DOCSLIB.ORG

Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years of studies. iii ACKNOWLEDGMENTS I would like to thank Professor José Alberto Kaplan for his guidance and precious piano teaching in the years before my graduate studies; Professor Michael Gurt for his brilliance and exciting piano lessons and for his dedication in revising this monograph; my husband, Liduino José Pitombeira de Oliveira, for his constant assistance and clever advice; my parents, Célio Perdigão Di Cavalcanti and Amilde Bernardes Di Cavalcanti, for their love; my children, Roberto, Igor, and Caroline, for understanding how important music is to me; Jonas Evers, my grandson, for the good and relaxing moments; and my friend Joseph La Rosa for helping me with English grammar. I also thank composer Osvaldo Lacerda and pianist Eudóxia de Barros for their valuable support and information; Mr. Amaral and Mr. Nogueira, from Irmãos Vitale S/A Ind. and Com. and Ricordi Brasileira S.A., for authorizing the use of excerpts of Lacerda’s Brasilianas ; and the members of my committee, Michael Gurt, Dr. Victoria Johnson, Dr. Robert Peck, Dr. Dinos Constantinides, and Dr. Andrew Sluyter. I also thank Dr. Willis Delony, a previous member of my committee, for revising parts of my monograph. iv TABLE OF CONTENTS DEDICATION .................................................................................................................. iii ACKNOWLEDGMENTS ............................................................................................... iv ABSTRACT ..................................................................................................................... vii CHAPTER 1. MUSICAL NATIONALISM IN BRAZIL ..............................................1 1.1 Historical Background .......................................................................................1 1.2 Brazilian Musical Nationalism ..........................................................................3 CHAPTER 2. OSVALDO LACERDA ............................................................................8 CHAPTER 3. THE BRASILIANAS ...............................................................................11 3.1 General Considerations....................................................................................11 3.2 Brasiliana No. 1 ...............................................................................................12 3.3 Brasiliana No. 2 ...............................................................................................21 3.4 Brasiliana No. 3 ...............................................................................................31 3.5 Brasiliana No. 4 ...............................................................................................40 3.6 Brasiliana No. 5 ...............................................................................................48 3.7 Brasiliana No. 6 ...............................................................................................56 3.8 Brasiliana No. 7 ...............................................................................................63 3.9 Brasiliana No. 8 ...............................................................................................69 3.10 Brasiliana No. 9 .............................................................................................77 3.11 Brasiliana No. 10 ...........................................................................................84 3.12 Brasiliana No. 11 ...........................................................................................91 3.13 Brasiliana No. 12 ...........................................................................................97 CONCLUSION ..............................................................................................................106 BIBLIOGRAPHY ..........................................................................................................107 APPENDIX A. LIST OF WORKS BY OSVALDO LACERDA ...............................................110 B. REQUEST OF PERMISSION I ........................................................................130 C. LETTER OF PERMISSION I ...........................................................................131 D. REQUEST OF PERMISSION II .......................................................................132 E. LETTER OF PERMISSION II ..........................................................................133 F. REQUEST OF PERMISSION III .....................................................................134 v G. LETTER OF PERMISSION III........................................................................135 VITA ................................................................................................................................136 vi ABSTRACT Brazilian composer Osvaldo Lacerda (b. 1927) is an important figure in the Brazilian nationalist school of composition, following the tradition of Camargo Guarnieri. This study examines Brazilian nationalistic elements in the Brasilianas , a series of twelve suites for piano composed by Lacerda. These piano suites, written between 1965 and 1993, each comprise four movements, utilizing a wide variety of genres. This monograph is divided into three chapters. The first chapter provides a background on Brazilian history and Brazilian musical nationalism. The second chapter consists of information about Lacerda. The third chapter contains historical aspects and musical characteristics of the genres used in the pieces followed by a brief analytical comment. vii CHAPTER 1. MUSICAL NATIONALISM IN BRAZIL 1.1 Historical Background Throughout its history, Brazil has been subject to various cultural influences. African, European, and native cultures have intermingled, resulting in the appearance of many new musical genres. A study of Brazilian history and cultural development can therefore help to provide a better understanding of those genres. The territory that is now Brazil was originally occupied by more than five million native people, speaking more than a thousand languages. 