Los Saberes Guajiros De Mi Sabana Cubana
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La Música Tradicional Canaria
.................. TALIO NODA GÓMEZ, nacido en Tazacorte, en La IsLa de La PaLma ha desarroLLado su Labor pedagógica en Teror y en Las PaLmas de Gran Canaria como profesor de segunda etapa de Enseñanza GeneraL Básica y actuaLmente como especialista de Música en La Enseñanza Secundaria ObLigatoria. A poco de empezar a ejercer sintió La curiosidad y eL deseo de interesarse por eL mundo deL foLkLore tradicionaL deL ArchipiéLago. Sus esfuerzos y haLLazgos en dicho terreno se han plasmado en Libros y artícuLos reLacionados con distintas facetas: La música tradicional canaria, hoy 0978), Medicina popular en la Isla de La Palma (1984), La seda, un arte palmero de siglos (1985), Salto del Pastor (1990), Décimas de Severo (1992), Otra aportación sobre los mártires de Tazacorte (1995); artícuLos en diversas revistas, así como en su participación en Congresos NacionaLes e InternacionaLes. Aparte de esta vocación teórica, ha querido también mojarse en eL terreno práctico, cantando, tocando y dirigiendo grupos musicaLes como: Bagañetes, BeLingo, Taifa, etcétera. Fruto de esta tarea son Los discos que han aparecido en eL mercado y su intervención en varios programas de teLevisión. ActuaLmente coLabora en Los Conciertos EscoLares de La Fundación Orquesta Filarmónica de Gran Canaria, en La grabación de un disco con temas popuLares recogidos personaLmente en La IsLa de La PaLma y en La reaLización de La segunda parte deL video dedicado aL SaLto deL Pastor . •••••• MANOLO CARDONA SOSA, Las PaLmas de Gran Canaria, 5 de octubre de 1951. Estudia DeLineación en La EscueLa de Maestría IndustriaL de Las PaLmas de Gran Canaria, oficio desempeñado desde 1970 en La empresa Unión Eléctrica de Canarias, S.A. -
Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching -
Del Olvido Creación De Angeles Ottein
J11111 Un nuevo Album• La Marcos Redondo Canción Insuperable Y maravillosa del Olvido creación de Angeles Ottein Y arcos Rec onc o 4 discos de 25 cm., coleccionados en un Album 47 Ptas. SUPLEMENIO_ N.° 5 Angeles Ottein MAYO 1931 so Femández ghow. Bibliotera. FJ1,44 ODEON LA CANCION DEL OLVIDO (J. Serrano, Romeo y Fernández Shaw) acomp. Orquesta — Dirección: Mtro. A. Capdevila Selecci(in de la obra en cuatro hect»; dobles de 25 cm. en un lujoso álbum al precio de 47 pesetas Cara 1.° "Raconto de Leonello". "Junto al puente de la Peña" Marcos Redondo. 3 2." Marinela" Angeles Oltein. 3 3." Serenata "Canta el Trovador" Angeles Ottein. » 4." Soldado de Nápoles. A. de Castro y coro. » 5." Dúo de Rosina y Leonello. 1." parte. "Ya la ronda viene aquí..." A. Oltein, M. Redondo y coro. » 6." Dúo de Rosina y Leonello. 2." parte. "Esta es la estancia..." M. Redondo. » 7." Dúo de Rosina y Leonello. 3." parte. "Señora mfa..." ... A. Ottein y M. Redondo. » S.' Dúo de Rosina y Leonello. 4." parte. "Princesa, mi espada os ofrezco" A. Ottein y M. Redondo. REVISTAS Flores de Lujo (J. Forns y Juan José Cadenas) acorar). Orquesta — Dirección: Mtro. Forns Morado 25 cm. 9 pesetas 203.315 a. Los pitillos...Sra. Duran y coro h. Serenata veneciana. Cándida Suárez. ZARZUELAS Ma rina (E. Arrieta y F. CamprocIón;) Orquesta — Dirección: Mtro. A. Capdevila Marrón 25 cm. 11 pesetas 184.234 a. Seguidillas Marcos Redondo y coro. h. "Pensar en el" Angeles Ottein. La Moza Vieja P. Luna, F. Romero y Fernández Shaw) Orquesta — Dirección: Mtro. -
Lecuona Cuban Boys
SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA. -
Evolution and Structure in Flamenco Harmony
