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Revista 2015-Corregida.Indd ARTíCULOS/ARTICLES: ARTíCULOS/ARTICLES: Los sonidos de Al-Ándalus - Los sonidos de Al-Ándalus - Katherine Burks, Zane LarwoodLarwood e Ian McKenna Flamenco en Granada: unun lega-lega- do que vive -Sung Kim,Kim, TommyTommy Levendosky y Carolina MaestreMaestre La música clásica en Granada:Granada: fundamentos ee inspiracióninspiración -- Mayarita Castillo, Dominika Sie-Sie- ruta y Daniel Willows Pop granadino: vínculo entre Pop granadino: vínculo entre pasado y futuro - Nathanael Coffey,pasado María y futuro Hanophy - Nathanael y Sarah MalavendaCoffey, María Hanophy y Sarah Malavenda El misterio del jazz granadino - SarahEl misterio Allison, del Ben jazz Carbone, granadino - KirstenSarah Allison, Coale y Ben Nick Carbone, Endo Kirsten Coale y Nick Endo ción de rock en Granada -Ryan Lawless,Elción ‘duende’ de rock Taylor rockero: en McCueGranada la ytradi- Marina -Ryan RecioLawless,El ‘duende’ Taylor rockero: McCue la ytradi- Marina Recio GRANADA: P ROF. RAFAEL L AMAS BEGO GRANADA:ÑA C ALATRAVA P ROF. RAFAEL L AMAS BEGOÑA C ALATRAVA NEW Y ORK: ISAP Los artículos no pueden ser reproducidos sin el consentimiento ISAP@FORDHAM. EDU escrito de sus autores y de Fordham in Granada. NEW YORK: Articles cannot be reproduced without written permission from ISAP theLos authors artículos and Fordhamno pueden in ser Granada. reproducidos sin el consentimiento ISAP@FORDHAM. EDU escrito de sus autores y de Fordham in Granada. Articles cannot be reproduced without written permission from the authors and Fordham in Granada. Los artículos no pueden ser reproducidos sin el consentimiento escrito de sus autores y de Fordham in Granada. Articles cannot be reproduced without written permission from the authors and Fordham in Granada. Por Granada: revista de estudiantes - Fordham in Granada 1 FORDHAM IN GRANADA Por Granada: revista de estudiantes SPRING 2015, V PROF. RAFAEL LAMAS BEGOÑA CALATRAVA [email protected] Los artículos no pueden ser reproducidos sin el consentimiento escrito de sus autores y de Fordham en Granada. Articles cannot be reproduced without obtaining author permission and notifying Fordham in Granada. - All rights reserved - 2 Por Granada: revista de estudiantes - Fordham in Granada OUR PHILOSOPHY: he magazine Por Granada publishes the students’ fi nal projects of the course Spain in Con- text taught by Prof. Lamas at Fordham in Granada. Rather than academic research papers, T the students’ articles are works of well-informed investigative journalism. Topics are cho- sen in consultation with Prof. Lamas and Begoña Calatrava, and involve demanding fi rst-hand fi eld- work in Granada. A number of interviews with locals are required to have the project approved. Students are requested to fi nd their own sources and to create an adequate network of contacts to fully understand the chosen subject matter. The articles are the result of a thoughtful teamwork and have been originally written in Spanish. The opinions expressed in this publication fall under the exclusive responsibility of their respective authors, and do not necessarily refl ect the views of the course, the faculty member, or the team of editors. Microrrelato: • Uno y tres ..................................................................................................................................1 (microrrelato escrito colectivamente por los estudiantes - taller de escritura creativa coordinado por Pepa Merlo) (short story written by the students - workshop on creative writing coordinated by Pepa Merlo) Artículos: • Los sonidos de Al-Ándalus ........................................................................................................2 Katherine Burks, Zane Larwood e Ian McKenna • Flamenco en Granada: un legado que vive .............................................................................7 Sung Kim, Tommy Levendosky y Carolina Maestre • La música clásica en Granada: fundamentos e inspiración .................................................12 Mayarita Castillo, Dominika Sieruta y Daniel Willows • Pop granadino: vínculo entre pasado y futuro .....................................................................16 Nathanael Coffey, María Hanophy y Sarah Malavenda • El misterio del jazz granadino ...............................................................................................21 Sarah Allison, Ben Carbone, Kirsten Coale y Nick Endo • El ‘duende’ rockero: la tradición de rock en Granada ..........................................................26 Ryan Lawless, Taylor McCue y Marina Recio Participantes 2015: • Foto y frase ..............................................................................................................................31 Por Granada: revista de estudiantes - Fordham in Granada 1 Uno y tres Veinte