1 Little is known about Brazilian history before 1500, when a Portuguese fleet, commanded by Pedro Álvares Cabral, landed in what is now Brazil, and claimed the territory for Portugal. Though Brazil was ruled by Portugal during the colonial period (1500–1822), other European countries, such as France, Holland, England, and Spain, tried to establish colonies in several parts of the Brazilian territory. The slave trade also brought many Africans to Brazil between 1555 and 1888, when slavery was abolished. Brazil achieved independence from Portugal in 1822, when Dom Pedro I was proclaimed emperor. The imperial period ended in 1889, when Deodoro da Fonseca became the first president of the United States of Brazil. 2 The ensuing Republican period can be divided as follows: Old Republic (1889–1930), Vargas Republic (1930–1945), Nascent Democratic Republic (1945–1964), Military Dictatorship (1964–1985), and New Republic (1985 to present). Brazilian music has its origin in the fusion of European traits, influenced by African and Indian elements during the colonial period. The Jesuit missionaries, who arrived in the 1550s, were culturally influential during the first years of colonization. The Jesuits taught the native 1 The website of the Brazilian National Indian Foundation provides useful information about the original inhabitants of Brazil. The address is <http://www.funai.gov.br/indios/conteudo.htm#>. 2 The country’s name was changed to Federative Republic of Brazil, in 1967. 1 people how to play and manufacture European musical instruments, 3 and they established Brazil’s first theatre (1555) and music conservatory (1559). 4 Musical activity increased considerably during the 1700s, a period called the “Gold Era,” when Brazil was producing 44% of the world’s supply of gold. 5 This period saw the rise of the so-called Barroco Mineiro (baroque of Minas Gerais), which was actually more closely associated with pre-classical than with baroque
Load more

Recommended publications
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
    Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en
    [Show full text]
  • Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School July 2019 Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú Rodrigo Clementino Diniz Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Ethnomusicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Clementino Diniz, Rodrigo, "Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú" (2019). LSU Master's Theses. 4977. https://digitalcommons.lsu.edu/gradschool_theses/4977 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VERIFYING MODELING AND AUDIOVISUAL STIMULI AS STRATEGIES FOR MASTERING GUEDES PEIXOTO´S MARACATÚ A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Rodrigo Clementino Diniz B.M., Universidade Federal de Pernambuco, 2003 August 2019 ACKNOWLEDGMENTS First, my gratitude to Olorum and Orunmila, who endowed me with intelligence, health, tenacity and musical talent, characteristics without which I possibly would not have been able to launch myself on this incredible journey. To my guardian angel, Oyá, who vibrates magnetically in me, for always being by my side, guarding me. Endless thanks to my beloved mother, Francisca Clementino, a warrior woman who gave up so much of her life to raise me by herself.
    [Show full text]
  • Juanito Valderrama
    singsFlamenco MJ~ lf !NITO V!IDERR!M! , HIGH FIDELITY · · FM 119 ® MONl'ILIA Juf\i'lrro MONTIUA FM-119 FM-119 HIGH FIDELITY HIGH FIDELITY ORQUESTA MONTILLA-DIRECTOR: MANUEL GORDILLO GUITAR ACCOMPANIMENT: JOSE MARIA PARDO SIDE ONE SIDE TWO EL EMIGRANTE - Bolero Flamenco COMO UNA HERMANA - Zambra RUEDO DE ORO-Pasodoble DIEGO PI~ERO - Pasodoble con Fandangos MI MARIA JESUS - Bulerias RECUERDO A MANOLETE - Seguiriyas y Martinete EL CRISTO DE LOS FAROLES-Por Tientos y Alegdas EN LA CRUZ DE DOS CAMINOS - Soleares, Bulerias y Fandangos MADRE HERMOSA -Pasodoble DE POLIZON - Habanera SOY EL INCLUSERO - Bolero Flamenco SU PRIMERA COMUNION -Habanera JUANITO V ALDERRAMA-Nacio en Torredelcampo, de la provincia andaluza de JU AJ ITO VALDERRAMA was born in Torredelcampo, Province of Jaen, Andalucia. Jaen. Como cas i todos los grandes y verdaderos artistas, Valderrama s~nt io la llamada Like all g1P1t and true artists, Valderrama showed as a child his gift for singing but de la vocacion desde muy nifio, pero tuvo que lud1ar firmemente hasta co nvencer a could not ccnvince hi s fan1i ly of the authenticity of his vocation. Before he was nine sus familiares de lo autentico de esa vocacion. No tenia aun nueve afios cuando por years old, he had rnn away from home twice, in an effort to try his luck as a singer. dos veces habia ya escapado de su casa, decidido a abrirse paso cantando. En ambas Both times he w:!.s brought home by the Civil Guard, panish equivalent of the ocasiones foe devuelto a los suyos por la Guardia Civil, pero despues de la segunda police.