Evolution and Structure in Flamenco Harmony By Peter Manuel The unprecedented vogue and revitalization of flamenco since the early 1960s have generated a considerable amount of scholarly literature on the subject, written primarily by Spaniards. These studies, while contributing greatly to our understanding of flamenco in its historical and social context, have tended to avoid less overtly humanistic subjects, including any analyt ical discussion of the structural aspects of flamenco as music per se. Hence, such a topic as the structure of flamenco harmony has received only passing mention in flamenco studies or oblique reference in guitar manuals. While flamenco musicians themselves are generally uninterested in theo rizing about their music, flamenco harmony is one of the most crucial expres sive aspects of the genre and certainly merits some study in this regard. On a broader level, an inquiry into flamenco harmony may reveal some of the- processes by which musical acculturation and instrumental idiosyncracies can generate a syncretic and highly distinctive harmonic system. This article addresses certain aspects of the development and present form of flamenco harmony. In brief, it advances two hypotheses: first, that flamen co harmony is a syncretic product of Arab modal practice and European harmony, and second, that many of the most distinctive features of the har monic system, and in particular the use of altered chords, have arisen in direct connection with idiosyncratic characteristics of the guitar. The first of these theses, although difficult to document, is hardly original, and indeed, is widely taken for granted among flamenco scholars. Before proceeding direct ly to these arguments, some introduction to flamenco harmony and style may be appropriate here. -
Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities. -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
Columbia Canciones
SUPLEMENTO N ° ó-C AÑO 1952 Pedro Terol Moría de los Angeles Scmtana Siempre los mejores artistas y los mayores éxitos, los encontrarán exclusivamente en nuestros discos Decca Columbia Canciones ANA MARIA GONZALEZ, con acompañamiento de Orquesta. R 18360 Ella. (J A. Jiménez.) Canción ranchera. Columbia Paloma. (£. M. "Jrancini.) Bolero canción. NATI MISTRAL, con acompañamiento de Orquesta. R 18410 Dos cruces. (C. Larrea J Bolero. Columbia Monísima. ("Laredo".) Schottish. HERMANAS FLETA, con acompañamiento de Orquesta. R 18402 Mulita. «Cruz Velancuy». (1. Amor.) Canción-vals. Columbia Pénjamo. Ol. 'Méndez.) Ranchera. CONJUNTO «HERCULES» de Cádiz, con acomp. de rondalla. R 18409 Los lilas. (A. Rodríguez.) Couplets. Columbia L0s luceros. (A. Rodríguez.) Tangos. LOLJTA SEVILLA, con acomp. de Orquesta. R 18355 Violetera granadina. (A. Quintero, R. deLeón y Quirocia.) Marcha. Columbia ¡A, y cartujano! (A. Quintero, R. de León y M. L, Quirocja.) Pasodoble. FINITA IMPERIO, con acomp. de Orquesta. R 18359 Por la sierra, (Molina Mandhón, J. Valderrama, J. Escolies y M. Se- Columbia rrapí.) Bulerías. Celos del río y entre luz. (Molina Mandhón.) Fandangos. PILAR DURAN, con acomp. de Orquesta. R 18353 Los pinares. (A. Molina Manéón y J, Escolies.) Pasodoble. Columbia Doña Inés de Montilla. (A. Molina Mandón y J. Escolies.) Marcha. FERNANDO CAZ, con acomp. de Orquesta. R 18354 Abrazo a Méjico. (María Burgaz.) Pasodoble. Columbia Nostalgia de mi España. CManher y B. Q. Ballenilla.) Pasodoble. R 18352 Las dos patrias. (A. Olavarria, A. Villena y E. Tillellas.) Pasodoble. Columbia Blasones de España. (A. Villena y E. Tillellas.) Pasodoble. Cuentos infantiles Ilustrados a todo color, recitados y con efectos musicales. -
Composition, Authorship, and Ownership in Flamenco, Past and Present
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2010 Composition, Authorship, and Ownership in Flamenco, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/21 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL . 