In the 17th century, Cuba had approximately 20,000 inhabitants, including whites, blacks, Native Americans, and mestizos. The constant emigration of Hispanics from diverse areas of Spain gradually increased. A great diversity in economic, political, and social structures emerged, so the island’s economy in the 17th century was precarious due to the scarcity of gold and silver deposits, agriculture for domestic consumption, and the supply of fleets traveling from one continent to another. Furthermore, the siege of corsairs and pirates made existence in the colony difficult.

The conquistadors applied their modes of government by force, but when it came to culture, they were unable to prevent the general population and the conquered and dominated races from exerting marked cultural influences on the conquistadors. The presence of the native Indian or the black slave was felt within the syncretism that was already evident in the 17th century.

At this stage, there were no historical or social conditions conducive to the development of Cuban music. Both the Chapter Acts and the History of Bishop Morell de Santa Cruz point to constant pirate attacks. In Santiago, the situation was critical, particularly during the first third of the 17th century. In revenge for the attempt to suppress the ransom trade in Bayamo in 1603, Santiago was attacked; during this attack, churches were burned. The situation was not unusual, considering that the population was open, unprotected, and constantly threatened.

The main occupation of Cuba’s inhabitants in the 17th century was focused on the island’s defense. However, sugar production continued, and tobacco began to be marketed. The population grew very slowly due to wars, shortages, and diseases brought by the fleets to Havana.

The poor development of this period was closely linked to limited cultural advancement. The most significant factor was the presence of different cultures, with Europeans and Africans ultimately proving to be the defining factors in terms of music.