anillos Hay una mano. La cabeza de una leona tatuada entre el índice y el pulgar, las uñas largas pintadas de marfi l como los dientes del felino. Viernes 13 El talle fi no y largo de una copa vibra con el golpe seco Hay una mano. La cabeza y acompasado del dedo sobre de una leona tatuada entre el el borde del cristal. La última índice y el pulgar, las uñas lágrima de vino penetra en el largas pintadas de marfi l La viuda esmalte blanco. El timbre de como los dientes del felino. la puerta rompe el silencio. El talle fi no y largo de una Hay una mano. Las grietas Irrumpen en la habitación copa vibra con el golpe seco surcan la piel. Las uñas cortas veinte novios con veinte y acompasado del dedo sobre y amarillentas golpean el anillos. Piden su mano. Ella el borde del cristal. La última cristal de un vaso. La última vuelve el rostro y detiene la lágrima de vino penetra en el lágrima de vino penetra su mirada en el dedo que continúa esmalte blanco. Se va la luz. piel. La luz se apaga. El golpeando el borde de la copa. El tiempo pasa volando. tiempo pasa volando. El tiempo pasa volando. 2 Por Granada: revista de estudiantes - Fordham in Granada Los sonidos de Al-Ándalus Katherine Burks, Zane Larwood e Ian McKenna i se pregunta a los granadinos sobre el sulmana y la escisión del imperio islámico en legado de la música andalusí, la mayoría el siglo VIII, este artículo sigue la evolución de S confesará que no sabe mucho sobre el la música desde la corte de Bagdad hasta la del tema, ni conoce su impronta en la cultura de An- califato Omeya en Córdoba y los reinos de tai- dalucía. El desconocimiento general añade aún fas. También trataremos la importancia actual de más interés a nuestra investigación sobre este este estilo entre músicos y afi cionados en países antiguo género musical. En las siguientes pági- y regiones como Marruecos, Siria y, por supues- nas no sólo indagaremos en la rica historia de la to, Andalucía. música andalusí a partir de fuentes históricas de Al-Ándalus, nombre de la Península Ibérica bajo dominio musulmán durante la Edad Media. Sino La historia de la música andalusí también seguiremos las huellas de su legado y las contribuciones de músicos españoles que si- La música andalusí surge de la mezcla de cul- guen ofreciéndonos este género en la actualidad. turas que caracteriza al sur de España y el nor- Tomando como punto de partida la expansión te de Marruecos a lo largo de los siglos XIII y hacia occidente de la pujante civilización mu- XIV. Esta región, que ha sido llamada “el crisol Por Granada: revista de estudiantes - Fordham in Granada 3 de la interacción cultural entre los musulmanes maestro musical y otras personas con gran peso y personas de otras religiones,” se convirtió en político en la corte.4 Su popularidad creció rá- un espacio de convivencia pacífi ca, aunque no pidamente en Al-Ándalus y en poco tiempo se exenta de confl ictos, entre las tres religiones convirtió en una fi gura representativa y renova- monoteístas – el cristianismo, el judaísmo y el dora de la música árabe. Según algunas fuentes, islam.1 A medida que los musulmanes fueron ga- Ziryab “era capaz de cantar más de diez mil can- nando territorio en el sur de la Península Ibérica, ciones diferentes, para cuyo acompañamiento la fusión entre árabo-bereberes e hispano-godos perfeccionó el laúd añadiéndole una quinta cuer- tuvo como consecuencia la paulatina creación da” que, según él, representaba la vida y el alma de una civilización con personalidad propia. del instrumento.5 Al-Ándalus se diferenció rápidamente del gran imperio musulmán de oriente y su idiosincrasia, fruto del intercambio cultural, se desarrolló en todos los niveles sociales, políticos, económicos y artísticos. Las primeras manifestaciones de la música andalusí llegaron a la Península con la expansión hacia el oeste del mundo musulmán bajo el lide- razgo del califa al-Walad I y el gobernador de Túnez, Musa Ibn Nusayr, a principios del siglo VIII. 2 En el año 714, tras derrotar a los visigo- dos, el imperio musulmán completó su conquis- ta de la Península Ibérica y comenzó a transmi- tir sus tradiciones culturales y artísticas, que en el caso de la música implicó la transferencia de los instrumentos árabes al nuevo territorio. La dinastía de los Omeya, expulsados de la corte de Bagdad, formó un nuevo estado musulmán con Finalmente, con el apoyo de las élites cor- su centro en Córdoba. Se sucedieron ocho emi- dobesas, el músico fundó un conservatorio de res hasta el año 929, cuando Abd al-Rahman III música por desarrollar y transmitir su particular decidió fundar un califato declarándose príncipe teoría musical y técnica. Hoy en día, Ziryab es de los creyentes e independizándose comple- recordado principalmente por su uso de la nub- tamente del imperio musulmán de oriente.
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