Flamenco Donald Duff
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Cantos De Soledades Y Cantes Por Soleares: Análisis Filológico
http://dx.doi.org/10.12795/PH.1989.v04.i02.01 CANTOS DE SOLEDADES Y CANTES POR SOLEARES: ANÁLISIS FILOLÓGICO Miguel Ropero Núñez Universidad de Sevilla 1. Introducción. El primer y más prestigioso flamencólogo que conocemos fue, sin duda, An tonio Machado y Álvarez «Demofilo», padre de Antonio y Manuel. No podemos descartar que el saber flamenco de Demófilo ejerciera una importante influencia en el pensamiento y obra de sus hijos. Manuel Machado tiene un libro de poemas dedicado al cante y Antonio titula «Cante Hondo» un poema en el que capta ma- ravillosamente la esencia del arte flamenco . · Este poema de A. Machado «Cante Hondo» aparece con el número XIV en un librito que él titula Soledades'· Quizá alguien podría pensar que existe una cierta relación semántica entre «Cante Hondo» y Soledades, ya que uno de los cantes básicos del arte gitano-andaluz es la Soleá. R. Ferreres, en el Prólogo a su edición de este libro de A. Machado, insinúa que el nombre de la copla «so leá» pudo muy bien sugerirle el título «Soledades»: «También tenía a mano, muy a mano, la copla popular: La Soleá, de las que su padre recogió buen número; tanto él como Manuel escribirán algunas» 2• Con estos datos podríamos concluir que Soledades es el título flamenco de este libro de Antonio Machado, que tiene, además, un poema dedicado expresa- I Nuestra cita corresponde a la edición de la Col. Universal, publicada en Madrid en 1919. Se gún indica el mismo A. Machado en el Prólogo, «este libro se publicó en 1907, y no es más que una segunda edición con adiciones, poco esenciales, del libro Soledades, dado a la estampa en 1903», (págs. -
La Cantiña De Los Caracoles a La Luz Del «Método Para La Enseñanza Del Solfeo Y De La Guitarra» De Francisco Sánchez Roda (1850)
DIALNET, RILM, MIAR LA CANTIÑA DE LOS CARACOLES A LA LUZ DEL «MÉTODO PARA LA ENSEÑANZA DEL SOLFEO Y DE LA GUITARRA» DE FRANCISCO SÁNCHEZ RODA (1850) GUILLERMO CASTRO BUENDÍA Centro de Investigación Telethusa Resumen El cante flamenco de Los Caracoles integra en su estructura musical diferentes cantiñas. Una de ellas es un pregón final en el que se anuncia la venta de caracoles, el cual bautiza el estilo. El recientemente descubierto método de guitarra de Francisco Sánchez Roda de 1850 incorpora una nueva fuente musical, la más antigua hasta ahora conocida, algo que obliga a una nueva revisión histórica. Palabras clave: Caracoles, Chacón, Cantiñas, Pregón, Francisco Sánchez Roda. Abstract The flamenco song of Los Caracoles has in its musical structure different “cantiñas”. One of them is a final proclamation announcing the sale of snails. The recently discovered guitar method of Francisco Sánchez Roda, from 1850, incorporates a new musical source, the oldest known until now. This new source forces a new historical revision. Keywords: Caracoles, Chacón, Cantiñas, Proclamation, Francisco Sánchez Roda. Fecha de recepción: 27/12/2018 Fecha de publicación: 01/01/2019 SINFONÍA VIRTUAL · EDICIÓN 36 · Invierno 2019 1 ISSN 1886-9505 –www.sinfoniavirtual.com La cantiña de Los caracoles a la luz del «Método para la enseñanza del solfeo y de la guitarra» de Francisco Sánchez Roda (1850) Introducción El cante flamenco de Los Caracoles integra en su estructura musical diferentes cantiñas. Una de ellas es un pregón final en el que se anuncia la venta de caracoles, el cual bautiza el estilo. En un trabajo anterior1 realizamos un completo estudio de análisis histórico-musical en el que mostrábamos los antecedentes más antiguos que habíamos localizado. -
47 JOSÉ MENESE Flamenco Singing: José Menese Guitar: Manolo Franco BELÉN LÓPEZ Belén López Company Song and Dance MADRID
