METODI PER CHITARRA CLASSICA Things You Are, Fly Me to the Moon, Moon River, the Nearness of You, Stardust, When Sunny Gets Blue
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A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
TRADITIONAL FOLK DANCES of SOUTH-WEST SERBIA in TEACHING MUSICAL CULTURE and PHYSICAL EDUCATION (Professional Paper)
24Activities in Physical Education and Sport 2015, Vol. 5, No. 1, pp. 24-29 TRADITIONAL FOLK DANCES OF SOUTH-WEST SERBIA IN TEACHING MUSICAL CULTURE AND PHYSICAL EDUCATION (Professional paper) Biljana Pavlović1, Branko Popović2 and Nevenka Zrnzević3 1Teacher training faculty in Prizren-Leposavic, University of Pristina -Kosovska Mitrovica, Serbia 2Teacher training faculty in Užice, University of Kragujevac, Serbia 3Teacher training faculty in Prizren-Leposavic, University of Pristina-Kosovska Mitrovica, Serbia Abstract This paper analyzes the traditional folk dances of Southwest Serbia, from the standpoint of teaching music culture and physical education in the elementary grades. Special attention is given to dances accompanied by singing from the regions of Raska, Novi Pazar and Sjenice. The aim is to establish their presence and importance in music and physical education. Analyzed are the curricula of music and physical education, as well as music culture textbooks, to determine which dances of this region have been proposed for inclusion in the classroom teaching. It is concluded that the dances of southwestern Serbia are insufficiently covered by the curriculum of these two subjects and that they were omitted from the textbooks of music culture. For this reason, this work’s tasks were to analyze the musical-pedagogical and ethno musicological literature that deals with the area of Southwest Serbia; to select suitable examples to work with students of junior school age; to determine their educational importance in teaching. Through highlighted examples, the students will be able to learn about the specifics of the traditional folk dances of Southwest Serbia, and to gain insight into the richness and beauty of folk musical creativity of this region. -
Registered Female Prostitution in the Ottoman Empire (1876-1909)
REGISTERED FEMALE PROSTITUTION IN THE OTTOMAN EMPIRE (1876-1909) A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY BURCU BELLİ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF HISTORY SEPTEMBER 2020 Approval of the Graduate School of Social Sciences (Title and Name) Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science/Arts / Doctor of Philosophy. (Title and Name) Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of /Doctor of Philosophy. (Title and Name) Supervisor Examining Committee Members (first name belongs to the chairperson of the jury and the second name belongs to supervisor) (Title and Name) (Affiliation) (Title and Name) (Affiliation) (Title and Name) (Affiliation) (Title and Name) (Affiliation) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: BURCU BELLİ Signature: iii ABSTRACT REGISTERED FEMALE PROSTITUTION IN THE OTTOMAN EMPIRE (1876-1909) BELLİ, BURCU Ph.D., Department of History Supervisor: Assoc. Prof. Dr. Nesim Şeker September 2020, 293 Pages The main purpose of this dissertation is to analyse the practice of prostitution in Ottoman Empire during the reign of Abdulhamid II. -
2014-PS695-Smartinez3-Paper Sergio Martínez
FLAMENCO MUSIC, my passion, my roots and my artistic passport. Culminating Experience Project Sergio Martínez, Madrid, Spain. Candidate to Masters degree in Contemporary Performance. Class of 2014 Berklee College of Music 1 CONTENTS 1. INTRODUCTION, Description of the project. 2. THE QUESTIONS, searching for targets 3. THE ANSWERS, solutions and conclusions 4. THE PROCESS, 4.1 The book and it’s process. Actual Status. 4.2 Creative exploration: The compositions, arrangements, exploration in improvisation and recording sessions. *Rhythmic concepts for arranging, composition, improvisation and performing. 5. REFERENCES. 6. APPENDIXES. 2 1. DESCRIPTION OF THE PROJECT This project is a unified work in which I have combined different approaches in the search of answers and conclusions. Research and investigation, documentation, edition, publication and a musical creative exploration process. It has been completed between September 2013 and July 2014. The tittle is “Flamenco Music, my passion, my roots and my artistic passport” and the common denominator in it is Flamenco Music and especially it’s Rhythms. The main areas of the work are a large “Research Process” combining looking for publications about Flamenco Music and an analytic reading of them. “Creative exploration” that includes composition, arrangement and recording of music pieces that have Flamenco Rhythms as an essential element. Starting a long term project that consists in creating a learning source in the form of three books, with the tittle “Fundamentals of Flamenco Rhythms and Flamenco Percussion” 3 The compilation presented in this project includes a revised draft of Book I. By the time of the graduation the work hasn’t found a via of publication yet. -
