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Texto Completo Revista Internacional Nº 12 Año 2015 ESPAÑOLES, INDIOS, AFRICANOS Y GITANOS. EL ALCANCE GLOBAL DEL FANDANGO EN MÚSICA, CANTO Y DANZA SPANIARDS, INDIANS, AFRICANS AND GYPSIES: THE GLOBAL REACH OF THE FANDANGO IN MUSIC, SONG, AND DANCE CONSEJERÍA DE CULTURA Centro de Documentación Musical de Andalucía MÚSICA ORAL DEL SUR, Nº 12, Año 2015 ISSN 1138­8579 1 Centro de Documentación Musical de Andalucía Actas del congreso internacional organizado por The Foundation for Iberian Music, The Graduate Center, The City University of New York el 17 y 18 de abril del 2015 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 Depósito Legal: GR­487/95 I.S.S.N.: 1138­8579 Edita © JUNTA DE ANDALUCÍA. Consejería de Cultura. Centro de Documentación Musical de Andalucía Carrera del Darro, 29 18010 Granada [email protected] www.centrodedocumentacionmusicaldeandalucia.es Facebook: http://www.facebook.com/DocumentacionMusicalAndalucia Twitter: http://twitter.com/CDMAndalucia 2 MÚSICA ORAL DEL SUR, Nº 12, Año 2015 ISSN 1138­8579 Centro de Documentación Musical de Andalucía Música Oral del Sur es una revista internacional dedicada a la música de transmisión oral, desde el ámbito de la antropología cultural aplicada a la música y tendiendo puentes desde la música de tradición oral a otras manifestaciones artísticas y contemporáneas. Dirigida a musicólogos, investigadores sociales y culturales y en general al público con interés en estos temas. Presidente ROSA AGUILAR RIVERO Director REYNALDO FERNÁNDEZ MANZANO Coordinación K. MEIRA GOLDBERG ANTONI PIZÀ Presidente del Consejo Asesor JOSÉ ANTONIO GONZÁLEZ ALCANTUD Consejo Asesor MARINA ALONSO (Fonoteca del Museo Nacional de Antropología. INAH – Mexico DF) ANTONIO ÁLVAREZ CAÑIBANO (Dir. del C. de Documentación de la Música y la Danza, INAEM) SERGIO BONANZINGA (Universidad de Palermo ­ Italia) EMILIO CASARES RODICIO (Universidad Complutense de Madrid) TERESA CATALÁN (Conservatorio Superior de Música de Madrid) MANUELA CORTÉS GARCÍA (Universidad de Granada) Ma ENCINA CORTIZA RODRÍGUEZ (Universidad de Oviedo) FRANCISCO J. GIMÉNEZ RODRÍGUEZ (Universidad de Granada) ALBERTO GONZÁLEZ TROYANO (Universidad de Sevilla) ELSA GUGGINO (Universidad de Palermo – Italia) SAMIRA KADIRI (Directora de la Casa de la Cultura de Tetuán – Marruecos) CARMELO LISÓN TOLOSANA (Real Academia de Ciencias Morales y Políticas – Madrid) BEGOÑA LOLO (Dirª. del Centro Superior de Investigación y Promoción de la Música, U. A. de Madrid) JOSÉ LÓPEZ CALO (Universidad de Santiago de Compostela) JOAQUÍN LÓPEZ GONZÁLEZ (Director Cátedra Manuel de Falla, Universidad de Granada) MARISA MANCHADO TORRES (Conservatorio Teresa Berganza, Madrid) TOMÁS MARCO (Academia de Bellas Artes de San Fernando – Madrid) JAVIER MARÍN LOPEZ (Universidad de Jaén) JOSEP MARTÍ (Consell Superior d ́Investigacions Científiques – Barcelona) MANUEL MARTÍN MARTÍN (Cátedra de flamencología de Cádiz) MÚSICA ORAL DEL SUR, Nº 12, Año 2015 ISSN 1138­8579 3 Centro de Documentación Musical de Andalucía ANTONIO MARTÍN MORENO (Universidad de Granada) ÁNGEL MEDINA (Universidad de Oviedo) MOHAMED METALSI (Instituto del Mundo Árabe – París) CORAL MORALES VILLAR (Universidad de Jaén) MOCHOS MORFAKIDIS FILACTOS (Pdte. Centros Estudios Bizantinos Neogriegos y Chipriotas) DIANA PÉREZ CUSTODIO (Conservatorio Superior de Música de Málaga) ANTONI PIZA (Foundation for Iberian Music, CUNY Graduate Center, New York) MANUEL RÍOS RUÍZ (Cátedra de flamencología de Jeréz de la Frontera) ROSA MARÍA RODRÍGUEZ HERNÁNDEZ (Codirectora revista Itamar, Valencia) SUSANA SARDO (University of Aveiro) JOSÉ MARÍA SÁNCHEZ VERDÚ (Robert­Schumann­Musikhochschule, Dusseldorf) FRÉDERIC SAUMADE (Universidad de Provence Aix­Marseille – Francia) RAMÓN SOBRINO (Universidad de Oviedo) Ma JOSÉ DE LA TORRE­MOLINA (Universidad de Málaga) Secretaria del Consejo de Redacción MARTA CURESES DE LA VEGA (Universidad de Oviedo) Secretaría Técnica MARÍA JOSÉ FERNÁNDEZ GONZÁLEZ (Centro de Documentación Musical de Andalucía) IGNACIO JOSÉ LIZARÁN RUS (Centro de Documentación Musical de Andalucía) Maquetación ALEJANDRO PALMA GARCÍA JOSÉ MANUEL PÁEZ RODRÍGUEZ Acceso a los textos completos Web Centro de Documentación Musical de Andalucía http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/documentacion/revistas Repositorio de la Biblioteca Virtual de Andalucía http://www.bibliotecavirtualdeandalucia.es/catalogo 4 MÚSICA ORAL DEL SUR, Nº 12, Año 2015 ISSN 1138­8579 Centro de Documentación Musical de Andalucía THE FANDANGOS OF SOUTHERN SPAIN IN THE CONTEXT OF OTHER SPANISH AND AMERICAN FANDANGOS Miguel Ángel Berlanga Universidad de Granada Abstract Some years ago, historical and (ethno)musicological research documented the great number