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From the Drum to the Synthesizer

The circumstances of Cuban music-its history, sources, tendencies, and products-are different from any other art form in the country. Because of this, as much as because of the specific qualities of music, the problems of Cuban music are of a very different order from any other manifestation of Cuban culture. In general, the history of Cuban literature, theater, and plastic arts follows a more or less common rule. Their first whimpers sprang from the bosom of a dominant class that began to be "cultured" and to follow European models. This is not to deny the existence of an oral literature among the oppressed classes or of popular poetry, theater, or plastic arts. These expressions, however, ignored when they were not attacked or scorned, remained in a marginal position and reemerged with some distinction of their own only in turbulent revolutionary times. In music, things did not happen the same way. In a phenomenon common to the Latin American and Caribbean countries-and unlike Europe from the time of the conquest, two clearly differentiated types of music developed simultaneously. They were of different ethnic backgrounds: one had indigenous or African roots (in Mexico, Peru, Guatemala, and Bolivia, or in Cuba, Haiti, Jamaica, and Brazil), the other had European roots. The first attempts at American "art music" were taken from European models. In the nineteenth century their separation was most marked, characterized by "serious music" in which symphonies, operas, overtures, and symphonic poems abounded, and "popular music." Wavering between traditionalism and innovation, popular music survived and grew tenaciously as spiritual nourishment for the peoples of the Americas, in streets and slums, ballrooms and town fairs.