Later Development
The contradanza in 6/8 evolved into the clave (not to be confused with the key pattern of the same name), the criolla and the guajira. From the contradanza in 2/4 came the (danza) habanera and the danzón (Carpentier 2001:147).
The danza dominated Cuban music in the second half of the 19th century, though not as completely as the contradanza had in the first half. Two famous Cuban composers in particular, Ignacio Cervantes (1847–1905) and Ernesto Lecuona (1895–1963), used the danza as the basis of some of their most memorable compositions. And, in spite of competition from the danzón, which eventually won out, the danza continued to be composed as dance music into the 1920s. By this time, the charanga had replaced the orquesta típica of the 19th century (Alén 1994:82- example: "Tutankamen" by Ricardo Reverón).
The music and dance of the contradanza/danza are no longer popular in Cuba, but are occasionally featured in the performances of professional or amateur folklore groups.
Read more about this topic: Contradanza
Famous quotes containing the word development:
“I have an intense personal interest in making the use of American capital in the development of China an instrument for the promotion of the welfare of China, and an increase in her material prosperity without entanglements or creating embarrassment affecting the growth of her independent political power, and the preservation of her territorial integrity.”
—William Howard Taft (1857–1930)
“For decades child development experts have erroneously directed parents to sing with one voice, a unison chorus of values, politics, disciplinary and loving styles. But duets have greater harmonic possibilities and are more interesting to listen to, so long as cacophony or dissonance remains at acceptable levels.”
—Kyle D. Pruett (20th century)