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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. -
Manolo Caracol Una Historia Del Cante Flamenco Mp3, Flac, Wma
Manolo Caracol Una Historia Del Cante Flamenco mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin / Folk, World, & Country Album: Una Historia Del Cante Flamenco Country: Spain Released: 2009 Style: Flamenco MP3 version RAR size: 1591 mb FLAC version RAR size: 1162 mb WMA version RAR size: 1441 mb Rating: 4.6 Votes: 603 Other Formats: MIDI AIFF APE MP3 AUD TTA WMA Tracklist 1-1 En El Calabozo: Martinetes 1:42 1-2 Mis Ducas No Eran Na: Martinetes 2:01 1-3 El Reniego: Siguiriyas 5:03 1-4 Mujer Malina: Siguiriyas De El Marruro 4:04 1-5 De Santiago A Santa Ana: Siguiriyas De Manuel Torres 4:46 1-6 Cuando Yo Me Muera: Siguiriyas 3:56 1-7 Me Pueden Mandar: La Caña 4:37 1-8 Si Yo Pudiera: Soleares De Joaquín El De La Paula 2:53 1-9 Tiro Piedras Por La Calle: Soleares De Enrique El Mellizo 3:16 1-10 Al Señor Del Baratillo: Soleares De Antonio Frijones 3:00 1-11 Soy Como Aquel Jilguerillo: Taranta Y Malagueña 3:26 1-12 Que Del Nío La Cogí: Fandangos 4:16 2-1 Se La Llevó Dios: Malagueñas De Enrique El Mellizo 3:53 2-2 Viva Madrid: Malagueñas De Chacón 2:35 2-3 Veneno Me Dejaste: Fandangos Caracoleros 3:03 2-4 Antes De Llegar A Tu Puerta: Fandangos De Huelva 2:19 2-5 Cuando Te Vayas Conmigo: Alegrías 2:16 2-6 Como El Santo Rey David: Bulerías Festeras 4:39 2-7 Toitas Las Mares: Saeta 3:07 2-8 Debajito Del Puente: Tiento 2:18 2-9 La Barca De Mis Amores: Tientos Caracoleros 2:27 2-10 Voz Del Pueblo: Mirabrás 3:34 2-11 No Quiero Na Contigo: Bulerías 3:44 2-12 No Quiero Caudales: Bulerías "Ar Gorpe" Companies, etc. -
63-76 1027 Kultura Argentinita
KULTURA Ameryka Łaci ńska , 2-3 (104-105) 2019 ISSN 1506-8900; e-ISSN 2081-1152 DOI: 10.36551/20811152.2019.104-105 CC-BY-SA Anna Bła żejczyk Wydział Nauk Humanistycznych Katolicki Uniwersytet Lubelski Jana Pawła II w Lublinie e-mail: [email protected] „L a Argentinita” na transatlantyckiej ście żce: z Buenos Aires, przez Madryt, po Nowy Jork „La Argentinita” on the Transatlantic Career Path: From Buenos Aires, Via Madrid to New York Artykuł nadesłany: 15 wrze śnia 2019 Wersja ostateczna: 29 grudnia 2019 DOI: 10.36551/20811152.2019.104-105.04 Streszczenie: Hiszpa ńsko-argenty ńska tancerka flamenco, o scenicznym pseudonimie „La Argen- tinita” pozostaje wci ąż mało znana polskiemu odbiorcy. Muza intelektualistów „Pokolenia 27”, przyjaciółka Federico Garcíi Lorki, Manuela de Falli, odnosz ąca triumfy na scenach Hiszpanii, Afryki i obu Ameryk, okrzykni ęta została jedn ą z najwybitniejszych artystek pierwszej połowy XX wieku. Prowadz ąc działalno ść artystyczn ą od Buenos Aires, przez Madryt, po Nowy Jork plaso- wała si ę mi ędzy tradycj ą a awangard ą. Celem artykułu jest przybli żenie w zarysie sylwetki tej wy- bitnej artystki. Poni ższy tekst kre śli transatlantyck ą ście żkę kariery tancerki poprzez analiz ę jej kre- atywnej pracy, z uwzgl ędnieniem procesu popularyzacji muzycznej tradycji Andaluzji – flamenco. Słowa kluczowe : La Argentinita, Federico García Lorca, Srebrny Wiek, taniec i muzyka hisz- pańska XIX/XX w., flamenco. Abstract: The stage name „La Argentinita” of the Spanish-Argentinian flamenco dancer re- mains still unknown to the Polish audience. A muse of intellectuals Generation of ‘27, a friend of Federico García Lorca and Manuel de Falla, triumphing on the stages of Spain, Africa and the Americas, was greeted as one of the most outstanding artists of the first half of the twentieth century. -
Revista 11 Pag 14-17 Firmas Cristina Cruces
Cristina Cruces Firmas ARTÍCULO La Niña de los Peines y su mundo flamenco Cristina Cruces Roldán siguiera trabajando”. “Desde que nos casamos es mi marido y yo Autora del libro ‘La Niña de los Peines. El mundo flamenco de le obedezco”, declaró en 1966 a Manuel Alonso Vicedo. Du- Pastora Pavón’. rante los años 50 y 60, hasta la muerte en vida que supuso su ar- terioesclerosis, la vida artística y cantaora de La Niña se limitó a Los atlantes del cante, aquéllos que construyen épocas en ser acompañante fiel en las giras de Pepe y a sentarse en la puerta torno a sí, quienes con justicia equiparable a otros -pero tal vez del añorado Bar Pinto, en la Campana. La personalidad distante con mayor fortuna-, se han convertido en mitos de la voz fla- de un rostro que Eduardo Pérez Orozco, testigo de la época, menca, se cuentan con los dedos de dos manos: Chacón, Ma- definió como “de violencia contenida… de soledad, de absoluta nuel Torre, Marchena, Caracol, Mairena, Camarón, Morente... soledad”, ebullía no obstante de cuando en cuando cantando y La Niña de los Peines. Una mujer sola, única cantaora en los por bulerías o seguiriyas en el sotanillo del establecimiento. tiempos en que, desaparecidas apenas una terna de nombres Las razones que conciernen a los andaluces en su vínculo del café -aquellas que “no acaban la guerra”, como las calificó con Pastora Pavón, y el por qué fue elegida para dar el primer Fernando el de Triana- se había quedado sin más competido- paso en la consideración del flamenco dentro de las acciones ad- res que Chacón y Manuel Torre. -
