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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. -
Catalogue Produced on 22/03/2011 Si Buscas Música
Catalogue produced on 22/03/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Flamenco music ................................................................................................................................................................... 2 Absolute Flamenco ............................................................................................................................................................ 2 Anthologies ..................................................................................................................................................................... 75 Camaron de la Isla ........................................................................................................................................................ 126 CD's with DVD ............................................................................................................................................................... 180 Collections ..................................................................................................................................................................... 217 Flamenco Guitar ............................................................................................................................................................ 256 Historicals ..................................................................................................................................................................... 318 Live Concerts ............................................................................................................................................................... -
Music in the “New World”: from New Spain to New England Objectives
Music in the “New World”: From New Spain to New England objectives I. the villancico in Peru (what’s new about it) II. Spanish opera in Peru III. music in the British colonies [focus on the terms and the two works on your listening list] The “Age of Discovery” (for Europeans) • 1492: Christopher Columbus (Spain) • 1494: Treaty of Tordesillas • 1500: “discovery” of Brazil by Portuguese 1 Pre‐Columbian Civilizations • Mayans (Guatemala, 4th‐8th c.) • Aztecs (Mexico, late 12th c.‐1521) • Incas (Peru, 13th c.‐1533) music of Pre‐Columbian Civilizations • NO music survives • Music Sources: – 1. surviving instruments – 2. iconography – 3. writings about music by missionaries • music was inseparable from religious ritual 1. Surviving Instruments Aztec Flutes Incan stone panpipe 2 2. Iconography “New World” 17th‐18th c. Sacred Music in Hispanic America • Catholic liturgical music – tool for evangelism • Masses, Motets, etc. (in Latin) – Prima prattica works influenced by “Golden Age of Spanish Polyphony” • Cristóbal Morales • Tomás Luis de Victoria 3 Sacred Music in New Spain (Mexico) • Villancico – strophic song in Spanish with refrain Estribillo (refrain) Copla (strophe) A b b a or A Juan del Encina: Oy comamos y bebamos, villancico (late 15th cent.) • Estrebillo: • Refrain: Oy comamos y bebamos Today let’s eat and drink y cantemos y holguemos, and sing and have a good time que mañana ayunaremos. for tomorrow we will fast. • Copla 1 • Stanza 1 [mudanza] •[mudanza] Por onrra de sant Antruejo To honor Saint Carnival parémonos oy bien anchos, today let’s end up very fat, enbutamos estos panchos, let’s stuff our bellies, rrecalquemos el pellejo, let’s stretch our skin, [vuelta] [vuelta] que constumb’es de conçejo for it’s a custom of the council que todos oy nos hartemos, that today we gorge ourselves, que mañana ayunaremos, for tomorrow we will fast Villancico: “Tarara, tarara” by Antonio de Salazar (1713) A Tarara, tarara qui yo soy Anton Tada, tada, I’m Anthony, Ninglito di nascimiento Black by birth, Qui lo canto lo mas y mijo. -
