About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 58. Chapters: Salsa music, Timba, Early Cuban bands, Conga, Trova, Danzon, Guaracha, Bolero, Habanera, Latin jazz, Cuban Rumba, Nueva trova, Cuban jazz, Danza, Marco Rizo, Manuel Saumell, Punto guajiro, Cuban rock, Guajira, Paila criolla, Cubaton, Son montuno, Mozambique, Pregon, Pepe Sanchez, Charanga, Filin, Changui, Cancion, Orquesta tipica, Yuka, Guaguanco, Tonadilla, Songo music, Comparsa, Pilon. Excerpt: Timba is a Cuban genre of music, sometimes referred as salsa cubana ('Cuban salsa music'). However, the historical development of timba has been quite independent of the development of salsa in the United States and Puerto Rico and the music has its own trademark aspects due to the Cuban Embargo and strong Afro-Cuban heritage. Before it became the newest Cuban music and dance craze, timba was a word with several different uses yet no particular definition, mostly heard within the Afro-Cuban genre of rumba. A timbero was a complimentary term for a musician, and timba often referred to the collection of drums in a folklore ensemble. But since the 1990s, timba represents Cuba's intense and slightly more aggressive music and dance form. As opposed to salsa, the roots of which are with the Cuban conjunto bands of the 1940s and 1950s, modified with rock, jazz, and traditional music of Puerto Rico, Timba represents a synthesis of a wider variety of popular and folkloric sources. Timba bands draw heavily from international influences such as jazz, rock, disco, funk and hip hop, as well as local folklore like rumba, guaguanco, bata drumming and the sacred songs of santeria. According to Vicenzo Perna, author of 'Timba: The Sound of the Cuban Crisis', timba needs to be spoke of because of its musical, cultural, social, and political reasons; its sheer popularity in Cuba, its novelty and originality as a musical style, the skill of it...