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. -
ALFONSO SALMERÓN Vocals: Alfonso Salmerón Guitarist: Rafael Andujar Cajón: Óscar Salmerón
Dossier de prensa ALFONSO SALMERÓN Vocals: Alfonso Salmerón Guitarist: Rafael Andujar Cajón: Óscar Salmerón Song LA CABRERA CENTRO DE HUMANIDADES CARDENAL GONZAGA SIERRA NORTE SATURDAY, JUNE 11TH AT 21 PURO FLAMENCO On 22 January 2010, the Auditorium of the Colegio Mayor San Juan Evangelista was the venue chosen for a deserved tribute to the Almeria singer Alfonso Salmerón. The reason was to celebrate the fifty years in flamenco of an artist who is rigorous in the more orthodox songs and at the same time open to the ‘new nuances’ that enrich his musical world, the reason for which he has collaborated with, for example, José Carreras and Herbert von Karajan (Marcos Escánez). Despite having achieved a certain professional stability and always brimming over with life, his restless spirit pushes him to investigate new musical formulas, aways from the deepest orthodoxy, and with the sole aim of giving greater importance to the meaning and presentation of cante jondo. He is outstanding in songs with beat, such as alegrías, bulerías and tangos, and in the songs from his land, fundamentally the taranto, which he performs with great emotion, offering them to his audience impregnated with all the love he still feels for his native land. We can also appreciate his fondness for seguiriya and soleá, songs in which he feels particularly comfortable. The artist is coming to this year’s edition of Suma Flamenca as Puro Flamenco, in the styles that are most representative of his singing. In addition to the palos already mentioned, there are tonás, fandangos, caracoles and martinetes. With them, and accompanied by guitar and box, he will complete a recital that summarizes that career of fifty years, the anthology of an artist who looks back now on all he has done just as when he recorded his latest disc 50 años de flamenco. -
Bailes Boleros Y Flamencos En Los Primeros Cortometrajes Mudos
BAILES BOLEROS Y FLAMENCOS EN LOSRevista PRIMEROS de DialectologíaCORTOMETRAJES y Tradiciones MUDOS... Populares,441 vol. LXXI, n.o 2, pp. 441-465, julio-diciembre 2016, ISSN: 0034-7981, eISSN: 1988-8457, doi: 10.3989/rdtp.2016.02.005 Bailes boleros y flamencos en los primeros cortometrajes mudos. Narrativas y arquetipos sobre «lo español» en los albores del siglo XX Boleros and Flamenco Dancing in the Early Silent Films. Narratives and Archetypes of Spanishness in the Early Twentieth Century Cristina Cruces-Roldán Grupo de Investigación GEISA, Universidad de Sevilla [email protected] RESUMEN El artículo localiza y cataloga 37 filmaciones del periodo 1894-1910 que conforman un corpus de cine primitivo sobre bailes españoles, boleros y flamencos. Estas películas mudas fueron registradas en exposiciones universales o como resultado de dramatizaciones teatrales, parodias e historias de ficción y están contenidas en los archivos The Library of Congress, Gaumont-Pathé, las colecciones Pathé y Frères Lumière y los Huntley Films Archive. El análisis de contenido de estos archivos demuestra las potencialidades de la filmografía pionera como fuente documental para conocer los procesos de construcción y reproducción de los clichés nacionales. Se expone la coexistencia de dos narrativas en estos registros pioneros: la testimonial del baile como expresión artística, y el discurso identitario sobre «lo español» a través de las disposiciones corporales y los elementos ambientales de los fotogramas. El modo de representación del arquetipo hispánico confirma que el cine de los inicios fue una vía de transmisión continuista respecto a los imaginarios estéticos, psicológicos y morales insertos en la espagnolade, para los cuales etnicidad y género funcionaron como sustratos convertidos en cliché de una cultura periférica y, a la vez, fascinante. -