Ficha De Audición Activa: “Escuchar Flamenco”
ORIENTACIONES METODOLÓGICAS PARA EL PROFESORADO FICHA DE AUDICIÓN ACTIVA: ªESCUCHAR FLAMENCOº PROGRAMA EDUCATIVO: ªVIVIR Y SENTIR EL FLAMENCOº Realizada por Mã ÁNGELES SÁNCHEZ CARRASCO (Maestra de música, CEIP Los Montecillos, Dos Hermanas) ÍNDICE INTRODUCCIÓN 1. AUDICIÓN ACTIVA ¿QUÉ ES? 1. DEFINICIÓN 2. CONSIDERACIONES PREVIAS A LA AUDICIÓN 2. ESTRUCTURA DE LA FICHA ªESCUCHO FLAMENCOº 2.1. JUSTIFICACIÓN DIDÁCTICA 2.2 ESTRUCTURA DE LA FICHA 2.3. ORIENTACIONES METODOLÓGICAS 3. AUDICIONES PROPUESTAS 3.1. EL FLAMENCO EN LA MÚSICA CLÁSICA 4. PALOS DEL FLAMENCO.BREVE DESCRIPCIÓN 5. TRUCOS PARA IDENTIFICAR PALOS O ESTILOS FLAMENCOS 6. TIPOS DE VOCES FLAMENCAS 7. CANTE, BAILE Y TOQUE 8. COPLAS FLAMENCAS 9. CONCLUSIÓN 10. ANEXOS INTRODUCCIÓN ªLa audición activa se define como la acción de escuchar, de estar atento. De ahí que la primera fase para toda audición musical es desarrollar la capacidad auditiva para poder percibir , asimilar, comprender y, en definitiva, gozar con la músicaº. Este programa educativo denominado ªVIVIR Y SENTIR EL FLAMENCOº requiere un material didáctico que favorezca precisamente disfrutar del flamenco a través de la ESCUCHA, de la audición activa, una actividad globalizadora e interdisciplinar que se hace imprescindible en el área de Educación Musical para trabajar con ella y a través de ella todos los aspectos que competen al desarrollo integral de nuestro alumnado. En este documento llamado ªOrientaciones metodológicasº el docente (sea o no especialista en música) podrá encontrar información necesaria para abordar de manera eficaz, con sus alumnos, la ficha de audición activa denominada ªESCUCHO FLAMENCOº que es el gran eje vertebrador de este documento. Así, encontraremos la definición de los que es la audición activa, la justificación pedagógica de la estructura de la ficha, una explicación teórica y detallada de las actividades contenidas en ella, una relación de audiciones propuestas de distintos palos flamencos, trucos para identificar los distintos palos o estilos flamencos.. -
Lynn Meyers Song Catalog
Title I. Allá arriba en aquella montaña First line Allá arriba en aquella montaña yo corté una caña, Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941. #17468 Comments Andante con moto in 6/8. Sustained, lightly ornamented. A tender Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice M Voc. Level Beg. Acc. Reqts. Diff. Range e1-f2 Tessitura f1-d2 Spec. Appl. exp. Call No. LNCEMS Translation Title II. Sereno! First line Sereno! Sereno! En micasa hay un hombre durmiendo... Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Molto moderato e lugubre, in 6/8.Slow, sustained, dramatic. An ironic Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range e1-gsh2 Tessitura g1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title III. Llámale con el pañuelo First line Llámale con el pañuelo; llámale con garbo y modo. Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Allegretto grazioso in 6/8. Lively, graceful. Req. vocal flexibility, facile Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range d1-g2 Tessitura e1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title IV. No quiero tus avellanas First line No quiero tus avellanas, tampoco tus alelies, Composer Guridi, J., 1886-1961 Comp. -
Villancico (Sp., Diminutive of Villano: ‘Peasant’)