Rumba Rebecca Bodenheimer
Rumba Rebecca Bodenheimer LAST MODIFIED: 25 FEBRUARY 2016 DOI: 10.1093/OBO/97801997578240170 Introduction Along with the traditional dance genre son, the Africanderived music and dance genre called rumba is widely considered to be the foundation of contemporary Cuban popular music. During the late 19th century it was the primary secular party music for poor black and racially mixed Cubans in western Cuba, and during the 20th century its musical features were incorporated into numerous popular genres, such as son, mambo, and salsa. Nonetheless, the literature on rumba does not include many indepth studies, in Spanish or English. None of the pioneering scholars of AfroCuban culture gave much attention to rumba, as Fernando Ortiz and Lydia Cabrera focused primarily on AfroCuban sacred music. The little that has been written by these scholars, namely Ortiz and Alejo Carpentier, tends to overemphasize the “erotic” nature of the dance, thus reinforcing stereotypes about black culture. Nonetheless, as a member of Grupo Minorista—a group of poets, artists and composers founded in the 1920s who sought to valorize AfroCuban vernacular culture—Carpentier did view rumba as an important popular tradition. Among Cuban scholars writing after the Cuban Revolution, the primary indepth studies of rumba have consisted of bachelor’s theses based on ethnographic research with rumba groups and one biography of important rumba musicians (see Musicians and Groups). There have also been articles on various aspects of rumba, and many Cuban scholars include discussions of the genre within sources on broader topics; the most significant examples of the latter are León 1984 (cited under History, Musical Features, and Musicians: History) and Urfé 1984 (cited under General Overviews and Reference Works). -
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. -
LA RUMBA CRIOLLA EN EL FOLCLOR FRESNENSE Elaborado
LA RUMBA CRIOLLA EN EL FOLCLOR FRESNENSE Elaborado por: JUAN CARLOS MIRANDA MARIA BEATRIZ PEÑA DE ARBELAEZ MARIA ORFFA VALENCIA SALAZAR SALVIA AMPARO ORDÓÑEZ DE RONDAN Docentes investigadores Especialistas en Educación en Arte y Folclor Universidad El Bosque Fresno, 1999 1. PRESENTACION Fresno posee orgullosamente un enorme legado musical y coreográfico: LA RUMBA CRIOLLA. Este ritmo y baile reconocido y valorado a nivel nacional e Internacional ostenta el rótulo de: "hecho en Fresno". Sin embargo, la nueva generación fresnense desconoce o subvalora la Rumbo Criolla. Por esto, hemos elaborado esta publicación en donde se recogen todos los aspectos relacionados con éste ritmo de manera que los docentes y distintos entes promotores de la cultura, puedan tener una herramienta completa para comunicar a los jóvenes y la población de Fresno en general de manera que se logre fomentar y conservar lo Rumbo Criolla como elemento de Identificación coreografías del folclor fermentes. 2. OBJETIVOS Motivar a las instituciones educativas para que conserven y fomenten en las nuevas generaciones La “rumba criolla” y como expresión coreográfica y musical del folclore fresnense. Exaltar la vida y obra musical de un hijo de Fresno: Milciades Garavito Wheeler, creador de la Rumba Criolla 3. EL FOLCLOR FRESNENSE El folclor de esta región del Norte del Tolima y especialmente de Fresno está d definitivamente enmarcado dentro de los parámetros de la zona paisa y con un gran peso de lo campesino porque este pueblo ha sido eminentemente rural. La corriente venida de Antioquia trae sus costumbres, saberes y expresiones musicales y dan císticas a al vez que toda una riqueza de oralidad en lo referente a leyendas, cuentos, etc. -
Iniciación Al Flamenco
