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

Filin style · 1940–

Nueva trova takes filin’s jazz-colored intimate song — close voice, extended harmony, guitar or piano — into the 1960s civic circuit.

Influence
Nueva canción movement · 1960–

Nueva trova hears nueva canción’s committed guitar-song job at the 1967 Havana Encuentro: folk instruments, civic verse, and a continental festival circuit as a model for the ICAI…

Influence
Trova tradition · 1860–

Nueva trova keeps trova’s guitar-voice song job and retasks it as 1960s civic song: one or two guitars, stanza, and a public verse.

Influence

Nueva trova

movement · 1967–

Also called nueva trova cubana

1960s–70s Cuban guitar-song movement: political and intimate verse over acoustic guitar (Rodríguez, Milanés, ICAIC / Casa de las Américas). It hears Trova for the guitar-voice song job, Filin for the Havana jazz-bolero craft Milanés carries, and Nueva canción for the 1967 continental protest-song meeting. It already gives Nueva canción the later Cuban export into festivals. Cuban son leftover as a different popular grammar. Spanish cantautor leftover as an Iberian parallel. Worldbeat leftover as a later market bin. Later Cuban singer-songwriters stay on this node.

Listen

  1. Ojalá Silvio Rodríguez (1978) YouTube · Spotify · Amazon
  2. Playa Girón Silvio Rodríguez (1975) YouTube · Spotify · Amazon
  3. Yolanda Pablo Milanés (1970) YouTube · Spotify
  4. Para vivir Pablo Milanés (1976) YouTube · Spotify
  5. Mariposas Silvio Rodríguez (1975) YouTube · Spotify

Passed on

Nueva canción movement · 1960–

Later continental nueva canción hears Cuban nueva trova’s state-circuit guitar song: Rodríguez and Milanés records and tours as a prestige model beside Parra and Jara.

Influence

Filin → Nueva trova

harmonymelodyperformance practicestrength: mediumwell documented1967–1975oralrecording

Mechanism

Nueva trova takes filin’s jazz-colored intimate song — close voice, extended harmony, guitar or piano — into the 1960s civic circuit. Strength medium. trova nueva trova is the older Santiago guitar-song job; this hop is the Havana bolero-jazz craft Milanés carries. Bolero leftover as filin’s own parent until that node is curated.

Evidence

Milanés’s filin years before ICAIC; Portillo de la Luz and Méndez as the named 1940s school; Grove and Manuel on filin as a parent of some nueva-trova singers.

Debate

Whether nueva trova is only trova plus politics. For Milanés the jazz-bolero grammar is filin’s; Rodríguez’s line is closer to the trova hop.

Mediators

artist: Pablo Milanés

Nueva canción → Nueva trova

function and contextperformance practicemelodystrength: mediumscholarly consensus1967–1972patronagerecordingoral

Mechanism

Nueva trova hears nueva canción’s committed guitar-song job at the 1967 Havana Encuentro: folk instruments, civic verse, and a continental festival circuit as a model for the ICAIC generation. Strength medium. trova nueva trova remains the Cuban song-school hop; this edge is the continental meeting. Spanish cantautor leftover as an Iberian parallel.

Evidence

1967 Encuentro de la Canción Protesta; Parra and Jara as named continental faces heard in Havana; Grove and Manuel on the meeting.

Debate

Whether Cuban nueva trova is only a local trova child. The guitar-voice grammar is Cuban; the 1960s protest-song institution is a continental job Havana joined.

Mediators

institution: Encuentro de la Canción Protesta / Casa de las Américas; artist: Violeta Parra; artist: Víctor Jara

Trova → Nueva trova

form and structureperformance practiceinstrumentationmelodystrength: highscholarly consensus1967–1975oralrecordingpatronage

Mechanism

Nueva trova keeps trova’s guitar-voice song job and retasks it as 1960s civic song: one or two guitars, stanza, and a public verse. Strength high. nueva cancion nueva trova is the continental protest-song meeting; filin nueva trova is the Havana jazz-bolero craft. This hop is the Santiago song school.

Evidence

Rodríguez and Milanés as named faces; ICAIC workshops; Grove and Manuel on nueva trova as a child of the trova song school.

Debate

Whether nueva trova is only protest song with no musical parent. The guitar-voice grammar is trova’s; the politics and state circuit are the 1960s recoding.

Mediators

artist: Silvio Rodríguez; artist: Pablo Milanés; institution: ICAIC / Casa de las Américas

Nueva trova → Nueva canción

function and contextperformance practicestrength: mediumscholarly consensus1970–1985recordingpatronage

Mechanism

Later continental nueva canción hears Cuban nueva trova’s state-circuit guitar song: Rodríguez and Milanés records and tours as a prestige model beside Parra and Jara. Strength medium. The reverse hop is the 1967 meeting into Havana; this edge is the 1970s export. Worldbeat leftover as a later market bin.

Evidence

1970s Casa de las Américas and festival circulation; Silvio/Pablo as named Cuban exports; Grove and Manuel on the two-way circuit.

Debate

Whether this is only the same movement under two names. Nueva trova is the Cuban ICAIC generation; nueva canción is the continental school that both fed and then heard it.

Mediators

artist: Silvio Rodríguez; artist: Pablo Milanés; institution: Casa de las Américas