    [Show full text]
  • January 20, 2008 2655Th Concert
    For the convenience of concertgoers the Garden Cafe remains open until 6:oo pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-sixth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts National Gallery of Art 2,655th Concert Music Department National Gallery of Art Jeni Slotchiver, pianist Sixth Street and Constitution Avenue nw Washington, DC Mailing address 2000b South Club Drive January 20, 2008 Landover, md 20785 Sunday Evening, 6:30 pm West Building, West Garden Court www.nga.gov Admission free Program Heitor Villa-Lobos (1887-1959) Bachianas brasileiras no. 4 (1930-1941) Preludio (Introdu^ao) (Prelude: Introduction) Coral (Canto do sertao) (Chorale: Song of the Jungle) Aria (Cantiga) (Aria: Song) Dansa (Miudinho) (Dance: Samba Step) Francisco Mignone (1897-1986) Sonatina no. 4 (1949) Allegretto Allegro con umore Carlos Guastavino (1912-2000) Las Ninas (The Girls) (1951) Bailecito (Dance) (1941) Gato (Cat) (1940) Camargo Guarnieri (1907-1993) Dansa negra (1948) Frutuoso de Lima Viana (1896-1976) Coiia-Jaca (Brazilian Folk Dance) (1932) INTERMISSION Ferruccio Busoni (1866-1924) The Musician Indian Diary: Book One (Four Studies on Motifs of the Native American Indians) (1915) Pianist Jeni Slotchiver began her formal musical studies at an early age. A He-Hea Katzina Song (Hopi) recipient of several scholarships, she attended the Interlochen Arts Academy Song of Victory (Cheyenne) and the Aspen Music Festival, before earning her bachelor and master of Blue Bird Song (Pima) and Corn-Grinding Song (Lagunas) music degrees in piano performance at Indiana University.
    [Show full text]
  • Baianasystem Press Info 2018
    BaianaSystem is one of the major urban music groups produced in Bahia (BRA). Influenced by Jamaican sound systems, the group not only amplifies sound but also the essence of local traditions. A system that manifests itself on stage or on the streets spreading out Brazilian music without borders. The sound produces a constant dialogue between the Bahian guitar and the singing, led by bass lines which complement its frequency spectrum. On top of that, there is great percussive base force (electronic or organic) as well as Afro-Latin rhythms such as Frevo, Samba-Reggae, Pagode, Groove Arrastado, Ijexá, Kuduro and Reggae. The group lineup is Roberto Barreto on Bahian Guitar, Russo Passapusso on vocals and SekoBass on bass additionally supported by several musicians, producers and artists. Currently, those who participate most frequently in this sound are as follows; DJs and producers João Meirelles and Mahal Pitta; percussionist JapaSystem and guitarist Junix. Over and above music there is the visual conception – an inseparable strength in BaianaSystem’s communication and upbringing. From that background the mask leaps out – a symbolic element – as an icon turning into the embodiment of a “being”, a bond with the audience making everybody feel as a vital part of this system. This work is directed by the designer Filipe Cartaxo in workstream with Maquina de Louco, coordinated by artist Filipe Bezerra who plays a part as the creative core of BaianaSystem’s project planning and production. Since its first studio album release – BaianaSystem (2010) along with the EP Pirata (2013) which delivers the hit “Terapia”, BaianaSystem has already performed worldwide at the New Orleans Jazz Festival; at the Global Fest in NY; at Fujirock (Japan), as well as gigs in Russia, China and France.
    [Show full text]
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • View PDF Document
    Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask.
    [Show full text]
  • Passacaglia PRINT
    On Shifting Grounds: Meandering, Modulating, and Möbius Passacaglias David Feurzeig Passacaglias challenge a prevailing assumption underlying traditional tonal analysis: that tonal motion proceeds along a unidirectional “arrow of time.” The term “continuous variation,” which describes characteristic passacaglia technique in contrast to sectional “Theme and Variations” movements, suggests as much: the musical impetus continues forward even as the underlying progression circles back to its starting point. A passacaglia describes a kind of loop. 1 But the loop of a traditional passacaglia is a rather flattened one, ovoid rather than circular. For most of the pattern, the tonal motion proceeds in one direction—from tonic to dominant—then quickly drops back to the tonic, like a skier going gradually up and rapidly down a slope. The looping may be smoother in tonic-requiring passacaglia themes (those which end on the dominant) than in tonic- providing themes, as the dominant harmony propels the music across the “seam” between successive statements of the harmonic pattern. But in both types, a clear dominant-tonic cadence tends to work against a sense of seamless circularity. This is not the case for some more recent passacaglias. A modern compositional type, which to my knowledge has not been discussed before as such, is the modulatory passacaglia.2 Modulating passacaglia themes subvert tonal closure via progressions which employ elements of traditional tonality but veer away from the putative tonal center. Passacaglias built on these themes may take on a more truly circular form, with no obvious start or endpoint. This structural ambiguity is foreshadowed in some Baroque ground-bass compositions.
    [Show full text]
  • Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
    Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms.
    [Show full text]
  • The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time.
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]