Cuban music in the 18th century is essential for analyzing the development of Cuban culture during this period. Esteban Salas, considered the first Cuban composer, achieved the greatest renown as a musician during this period. His music occupied a historical context that touched on the two stylistic extremes that existed in the 18th century: the late Baroque and the early Classical periods. Salas differentiated popular music from classical music. His work encompassed, in addition to musical creation, a broad social and cultural project of considerable historical value.

An important part of the Cuban musical landscape of the 18th century was the emergence of guajira, or peasant, music during this period. This genre was strongly influenced by Hispanic music, especially from the islands or Canary Islands. In its development, it acquired a series of Creole characteristics, such as the use of the décima as a poetic text. This Creole music incorporated the guitar into its instrumental format and was better suited to rural population centers, distancing itself from urban areas. It transcended as a music characteristic of those who worked in the fields.

In the 18th century, as part of the rise of slavery evident during this period, cultural manifestations of African origin emerged, essential for the study of Cuban music. Thus, we find the Afro-Cuban cabildos, which were associations of Black people, both slaves and free, that emerged at the beginning of slavery and continued until 1884, when they were banned by the colonial government.

The cabildos’ purpose was apparently dance and entertainment, but these urban societies were essentially a means of tribal cohesion for each of the African cultures present in Cuba and home to their religions, whose ceremonies were disguised as parties and entertainment. These religious festivities of the cabildos were celebrated as veritable spectacles of dramatic processions, which were permitted on Sundays.

Slowly influenced by the musical currents of European culture, Cuba began a notable movement in favor of music in the eastern part of the country at the end of the 18th century, thanks to French immigrants who, fleeing the Black Revolution in Haiti, arrived in this area.

In 1794, a Romance was published that describes a dance and already mentions the Contradanza. During those years, popular musicians began to emerge. One of them, a humble Black Havana native, was a composer of light music, Contradanza and Danza. This already illustrates a phase in the development of an expression of Cuban national music.