By most accounts, rumba first emerged in Cuba during the 1880s, at the time when

slavery was finally abolished on the island. We know that the Congolese-based p
rogenitors of rumba existed in the slave barracones ( barracks ) during the early ni
neteenth century. It is therefore highly probable that various types of proto-ru
mbas were danced prior to the first rumba references made by contemporary chroni
clers. Initially the musical instruments of rumba consisted of regular household
items: the side of a cabinet functioned in the role of the present-day tumba or
salidor (the primary supportive drum), while an overturned drawer served as the
quinto (the lead drum) and a pair of spoons played the cscara part on whatever w
as available.[10]
En msica, el acorde mstico o acorde Prometeo es un acorde complejo de seis notas,
basado en una escala musical o coleccin de tonos que sirvi como fundamento armnico
y meldico para algunas de las ltimas obras del compositor ruso Aleksandr Skriabin
(1872-1915).
Consiste en las notas do, fa?, si?, mi, la y re. Interpretadas normalmente como
un hexacorde por cuartas consistente en una cuarta aumentada, una cuarta disminu
ida, una cuarta aumentada y dos cuartas justas. Sin embargo, el acorde puede rep
roducirse de diversas maneras y est relacionado con otras colecciones de tonos.
Es tambin un ejemplo de acorde sinttico, y la escala de la que deriva
asiones escala prometeo es un ejemplo de escala sinttica.

llamada en oc

En armona moderna se considerara un acorde de dominante con sptima, novena, oncena

sostenida y trecena, que es de uso relativamente frecuente en el jazz contemporne
o. La escala correspondiente es dominante lidio.

Bibliografa[editar]
Cardellicchio, Antonio: La esencia de la historia de la msica. Buenos Aires: Anto
nio Cardellicchio, 1999.
Daz Gonzlez, Lydia: El acorde mstico de Scriabin (monografa), consultada el 8 de febr
ro de 2009. Espaa: Conselleria d Educaci (Generalitat Valenciana).
Vase tambin[editar]
Acorde de Tristn
Categora: Acordes
Several types of rumba emerged, some of which have been lost to time, or are ext
remely rare today. These include the taona,[11] papalote,[12] tonada,[13] jiribi
lla and resed.[14]
The great Matanzas rumbero Chach Vega states: I was born in the neighborhood calle
d Simpson. You had rumba for lunch and rumba for dinner . . . so, you had to lea
rn rumba . . . Young and old, with great respect, and consideration. It was a wh
ole way of life. [In other words, we re born with the rumba] and we will die with
the rumba. [15] As an energetic Afro-Cuban dance, rumba was often suppressed and r
estricted because it was viewed as dangerous and lewd. Because of this, when it
first emerged it was done in private. This includes a smooth combination of musi
c, dance and poetry to produce a unique sound and dance [8] While the syncopated
rhythms, and call-and-response singing are clearly of African origin, the song
framework is largely based in the music traditions of Spain. The various styles
of rumba songs derive their melodies, patterns and instrumentation from seguidil
las, copla, peteneras, jotas, soleares, malagueas, isas, foetition between the ma
le and female. The female seductively moves her upper and lower body in contrary
motion, and holding the ends of her skirt, opens and closes it in rhythm with the m
usic. The male tries to distract her with fancy (often counter-metric) steps, ac
cented by the quinto, until he is in position to surprise her with a single thru
st of his pelvis. This erotic movement is called the vacunao ( vaccination or inject

ion ), a gesture derived from yuka and makuta, symbolizing sexual penetration. The
vacunao can also be expressed with a sudden gesture of the hand or foot. The qu
into often accents the vacunao, usually as the resolution to a phrase spanning m
ore than one cycle of clave. The female reacts to the vacunao by quickly turning
away, bringing the ends of her skirts together, or covering her groin area with
her hand (botao), symbolically blocking the injection. A male dancer rarely succe
eds in surprising his partner. The dance is performed with good-natured humor.[1
6]
The term guaguanc originally referred to a narrative song style (coros de guaguan
c) which emerged from the coros de claves of the late 19th and early 20th centuri
es. Rogelio Martnez Fur states: [The] old folks contend that strictly speaking, the
guaguanc is the narrative."[17]
Yamb is a couple dance like guaguanc but much slower. Vacunao is not used; the phr
ase en el yamb no se vacuna, "in yamb there is no vaccination", is commonly heard
during yamb performances.
Columbia is a fast and highly acrobatic solo male dance.[8]
Rumba is now most commonly performed at informal fiestas. The musical ensemble i
s made up of percussions and vocal sections.[8] This African derived rumba dance
and music also inspires poets who in turn inspire the dance and chants. Some po
ets, including Carmen Cordero and Maya Santos Febres, have said that a poetic por
trayal of dance maintains its meaning as a vehicle of resistance. This could be t
aken as pushing for change and acceptance [18] These ideas go well with the expr
ession associated with the rumba when it first emerged and when it became more w
idely accepted by all Cubans.
Carlos Vidal Bolado (better known simply as Carlos Vidal) was one of the first t
o commercially record authentic folkloric rumba (Ritmo Afro-Cubano SMC 2519-A an
d 2520-B, circa 1948).[19] Guaguanc can be heard in salsa songs such as "Quimbara
" by Celia Cruz.
See also[edit]
Conga line
References[edit]
Jump up ^ Blatter, Alfred (2007). Revisiting music theory: a guide to the practi
ce, p.28. ISBN 0-415-97440-2.
Jump up ^ Orovio, Helio 2004. Cuban music from A to Z. Revised by Sue Steward. I
SBN 0-8223-3186-1 A biographical dictionary of Cuban music, artists, composers,
groups and terms. Duke University, Durham NC; Tumi, Bath. p191
Jump up ^ Pealosa, David (2011: 183) Rumba Quinto Bembe Books. ISBN 1-4537-1313-1
.
Jump up ^ Aln Rodrguez, Olavo (2010: 3) A History of the Congas AfroCubaWeb. http:
//afrocubaweb.com/cidmuc.htm.
Jump up ^ Ption Studies (2008): 1257-1281, 25.