The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

West African drumming tradition · prehistoric–

Changüí keeps an African party-drum and call-response job under tres and marímbula: interlocking skins, a dance cycle, and song as a cue for the floor.

Influence

Changüí

genre · 1860–

Also called changui

Eastern Cuban rural song-and-dance of the Guantánamo hills: tres, marímbula, bongo, güiro, and a party (guateque) as the job. It hears West African drumming for the party-drum and call-response job, and already gives Cuban son the Oriente guitar-and-percussion grammar. Nengón and kiribá leftover as named local games inside this window, not second nodes. Spanish rustic song leftover as a lyric neighbor, not a parent.

Listen

  1. Changüí Guantánamo Grupo Changüí de Guantánamo (living / traditional) YouTube
  2. El Guantánamo Changüí tradition (traditional) YouTube
  3. Nengón Eastern Cuban rural tradition (traditional)
  4. Kiribá Eastern Cuban rural tradition (traditional)
  5. Guateque campestre Changüí ensembles of Guantánamo (living / traditional)

Passed on

Cuban son genre · 1880–

Havana son takes eastern rural changüí’s ensemble job: tres ostinato, box or marímbula bass, bongo, and a party song that heats into montuno.

Influence

West African drumming → Changüí

meter and grooveinstrumentationperformance practicefunction and contextstrength: highscholarly consensus1800–1900migrationoraldance

Mechanism

Changüí keeps an African party-drum and call-response job under tres and marímbula: interlocking skins, a dance cycle, and song as a cue for the floor. Strength high. Havana son clave is a later urban law (changui cuban son); this hop is the rural percussion grammar.

Evidence

Guantánamo guateque practice; bongo-güiro conversation; Sublette and Manuel on eastern rural Afro-Cuban dance music.

Debate

Which African timelines map onto changüí’s downbeat-heavy pulse. The broad Atlantic donor node is used on purpose.

Mediators

community: Afro-Cuban rural musicians in Oriente

Changüí → Cuban son

instrumentationform and structureperformance practicemeter and groovestrength: highscholarly consensus1880–1920oralmigrationdance

Mechanism

Havana son takes eastern rural changüí’s ensemble job: tres ostinato, box or marímbula bass, bongo, and a party song that heats into montuno. Strength high for that Oriente grammar. Rumba supplies clave and coro from the western yards (rumba cuban son); this hop is the guitar-band school, not rumba.

Evidence

Guantánamo changüí practice; continuity of tres-and-percussion into early son; Sublette, Manuel, and Grove on changüí as a named predecessor.

Debate

Whether nengón or kiribá is the deeper named game. They stay leftover inside changüí’s window; this edge is the changüí-to-son popular school.

Mediators

community: Oriente rural musicians