“JORNADA DE INTERCAMBIO DE EXPERENCIAS EN EDUCACIÓN FÍSICA” INICIACIÓN AL FLAMENCO Isabel del Caño Hernández 3 de mayo de 2013 INDICE 1. QUÉ ES EL FLAMENCO 2. ORIGEN Y EVOLUCIÓN 3. ELEMENTOS: CANTE – TOQUE – BAILE 4. PALOS o estilos FLAMENCOS 5. EL BAILE FLAMENCO 5.1 MOVIMIENTOS PRINCIPALES 5.2 PASOS BÁSICOS 5.3 ESTRUCTURA BÁSICA DE LOS BAILES 6. ORIENTACIONES PEDAGÓGICAS 6.1 PARA EL COMPÁS. 6.2 PARA EL BAILE 7. ARTISTAS FLAMENCOS 8. VOCABURALIO BÁSICO 9. PÁGINAS WEB DE INTERÉS 2 1. QUÉ ES EL FLAMENCO Original de Andalucía, el flamenco es el resultado de un mestizaje cultural: gitano, árabe, cristiano y judío. Es espejo y testimonio de numerosos siglos de vida española. El flamenco llega a nuestros días como el arte o manifestación cultural del pueblo andaluz que se expresa a través del cante, el toque y el baile. Conocido por su gran intensidad emocional, el flamenco se distingue por sus movimientos de brazos, zapateos, profundos cantes y rasgueos de guitarra. Destacamos dos particularidades especiales: - Expresión y comunicación de las experiencias y los sentimientos - Música con ritmos muy marcados, con carácter. Hoy en día el flamenco se aprecia y practica en todo el mundo. En 2010 la Unesco declaró el flamenco Patrimonio Cultural Inmaterial de la Humanidad. Fernando Barros Lirola lo define así al flamenco: “Es el resultado de la fusión de la música vocal, el arte de la danza y el acompañamiento musical, denominados respectivamente cante, baile y toque”. 2. ORIGEN Y EVOLUCIÓN ORIGEN Nació en Andalucia, (raíz folclórica), más concretamente en el triángulo formado por Cádiz, Jerez de la Frontera y Sevilla. -
Published by the Folkdance Federation of California, South Volume 52, No
Published by the Folkdance Federation of California, South Volume 52, No. 4 May 2016 Folk Dance Scene Committee Coordinator Jay Michtom [email protected] (818) 368-1957 Calendar Gerri Alexander [email protected] (818) 363-3761 On the Scene Jill Michtom [email protected] (818) 368-1957 Club Directory Steve Himel [email protected] (949) 646-7082 Dancers Speak Sandy Helperin [email protected] (310) 391-7382 Federation Corner Beverly Barr [email protected] (310) 202-6166 Proofreading Editor Jan Rayman [email protected] (818) 790-8523 Carl Pilsecker [email protected] (562) 865-0873 Design and Layout Editors Pat Cross, Don Krotser [email protected] (323) 255-3809 Business Managers Gerda Ben-Zeev [email protected] (310) 399-2321 Nancy Bott Circulation Sandy Helperin [email protected] (310) 391-7382 Subscriptions Gerda Ben-Zeev [email protected] (310) 399 2321 Advertising Steve Himel [email protected] Printing Coordinator Irwin Barr (310) 202-6166 Marketing Bob, Gerri Alexander [email protected] (818) 363-3761 Gerda Ben-Zeev Jill and Jay Michtom 19 Village Park Way Sandy Helperin 10824 Crebs Ave. Santa Monica, CA 90405 4362 Coolidge Ave. Northridge, CA 91326 Los Angeles, CA 90066 Folk Dance Scene Copyright 2016 by the Folk Dance Federation of California, South, Inc., of which this is the official publication. All rights reserved. Folk Dance Scene is published ten times per year on a monthly basis except for combined issues in June/July and December/January. First class postage is paid in Los Angeles, CA, ISSN 0430-8751. Folk Dance Scene is published to educate its readers concerning the folk dance, music, costumes, lore and culture of the peoples of the world. -
Clarinet to Flamenco
Course: CA1004 Degree project 30 Credits 2020 Master of Musical Performance Kungliga Musikhögskolan Supervisor: Sven Åberg Examiner: Katarina Ström-Harg Alejandro Lobato Juan Classical to Flamenco Clarinet How to approach Flamenco from a classical perspective? Written reflection within degree project The sounding part consists of the following recording: Classical to Flamenco ABSTRACT - SUMMARY About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition. This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project. The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future. Keywords: Classical Music. Flamenco. Clarinet. Concert. Project. Table of Contents 1) INTRODUCTION ..................................................................................... 4 PERSONAL NOTE ............................................................................................... 4 PURPOSE OF THE WORK ................................................................................... 6 PREVIOUS EXPERIENCE WITH FLAMENCO ......................................................... 6 2) DEVELOPMENT - FLAMENCO HISTORY AND LISTENING EXPERIENCE ..... 8 BACKGROUND OF FLAMENCO........................................................................... 8 YEARS OF FLAMENCO ......................................................................................