SUMA FLAMENCA 2010 The Community of Madrid’s 5th Annual Flamenco Festival Press Pack JOSÉ MENESE BELÉN LÓPEZ Flamenco Singing: José Menese Belén López Company Guitar: Manolo Franco Song and Dance MADRID CENTRO CULTURAL PACO RABAL-PALOMERAS BAJAS (PACO RABAL-PALOMERAS BAJAS CULTURAL CENTER) FRIDAY, JULY 2ND AT 20:30 POR DERECHO (BY RIGHT) For Menese, Por derecho (By Right) means, “producing a cante (flamenco song) that is musically pure, with no additives.” Menese’s contribution to renovating and dignifying flamenco provoked sociological and cultural changes in the way this art form was perceived. The cultura jonda (“deep culture”) comes alive in his cante (flamenco singing). At the peak of his maturity as an artist, Menese has become the most authentic symbol of a decisive period in the history of flamenco art, one that began in the 1950’s and 60’s and was known as the flamenco renaissance. José Menese played a crucial role in this renaissance and he has been loyal to his lineage long enough that now, thirty years later, he has again become a point of reference for the new flamenco renaissance that fans of the purest cante (flamenco singing) are currently demanding. José Menese. He was born and raised in 1942 in La Puebla de Cazalla (Seville), where, from an early age, he first began to discover his love of cante (flamenco singing). In 1959, having sung at La Puebla and at El Café Central, Menese debuted at the Carretria de Osuna movie theater alongside Antonio Mairena himself. Menese moved to Madrid in the early 60’s, under the patronage of Francisco Moreno Beltrán (La Puebla’s lyricist). -
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. -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
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. -
III CERTAMEN DE CANTE FLAMENCO Y/O Sábados En Función Del Número De Participantes
III CERTAMEN DE CANTE FLAMENCO y/o sábados en función del número de participantes. El inicio de las sesiones será a las 21.00 horas, debiendo 11. Premios: los participantes estar presentes en la sede de la peña “CIUDAD DE EL PUERTO” con, al. menos, una hora de antelación. El orden de 1º 1.200,00 € y diploma. participación será, salvo acuerdo entre los participantes, por sorteo. 2º 1.000,00 € y diploma. Organiza: Peña Flamenca El Chumi y Radio Puerto. Colabora: Excmo. Ayuntamiento de El Puerto de Santa María. 3º 750,00 € y diploma. 7. Todos los participantes deberán venir provistos del DNI BASES: o cualquier otro documento oficial que acredite su Accésit de 300,00 € y diploma para el cantaor mejor identidad joven no clasificado para la final (menor de 16 años) 1. Se establece la modalidad de cante Flamenco como Accésit de 300,00 € y diploma para el cantaor mejor única disciplina del concurso. La participación se hará 8. Cada participante deberá interpretar, en el orden que clasificado en la modalidad de cantes poco individual, excluyéndose cualquier tipo de desee, un cante de cada uno de los siguientes grupos: interpretados. acompañamiento excepto la guitarra. 12. Las retenciones que la Ley en materia fiscal estipule 2. La inscripción es libre, gratuita y sin límite de edad, sexo GRUPO A: Siguiriya, Soleá, Serrana, Liviana y Tonás. correrán a cargo de la Organización, quedando íntegra o nacionalidad, quedando abierta a todos los aficionados la cuantía de los premios para los participantes. y profesionales del Cante Flamenco. Podrá hacerse así: GRUPO B: Bulerías, Bulerías por soleá, Soleá por 13. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study 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/306 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] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H. -
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. -
Danc-Dance (Danc) 1
DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8.