Diccionario enciclopédico de la música en Cuba''. La Habana. vol 4, p206 et seq.〕 ==The founders== Pepe Sánchez, born José Sánchez (Santiago de Cuba, 19 March 1856 – 3 January 1918), is known as the father of the ''trova'' style and the creator of the Cuban bolero.〔Orovio, Helio 1995. ''El bolero latino''. La Habana.〕 He had some experience in ''bufo'', but had no formal training in music. With remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost for ever, though some two dozen or so survive because friends and disciples wrote them down. His first bolero, ''Tristezas'', is still remembered today. He also created advertisement jingles, believe it or not, before radio was born.〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago. p253 gives a verse on ''Cola marca Palma Real''〕 He was the model and teacher for the great trovadores who followed him.〔Orovio, Helio 2004. ''Cuban music from A to Z.'' p195.〕 The first, and one of the longest-lived, was Sindo Garay, born Antonio Gumersindo Garay Garcia (Stgo de C. 12 April 1867 – Havana, 17 July 1968). He was the most outstanding composer of trova songs, and his best have been sung and recorded many times. ''Perla marina'', ''Adios a La Habana'', ''Mujer bayamesa'', ''El huracan y la palma'', ''Guarina'' and many others are now part of Cuba's heritage. Garay was also musically illiterate – in fact, he only taught himself the alphabet at 16 – but in his case not only were scores recorded by others, but there are recordings as well. In the 1890s Garay got involved in the Cuban War of Independence, and decided a stay in Hispaniola (Haiti and Dominican Republic) would be a good idea. It was, and he came back with a wife. Garay settled in Havana in 1906, and in 1926 joined Rita Montaner and others to visit Paris, spending three months there singing his songs. He broadcast on radio, made recordings and survived into modern times. He used to say "Not many men have shaken hands with both Jose Marti and Fidel Castro!" Carlos Puebla, whose life spanned the old and the new trova, told a good joke about him: "Sindo celebrated his 100th birthday several times -- in fact, whenever he was short of money!" 〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago. p298〕〔de Leon, Carmela 1990. ''Sindo Garay: memorias de un trovador''. La Habana. Garay's life story as told in his nineties; includes a 16-page appendix listing his compositions.〕 José 'Chicho' Ibáñez (Corral Falso,〔now ''Pedro Betancourt''〕 22 November 1875 – Havana, 18 May 1981)〔date of death from the program of ''LatinBeat 2003'', Film Society of the Lincoln Center, New York. Orovio, Helio 2004. ''Cuban music from A to Z''. Revised by Sue Steward. p112 gives 1987 as the date of death; earlier date here preferred on grounds of probability.〕 was the first trovador (that we know of) to specialize in the son and also on guaguancós and afrocuban rhythms from the abakuá. He played the tres rather than the Spanish guitar, and developed his own technique for this Cuban guitar. During his extremely long career, Chicho sang and played the son in streets, plazas, cafés, nightclubs and other venues throughout Cuba. In the 1920s, when the sextetos became popular, he was forced to sell his compositions to these larger groups and their composers in order to survive. His compositions include ''Tóma mamá que te manda tía'', ''Evaristo'', ''No te metas Caridad'', ''Ojalá'' (sones); ''Yo era dichoso'', ''Al fin mujer'' (bolero-sones); ''Qué más me pides'', ''La saya de Oyá'' (guaguancos). He worked throughout Cuba, and latterly a short film was made of him ('See also' below). The composer Rosendo Ruiz (Sgo de C. 1 March 1885 – Havana, 1 January 1983) was a trovador almost as long-lived as Ibáñez and Garay. He wrote the criolla ''Mares y Arenas'' in 1911, the workers' anthem ''Redencion'' in 1917, the bolero ''Confesion'', the guajira ''Junto al canaveral'' and the pregon-son ''Se va el dulcerito''. He was the author of a well-known guitar manual. Manuel Corona (Calbarién 17 June 1880 – Havana 9 January 1950) started his career in a red light district of Havana. Originally a singer-guitarist, he became a prolific composer after his hand was damaged by a pimp's knife. It was a case of "She was a whore, and she had her man, but I loved her". Alberto Villalón (Stgo de C. 7 June 1882 – Havana 16 07 1955) advanced the trova guitar technique and had a hand in the birth of the son septetos. Garay, Ruiz, Villalón and Corona were known as ''the four greats of the trova'', but Ibáñez and the following trovadores should be regarded as of equally high stature. 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「Trova」の詳細全文を読む スポンサード リンク
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