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The origin of 'Salsa'
Confusion as to the classification of Latin and Afro-Caribbean music can be attributed more to marketing strategies rather than to actual musical differences.
After the Revolution in ’59 when many Cuban musicians were exiled in the U.S., a separation in the musical development in both countries began taking place.
This separation caused an impassioned debate on the terminology used to describe Cuban music in the U.S.
The word 'Salsa' led to great controversy since its creation in the beginning of the 70’s. Many Cuban musicians insisted that salsa didn’t exist and that it was actually the Cuban Són dressed up for commercial purposes. But Salsa ended up creating such a worldwide impact that it was finally given legitimacy.
However, it must also be kept in mind that Puerto Rican musicians (and musicians from other Latin American countries) had a considerable hand in the preservation and development of this music in the U.S. and that their interpretation actually created something new and different to what was being played in Cuba.
New sounds and styles
While in New York during the ‘60s, the Latin music scene continued more or less along the lines of the traditional music of the pre-revolutionary stage in Cuba, the musicians that had remained on the island began experimenting with new sounds and styles coming from the U.S.
They began mixing in elements of jazz, fusion and rock with popular dance music and began to stray from the limitations imposed by tradition in order to serve the dancing public.
In the 70’s the invented "Salsa" word had hit the East Coast of the U.S., at a time when this sort of music was experiencing enormous popularity peaks as well as notable growth within the record industry.
Thus, The development of various music styles that emerged during these last decades can be clearly observed. In general terms, the Post revolution Cuban music (which includes dance music, Jazz , New Troubadour and the Timba), Jazz and Latin Fusion (including Latin rock, a style developed mainly on U.S.’s West Coast) can be categorized as East Coast Salsa.
When exploring the various aspects of this evolution with the music actually being played, it is fascinating to observe the independent development of each instrument within the different groupings and in particular, how specific patterns are created within these styles.
As was mentioned earlier, many of the structural changes or developments with the more modern styles have affected mainly percussion instruments, while the piano has maintained its role based on the foundations of the Son and its variations.
It's all about rhythm
One thing that should not be forgotten is that when talking of Salsa or one of the many musical styles of Afro-Caribbean origins, one is talking of rhythms that were all made to dance to. The importance of dance in the Caribbean is nothing new and since the arrival of the Spaniards all the chronicles and traveler’s texts were filled with references to the festive and dancing culture of the Latin Americans.
For Cubans especially, music and dance has always had a very special place in society. Evidence of this can be found in the innumerable essays, articles and reports written by researchers who study the subject in detail.
However, the second half of the 19th Century can be considered as the crucial stage in the crossing and realization process of musical and dance genres originating from Africa and Europe.
Creating of more modern styles after 1850
During this same period and as a result of the influence and authority exerted by the waltz, the polka and the Contra-Danze (Country Dance), dancing in partners became the most popular style in dancing salons. Cuba entered the 20th Century, dancing Danzón, the direct offspring of the Habanera and the Contra-Danze.
Since then, nothing has stopped and in Cuba every so often, it seems that a moment arrives in which dancers get bored of one type of music and search for another to entertain them and get them dancing again.
At first, as was just mentioned, it was the Danzón; then once that became tedious and monotonous, the Danzonete was incorporated to the end of the song in order to make it less structured and more lively and relaxed for dancers. Then, in the beginning of the 30’s, came the eastern Són. But once again dancers grew bored and it was necessary for musicians to rehearse new beats and rhythms.
That is how the Mambo came into being in the 40’s, the Chachachá in the 50’s, the Pachanga in the 60’s and so on until the Songo arrived in the 80’s and the Timba in the 90’s.
Confusion as to the classification of Latin and Afro-Caribbean music can be attributed more to marketing strategies rather than to actual musical differences.
After the Revolution in ’59 when many Cuban musicians were exiled in the U.S., a separation in the musical development in both countries began taking place.
This separation caused an impassioned debate on the terminology used to describe Cuban music in the U.S.
The word 'Salsa' led to great controversy since its creation in the beginning of the 70’s. Many Cuban musicians insisted that salsa didn’t exist and that it was actually the Cuban Són dressed up for commercial purposes. But Salsa ended up creating such a worldwide impact that it was finally given legitimacy.
However, it must also be kept in mind that Puerto Rican musicians (and musicians from other Latin American countries) had a considerable hand in the preservation and development of this music in the U.S. and that their interpretation actually created something new and different to what was being played in Cuba.
New sounds and styles
While in New York during the ‘60s, the Latin music scene continued more or less along the lines of the traditional music of the pre-revolutionary stage in Cuba, the musicians that had remained on the island began experimenting with new sounds and styles coming from the U.S.
They began mixing in elements of jazz, fusion and rock with popular dance music and began to stray from the limitations imposed by tradition in order to serve the dancing public.
In the 70’s the invented "Salsa" word had hit the East Coast of the U.S., at a time when this sort of music was experiencing enormous popularity peaks as well as notable growth within the record industry.
Thus, The development of various music styles that emerged during these last decades can be clearly observed. In general terms, the Post revolution Cuban music (which includes dance music, Jazz , New Troubadour and the Timba), Jazz and Latin Fusion (including Latin rock, a style developed mainly on U.S.’s West Coast) can be categorized as East Coast Salsa.
When exploring the various aspects of this evolution with the music actually being played, it is fascinating to observe the independent development of each instrument within the different groupings and in particular, how specific patterns are created within these styles.
As was mentioned earlier, many of the structural changes or developments with the more modern styles have affected mainly percussion instruments, while the piano has maintained its role based on the foundations of the Son and its variations.
It's all about rhythm
One thing that should not be forgotten is that when talking of Salsa or one of the many musical styles of Afro-Caribbean origins, one is talking of rhythms that were all made to dance to. The importance of dance in the Caribbean is nothing new and since the arrival of the Spaniards all the chronicles and traveler’s texts were filled with references to the festive and dancing culture of the Latin Americans.
For Cubans especially, music and dance has always had a very special place in society. Evidence of this can be found in the innumerable essays, articles and reports written by researchers who study the subject in detail.
However, the second half of the 19th Century can be considered as the crucial stage in the crossing and realization process of musical and dance genres originating from Africa and Europe.
Creating of more modern styles after 1850
During this same period and as a result of the influence and authority exerted by the waltz, the polka and the Contra-Danze (Country Dance), dancing in partners became the most popular style in dancing salons. Cuba entered the 20th Century, dancing Danzón, the direct offspring of the Habanera and the Contra-Danze.
Since then, nothing has stopped and in Cuba every so often, it seems that a moment arrives in which dancers get bored of one type of music and search for another to entertain them and get them dancing again.
At first, as was just mentioned, it was the Danzón; then once that became tedious and monotonous, the Danzonete was incorporated to the end of the song in order to make it less structured and more lively and relaxed for dancers. Then, in the beginning of the 30’s, came the eastern Són. But once again dancers grew bored and it was necessary for musicians to rehearse new beats and rhythms.
That is how the Mambo came into being in the 40’s, the Chachachá in the 50’s, the Pachanga in the 60’s and so on until the Songo arrived in the 80’s and the Timba in the 90’s.
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