Tesis Los Orígenes De La Canción Popular En El Cine Mudo
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I TESIS DOCTORAL Los orígenes de la canción popular en el cine mudo español, (1896-1932) MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Benito Martínez Vicente Director Emilio Carlos García Fernández Madrid, 2012 © Benito Martínez Vicente, 2012 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 2 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 3 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 4 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) ¡RESPETABLE PÚBLICO! Señores: no alborotéis Aunque á oscuras os quedéis, Que á oscuras no se está mal Y si esperáis hasta el final, ¡ya veréis!... 1 1 Berriatúa, Luciano. “ Los primeros años del cine en las zarzuelas ”. Lahoz Rodrigo, Juan Ignacio (coord.). A propósito de Cuesta. Escritos sobre los comienzos del cine español 1896-1920. Ediciones de la Filmoteca. Institut Valencià de l’Audiovisual i la Cinematografia Ricardo Muñoz Suay. -
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. -
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. -
Echoes of the Gothic in Early Twentieth- Century Spanish Music
Echoes of the Gothic in Early Twentieth- Century Spanish Music Jennifer Lillian Hanna ORCID: 0000-0002-2788-9888 Submitted in total fulfilment of the requirements of the Master of Music (Musicology/Ethnomusicology) November 2020 Melbourne Conservatorium of Music Faculty of Fine Arts and Music University of Melbourne ii Abstract This thesis explores traces of the Gothic in music and related artforms concerning Spain in the early twentieth century, drawing together a number of case studies with varied proximity to Manuel de Falla and his artistic milieu. A range of Gothic perspectives are applied to a series of musical works, repertories, constructions of race, modes of performance and stage personae, and this examination is preceded by an overview of Gothic elements in their nineteenth-century precursors. The connection between Granada’s Alhambra and the Gothic is based not only on architectural style, but also nocturnal and supernatural themes that can be traced back to the writings of Washington Irving. The idea of Alhambrism and Romantic impressions of the Spanish Gypsy, both of which are associated with the magical, primitive, mystic and nocturnal elements of the Gothic, are also related to constructions of flamenco and cante jondo. The Romantic idea of the Spanish gypsy evolved into primitivism, and attitudes that considered their culture archaic can be placed in a Gothic frame. Flamenco and the notion of duende can also be placed in this frame, and this idea is explored through the poetry and writings of Federico García Lorca and in his interaction with Falla in conceiving the Cante jondo competition of 1922. -
Catálogo Generado El Día 22/03/2011 Si Buscas
Catálogo generado el día 22/03/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Música flamenca .................................................................................................................................................................. 2 Antologias ......................................................................................................................................................................... 2 Artistas Destacados ........................................................................................................................................................ 53 Camaron de la Isla ........................................................................................................................................................ 109 CD's con DVD ................................................................................................................................................................ 163 Colecciones ................................................................................................................................................................... 202 Conciertos en Vivo ........................................................................................................................................................ 242 Copla y Canción Española ............................................................................................................................................. 256 Flamenco Puro .............................................................................................................................................................