of musical phenomena denoted by the word “fandango.” But from the conceptual and musical point of view there yet remain some unanswered questions. Is it useful to propose a general definition of the fandango that would include all the musical phenomena known by this denomination? I propose here to demonstrate that it is indeed useful to propose a universal meaning for the word “fandango.” (Or, at least, as universal as possible.) For this definition to be valid, we must assume that it should include in a convincing way all of the diverse meanings of this word, in the present as well as in the past. In this regard, from a strictly formal point of view, the most characteristic features of the fandango music of southern Spain are compared with those of other fandangos from both sides of the Atlantic. Keywords: Southern Fandangos. The other Spanish Fandangos. American Fandangos. Resumen La investigación histórica y (etno)musicológica, hace unos años evidenció la gran cantidad de fenómenos musicales que envuelven a la palabra fandango. Pero desde el punto de vista conceptual y musical quedan por clarificar algunas cuestiones ¿Resulta útil proponer una definición general de fandango que envuelva a todos los fenómenos musicales conocidos bajo esa denominación? En este trabajo mantenemos que es útil proponer un significado lo más universal posible de la palabra fandango. Esta propuesta intenta asumir los diversos significados particulares que la palabra reviste en la actualidad, la cual viene iluminada con frecuencia por sus antiguos significados. Para ello, se tienen en cuenta los significados de la palabra fandango en diversas partes del mundo y en diversos momentos históricos. Posteriormente, y desde el punto de vista más estrictamente formal, los rasgos musicales más característicos de los fandangos del sur de España se comparan con los de otros fandangos a una y otra orilla del Atlántico. Palabras clave: Fandangos del sur; Otros fandangos españoles. Fandangos americanos. RESUMEN CURRICULAR Miguel Angel Berlanga is a professor of ethnomusicology at the University of Granada (Spain) with his doctorate in musicology. His publications focus on the musical traditions of Andalusia, Spain, including the region’s most well known genre, flamenco. His doctoral MÚSICA ORAL DEL SUR, Nº 12, Año 2015 ISSN 1138­8579 171 Centro de Documentación Musical de Andalucía MIGUEL ÁNGEL BERLANGA thesis focused in fandangos, was awarded the First Prize for Research on Traditional Dances, sponsored by the University and Council of Malaga (1999) as well the National Award for Research on Folklore (CIOFF, Ministry of Culture of Spain) in 2007. Currently, he is conducting research on flamenco, Spanish dance, Ibero­American music and their respective relationships to a) traditional Spanish music b) dance music in the Spanish Baroque. Berlanga, Miguel Ángel. "The Fandangos of southern Spain in the Context of other Spanish and American Fandangos". Música Oral del Sur, n. 12, pp. 171­184, 2015, ISSN 1138­8579 Opening Words I would like to start off with a sincere “thank you” to the organizers of this Congress for the honor of attending. Over these few days we will work with fandangos, understanding them as music and dances as well as musical behaviors linked to a musical repertoire which Angeliers León has called Cancionero Ternario Caribeño. This musical complex, until a few years ago, seemed to have been overshadowed by the rise of other repertories in the middle of the 20th century such as, bolero, salsa, cumbia, rap, hip­hop... This shift in musical attention is a phenomenon created by mass media as well as the record companies. Cultural and scientific events, such as this one, contribute to the revitalization of important cultural practices. In this case, fandangos have been and still are a representative part of “the Hispanic cultural universe.” I agree with Antonio García de León that fandangos, as a cultural practice reflect “features of national identities,” not only of one country, but of many (García de León, 2002: 14). Fandangos, understood as social/festive conventions, maintain a relationship with a specific kind of music that still has gifts to offer to the musical panorama of our time, in which mercantilism and individualism reign in popular music. I consider this conference to be an excellent initiative, which without a doubt will assist in discovering new methods of revitalizing these important cultural practices. INTRODUCTION In 1992, as a musicology student I decided to conduct fieldwork study on a specific type of music that was improvised during a certain type of gathering in central Andalusia, known as “fiestas de poetas” (poet parties). Besides discovering
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