Maracas in the context of Music education for young children

"La Isla Bonita" (Spanish for "The Beautiful Island") is a song by American singer Madonna from her third studio album, True Blue (1986). Initially composed as an instrumental demo by Patrick Leonard and Bruce Gaitsch for Michael Jackson, it was presented to him but ultimately rejected. The track was later developed by Madonna, who added lyrics and co-produced it with Leonard. Marking her first foray into Latin pop, the song features flamenco guitar, Latin percussion, maracas, and several lines sung in Spanish. The lyrics reference an island called San Pedro, whose location remains ambiguous; Madonna described the song as a tribute to Latin Americans.

Released on February 25, 1987, as the fifth and final single from True Blue, "La Isla Bonita" received positive reviews from music critics, who praised its melody, production, and romantic tone. It became a commercial success, reaching number four on the Billboard Hot 100 and topping the Adult Contemporary chart in the United States. Internationally, it reached number one in the United Kingdom, Canada, France, West Germany, and Austria. The track has since appeared on several Madonna compilations, including The Immaculate Collection (1990) and Celebration (2009), and has been cited as an influence on the work of later artists.

Son cubano (Spanish: [ˌsoŋ kuˈβano]) is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section (bongo, maracas, etc.) are all rooted in traditions of Bantu origin.

Around 1909 the son reached Havana, where the first recordings were made in 1917. This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre. While early groups had between three and five members, during the 1920s the sexteto (sextet) became the genre's primary format. By the 1930s, many bands had incorporated a trumpet, becoming septetos, and in the 1940s a larger type of ensemble featuring congas and piano became the norm: the conjunto. The son became one of the main ingredients in the jam sessions known as descargas that flourished during the 1950s.

The rhythm band is one of the primary methods of introducing children to playing music. Children are given maracas, tambourines, bells, rhythm sticks and other idiophones with which to beat out a simple rhythm while the teacher plays a song, usually on the piano. Alternatively, the teacher does not play a melody but also a rhythm instrument, so that only rhythms are played. Children can also make a rhythm band "just for fun" for themselves, without a teacher. Rhythm bands are typically found in nursery schools or kindergartens, but of course children also can make a rhythm band at home. Melodic instruments are introduced to the children in the first or second year of regular school. But in principle, a rhythm band can be made in every age, with more difficult rhythms if the participants are older.If the participants like very loud music, noisemakers like the pea whistle, the recorder head joint, the vuvuzela or the ratchet can be included into the rhythm band, as well as other loud rhythm instruments like the snare drum.

American composer J. Lilian Vandevere wrote many pieces for rhythm band and toy orchestra. She and American educators Gladys Marie Stein and Satella Waterstone also wrote articles and textbooks about their use in music education.

The Trío Matamoros was a Cuban trova group. It was formed in 1925 by Miguel Matamoros (8 May 1894 in Santiago de Cuba – 15 April 1971; guitar), Rafael Cueto (14 March 1900 in Santiago de Cuba – 7 August 1991; guitar) and Siro Rodríguez (9 December 1899 in Santiago de Cuba – Regla, 29 March 1981; maracas and claves). All three were singers and composers. The group was originally called Trio Oriental, but changed their name to Trio Matamoros in 1928 after finding that a group called Trio Oriental already existed.

The Trío Matamoros played boleros and son. They toured all Latin America and Europe and recorded in New York. In 1940 Guillermo Portabales performed with the trio. Matamoros expanded the trio into a conjunto (Conjunto Matamoros) for a trip to Mexico and hired the young Beny Moré as singer from 1945 to 1947. They recorded many 78 rpm records and LPs; some of their output is available on CDs. The group were critically acclaimed for the harmony of their voices, and the quality of the lyrics.