ABSTRACT
Contemporary Cuban MB is set apart from previous Cuban music and much Latin dance music not only because of its particular sound, form, rhythmic organization and instrumental phrasing, but also because of the role it gives to the voice. In popular music, voice is a vehicle for lyrical content and a means for conveying the individual mark of expression. In timba, the function of the popular song as a form of intimate communication between the singer and his/her listeners is complemented, and partially contradicted, by the presence of coros, the choral refrains that constitute the emotive focus of its compositions. In the first part of this chapter, I examine the role of coros, showing how their vocal style, particularly influenced by rap, constructs the discourse of timba songs in interaction with content and language.