Villancico (Sp., diminutive of villano: ‘peasant’). A term first applied in the late 15th century to a Spanish vernacular musical and poetic form consisting of several stanzas (coplas) framed by a refrain (estribillo) at the beginning and end, giving an overall ABA structure. The number of stanzas varied, as did the number of times the estribillo was repeated between stanzas in performance. Originally derived from a medieval dance lyric of the virelai or ballata type and associated with rustic or popular themes, the villancico was extensively cultivated in secular polyphonic music of the late 15th century and the 16th. In the second half of the 16th century devotional and religious themes gained in importance and the form became used increasingly for sacred compositions in the vernacular which were introduced into the liturgy on feast days. In the 17th century it became more important than the Latin motet, and although its artistic quality rapidly declined in the 18th and 19th centuries it remained popular in both Spain and Latin America. Since then ‘villancico’ has come to mean simply ‘Christmas carol’. 1. Origins to 1600. 2. After 1600. 3. Latin America. BIBLIOGRAPHY ISABEL POPE (1), PAUL R. LAIRD (2–3) Villancico 1. Origins to 1600. The term ‘villancico’ was first applied by Renaissance writers to a refrain taken from or modelled on a rustic or popular song, and then to a number of ‘closed’ poetic and musical forms based on such a refrain. The earliest evidence of the use of the term in connection with the poetic form is in the Chansonnier Espagnol d’Herberay des Essarts (c c 1463; ed. -
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. -
Maria Clara Suite Updated 01-Jul-2002
Look more here: https://aboutphilippines.ph/folklore-music-songs-dances.html Maria Clara Suite updated 01-Jul-2002 The coming of the Spaniards in the 16th century brought a new influence in Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European cultural ideas spread and the Filipinos adapted and blended to meet the local conditions. These dances reached their zenith in popularity around the turn of the century, particularly among urban Filipinos. They are so named in honor of the legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an embroidered long- sleeve shirt made of pineapple fiber. Alcamfor (ahl-kahm-FOHR) From Leyte comes this couples dance in which the girl holds a handkerchief laced with camphor oil, a substance which supposedly induces romance. Andaluz (ahn-dah-LOOHS) Also known as Paseo de Iloilo, for its province of origin, this is one of the most sophisticated courtship and flirtation dances of the Spanish era. The gentlemen compete among each other to win the heart of the dalaga, or young lady, by exemplifying chivalry, grace, and confidence. Aray MIDI File (aray.mid) (ah-RAHY) A dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was only spoken in the Ermita district before the turn of the century and today is extinct. -
Download Ebook \\ Flamenco > X7RDMURUWD1U
QMSR6RWOSANH // Kindle < Flamenco Flamenco Filesize: 1.96 MB Reviews This book is really gripping and interesting. Of course, it is actually perform, still an interesting and amazing literature. You will not truly feel monotony at whenever you want of your time (that's what catalogues are for concerning when you request me). (Claud Schaden) DISCLAIMER | DMCA SGSWZG5YYWJ0 / Kindle < Flamenco FLAMENCO To get Flamenco eBook, remember to click the button beneath and save the file or gain access to other information that are related to FLAMENCO book. Reference Series Books LLC Sep 2012, 2012. Taschenbuch. Book Condition: Neu. 246x190x8 mm. Neuware - Source: Wikipedia. Pages: 36. Chapters: Concurso de Cante Jondo, Glossary of flamenco terms, Polo, Cante flamenco, Palo, Flamenco guitar, Duende, David Broza, Cantes de ida y vuelta, Saeta, Malagueñas, Cantes libres, Bambera, Phrygian dominant scale, Paco Toronjo, Río Ancho, ¿Quién maneja mi barca , Rasgueado, Flamencology, Flamenco mode, Rondeña, Flamenco skirt, Cantiñas, Peteneras, Palmas, Alegrías, Flamenco at 5:15, Martinetes, Flamenco shoes, Cartageneras, Zapateo, Hakim, Festival Bienal Flamenco, Tonás, Falseta, Cantes a palo seco, Alboreá, Tablao, Andalusian Centre of Flamenco, La Caramba, Flamenco Fiesta, Latin Grammy Award for Best Flamenco Album. Excerpt: El Concurso del Cante Jondo (Contest of the Deep Song) was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14 June 1922. The Spanish classical composer Manuel de Falla (1876 1946), an Andalusian, was the principal organizer of the Concurso; he sought to encourage and enhance the performance of flamenco, which had fallen into a period of decadence. -
