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Abstract
In the first part of the article I outline the colonial origins of the carnivals of Santiago de Cuba and the outstanding participation of the Afro-Cuban councils for being ethnic and historical antecedents of the congas comparsas of the city. In the second part, I developed the main objective oriented to the study of the pylons, biscuits and requinto tamboras, bimembranophonic atabales that are part of the fundamental musical instrument ensembles of the orchestras of the Santiago congas.
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