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''Contradanza'' (also called ''contradanza criolla'', ''danza'', ''danza criolla'', or ''habanera'') is the Spanish and Spanish-American version of the ''contradanse'', which was an internationally popular style of music and dance in the 18th century, derived from the English country dance and adopted at the court of France. ''Contradanza'' was brought to America and there took on folkloric forms that still exist in Mexico, Venezuela, Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century it became an important genre, the first written music to be rhythmically based on an African rhythm pattern and the first Cuban dance to gain international popularity, the progenitor of danzon, mambo and cha cha cha, with a characteristic "''habanera'' rhythm" and sung lyrics. Outside Cuba the Cuban ''contradanza'' became known as the ''Habanera'' - the dance of Havana - and that name was adopted in Cuba itself subsequent to its international popularity in the later 19th century,〔Manuel, Peter (2009: 97). ''Creolizing Contradance in the Caribbean'' Philadelphia: Temple University Press.〕 though it was never so called by the people who created it.〔Alejo Carpentier cited by John Storm Roberts (1979: 6). ''The Latin tinge: the impact of Latin American music on the United States''. Oxford.〕 ==History== The ''contradanza'' was popular in Spain and spread throughout Spanish America during the 18th century. But Haitians fleeing the Haitian Revolution of 1791 brought to the Cuban version a Creole influence and a new syncopation.〔(【引用サイトリンク】title=History of Cuban Music )〕〔Carpentier 2001:146〕〔''The History of Latin American Dance'' by Jessica Martinez〕 The earliest Cuban ''contradanza'' of which a record remains is "San Pascual Bailón" which, written in 1803.〔Orovio 1981:118〕〔Manuel, Peter (2009: 67), ''Creolizing Contradance in the Caribbean.'' Philadelphia: Temple University Press.〕 Certain characteristics would set the Cuban ''contradanza'' apart from the ''contredanse'' by the mid-19th century, notably the incorporation of the African cross-rhythm called the ''tresillo''.〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago. p134〕 The ''habanera'' rhythm can be thought of as a combination of ''tresillo'' and the backbeat. The ''habanera'' is also slower and as a dance more graceful in style than the older contradanza but retains the binary form of classical dance, being composed in two parts of 8 to 16 bars each, though often with an introduction.〔Grenet, Emilio 1939. ''Música popular cubana''. La Habana.〕〔Santos 1982〕 An early identifiable "contradanza habanera", ''La Pimienta'', an anonymous song published in an 1836 collection, is the earliest known piece to use the characteristic "''habanera''" rhythm in the left hand of the piano.〔Roberts, John Storm (1979: 6). ''The Latin tinge: the impact of Latin American music on the United States''. Oxford University Press.〕 The ''contradanza,'' when played as dance music, was performed by an ''orquesta típica'' composed of two violins, two clarinets, a contrabass, a cornet, a trombone, an ophicleide, ''paila'' and a ''güiro'' (Alén 1994:82). But the ''habanera'' was sung as well as danced. During the first half of the 19th century, the ''contradanza'' dominated the Cuban musical scene to such an extent that nearly all Cuban composers of the time, whether composing for the concert hall or the dance hall, tried their hands at the ''contradanza'' (Alén 1994:82). Among them Manuel Saumell (1817–1870) is the most noted (Carpentier 2001:185-193). The New Orleans born pianist/composer Louis Moreau Gottschalk (1829-1869) wrote several pieces with the rhythm, gleaned in part from his travels through Cuba and the West Indies: "Danza" (1857), "La Gallina, Danse Cubaine" (1859), "Ojos Criollos" (1859) and "Souvenir de Porto Rico" (1857) among others. It is thought that the Cuban style was brought by sailors to Spain, where it became popular for a while before the turn of the twentieth century. The Basque composer Sebastian Yradier's ''La Paloma'' (The dove), achieved great fame in Spain and America. The dance was adopted by all classes of society and had its moment in English and French salons. It was so well established as a Spanish dance that Jules Massenet included one in the ballet music to his opera ''Le Cid'' (1885), to lend atmospheric color. Maurice Ravel wrote a ''Vocalise-Étude en forme de Habanera'', and a ''habanera'' for Rapsodie espagnole (movement III, originally a piano piece written in 1895), Camille Saint-Saëns' ''Havanaise'' for violin and orchestra is still played and recorded today, as is Emmanuel Chabrier's ''Habanera for orchestra'' (originally for piano). Bernard Herrmann's score for Vertigo (1958) makes prominent use of the rhythm as a clue to the film's mystery. In Andalusia (especially Cadiz), Valencia, Alicante and Catalonia the habanera is still popular. ''La Paloma'', ''La bella Lola'' or ''El meu avi'' (My grandfather) are well known.〔Berenguer González, Ramón T. (''"La Comisión de San Roque" Habanera Mp3· ) ISWC: T-042192386-5 2007''〕 From Spain the style arrived in the Philippines where it still exists as a minor art-form.〔(Spanish Influence Dances ).〕 In the twentieth century the ''habanera'' gradually became a relic form in Cuba, especially after the success of the son. However, some of its compositions were transcribed and reappeared in other formats later on: Eduardo Sánchez de Fuentes' ''Tú'' is still a much-loved composition.〔Carpentier, Alejo 2001 (1945). ''Music in Cuba''. Minneapolis MN.〕 The music and dance of the ''contradanza/danza'' are no longer popular in Cuba but are occasionally featured in the performances of folklore groups. 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「contradanza」の詳細全文を読む スポンサード リンク
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