MAESTRO ANTONIO VARGAS ….The Energy Behind a Generation of Creativity and Innovation His Generosity As a Teacher Knows No Boundaries
FLAMENCO classes & lectures by the Flamenco Legend MAESTRO ANTONIO VARGAS ….the energy behind a generation of creativity and innovation His generosity as a teacher knows no boundaries. Antonio, a true communicator and mentor, does not hold back when he teaches. He treats all students with the same respect he affords a professional and the materials he teaches in the beginners class can be used by the students if and when they start performing in public. When he teaches, the studio becomes a temple, and the religion is Flamenco ~ fLAMENCO Dance workshops ~ classes are 2 hours long $50 each ~ Take 2 classes then 3rd class is $40 NO. VIRGINIA AREA: ELAN DANCE SPORT (Merrifield) 8442 Lee Hwy., Suite A, Fairfax, VA 22031 /703.593.0100 TUES., OCT. 11TH 6-8:00PM) Beginner - Palo: Garrotin 8-10:00) Intermediate/Advanced - Palo: Segiriyas SAT., OCT. 15TH for 12-2:00PM) Beginner - Palo: Garrotin Reservations & details 2-4:00) Intermediate/Advanced - Palo: Segiriyas SUN., OCT. 16TH Please visit online 12-2:00PM) Beginner - Palo: Garrotin Miguelito’s Washington DC 2-4:00) Intermediate/Advanced - Palo: Segiriyas Flamenco Website WASHINGTON DC AREA: DC DANCE COLLECTIVE (Friendship Heights) www.dcflamenco.com 4908 Wisconsin Avenue, NW, Washington DC 20016 /202.362.7244 FRI., OCT. 21ST 6-8:00PM) Beginner - Palo: Garrotin 8-10:00) Intermediate/Advanced - Palo: Segiriyas SAT., OCT. 22ND 11AM-1:00PM) Beginner - Palo: Garrotin 1-3:00) Intermediate/Advanced - Palo: Segiriyas SUN., OCT. 23RD 12-2:00PM) Beginner - Palo: Garrotin 2-4:00) Intermediate/Advanced - Palo: Segiriyas ~ Antonio Vargas Performance Skills Class ~ 2 hour lecture for $50. -
Teacher Resource Guide 2015-2016
Teacher Resource Guide 2015-2016 2015-2016 T EACHER R ESOURCE G UIDE ¡Cantaré! Prepared by Nyssa Brown Edited by Kimberly D. Meisten and Julie Worden Original Design by Casa Valencia, LLC (casavalenciallc.com) Cover Design by REPLACE (designreplace.com) Updated for 2015-2016 by Drew Miller (omniumdesign.com) Special Thanks to: ¡Cantaré! Community Advisory Committee— Roma Calatayud-Stocks (Chair), Composer, Palladian Music Inc.; Elia Bruggeman, Deputy Education Officer, Minneapolis Public Schools; Martha Driessen, Community Volunteer; Michelle Eng, Product Line Manager, DEMDACO; Alberto Fierro, Consulate of Mexico, St. Paul; Mara Garcia Kaplan, Corporate Counsel, Target; Gustavo Lira, Artist and Teacher, El Colegio Charter School; Carlos Lopez, President, Casa Travel; José (Pepe) Martin, President, Paamul Resort; Gloria Perez, President & CEO, Jeremiah Program; Laura Robinson, Community Volunteer; Alexandra Roisen, Consultant, Cargill; Cay Shea Hellervik, Vice President, Personnel Decisions Ninth House; R. Craig Shulstad, Community Volunteer; Sandra L. Vargas, President and C.E.O., The Minneapolis Foundation; Jesús Villaseñor, Parent Advocate, PACER Center; Christian Zepeda, Financial Advisor, Wells Fargo; Ex Officio: Nathan Wolf, Director General de Promoción, Económica Internacional, México and Ana Luisa Fajer Flores, Director General of North America, Ministry of Foreign Affairs, México. Katryn Conlin Jorge Córdoba Lisa Cortes Jorge Cózatl Sabina Covarrubias Laura Holst Drew Miller Gabriela Montoya-Stier Unisys: Judy Bornetun; Scott -
An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles". Gina Lottinger Anthon Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Anthon, Gina Lottinger, "An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"." (1999). LSU Historical Dissertations and Theses. 6930. https://digitalcommons.lsu.edu/gradschool_disstheses/6930 This Dissertation 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.