54, NO. 1 ETH N OMUSICOLOGY WI N T E R 2010 1 2 3 4 5 6 Composition, Authorship, and 7 8 Ownership in Flamenco, Past and Present 9 10 PE T E R MA N U E L / John Jay College and the CUNY Graduate Center 11 12 13 mong the most fundamental musical developments accompanying 14 A the advent of modernity has been the emergence of new conceptions 15 of authorship, ownership, and the roles of composition. A growing body of 16 literature has emerged which addresses various aspects of these processes 17 in relation to diverse music cultures (e.g., Talbot 2000, Vaidhyanathan 2001, 18 Frith 1993). In the realm of Western art music, scholarly attention has fo- 19 cused in particular on the celebration, especially from the Romantic period 20 on, of the composer as an individual genius, and on the special importance 21 of “the work,” as an original, reproducible, structurally unified, aesthetically 22 unique, and privately owned entity (Goehr 1992). Concepts of authorship 23 can be particularly problematic in the case of oral traditions that evolve into 24 or become absorbed into commercial popular musics, entailing new concep- 25 tions of and a new prominence of the “song” and its individual composers, 26 and new notions of ownership as embodied in copyright. -
First Critical Performing Edition of the Zarzuela Maria La O, by Ernesto Lecuona, Orchestrated by Felix Guerrero
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2015 First Critical Performing Edition of the Zarzuela Maria la O, by Ernesto Lecuona, Orchestrated by Felix Guerrero Ivan A. del Prado University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, and the Music Performance Commons Recommended Citation del Prado, Ivan A., "First Critical Performing Edition of the Zarzuela Maria la O, by Ernesto Lecuona, Orchestrated by Felix Guerrero" (2015). Dissertations. 171. https://aquila.usm.edu/dissertations/171 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FIRST CRITICAL PERFORMING EDITION OF THE ZARZUELA MARIA LA O, BY ERNESTO LECUONA, ORCHESTRATED BY FELIX GUERRERO by Ivan del Prado Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2015 ABSTRACT FIRST CRITICAL PERFORMING EDITION OF THE ZARZUELA MARIA LA O, BY ERNESTO LECUONA, ORCHESTRATED BY FELIX GUERRERO by Ivan del Prado December 2015 The First Critical Performing Edition of the Zarzuela Maria la O by Ernesto Lecuona (as orchestrated by Felix Guerrero), is the rescue of the complete score of one of the most important works by a Cuban composer. The complete but still unpublished original score to Maria la O will finally have a clear and accurate performing edition. -
Discovering Flamenco Metric Matrices Through a Pulse- Level Analysis
Discovering Flamenco Metric Matrices through a Pulse- Level Analysis Bernat Jiménez de Cisneros Puig NTIL recent times, theoretical analyses devoted to flamenco music were scarce, and even U these have tended to consist of publications that never obtained widespread distribution and recognition (Rossy 1966; Donnier 1987). Traditionally, classifications of flamenco repertoire have been based on different types of non-musical criteria, lacking a holistic musicological consideration and paying little or no attention to core concepts of flamenco such as metric formula, harmonic ostinato, melodic contour, poetic unfolding, or formal structure.1 It is true that flamenco performers themselves had seldom used musical analysis in their own discourse—at least not in the way analysis is understood in Western music of written transmission. Most likely, both the rule of oral tradition and the image of flamenco as an improvised, even anarchic art may have led to this shortage of analyses. In fact, among flamenco professionals and aficionados, the belief that explicit musical analysis was something foreign, even inappropriate, has persisted for decades due to the common conviction that flamenco music was primarily a vehicle for the performer’s emotions. At the same time, the lack of a musicological approach was probably exacerbated by an external perception of flamenco as a marginal folk art, an expression of illiterate musicians unworthy of analysis along the same parameters as “cultured” music. However, in the last decade we have witnessed the emergence of important new studies of flamenco, with musicological approaches often based on the analysis of historical recordings or score music from the pre-phonographic era (Fernández 2004; Sanlúcar 2005; Manuel 2006; Ojesto 2008; Hurtado Torres and Hurtado Torres 2009; Blasco García 2012; Castro 2014; Jiménez de Cisneros 2015b).