Composition, Authorship, and Ownership in Flamenco, Past and Present
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City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2010 Composition, Authorship, and Ownership in Flamenco, Past and Present 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/21 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] VOL . 54, NO. 1 ETH N OMUSICOLOGY WI N T E R 2010 1 2 3 4 5 6 Composition, Authorship, and 7 8 Ownership in Flamenco, Past and Present 9 10 PE T E R MA N U E L / John Jay College and the CUNY Graduate Center 11 12 13 mong the most fundamental musical developments accompanying 14 A the advent of modernity has been the emergence of new conceptions 15 of authorship, ownership, and the roles of composition. A growing body of 16 literature has emerged which addresses various aspects of these processes 17 in relation to diverse music cultures (e.g., Talbot 2000, Vaidhyanathan 2001, 18 Frith 1993). In the realm of Western art music, scholarly attention has fo- 19 cused in particular on the celebration, especially from the Romantic period 20 on, of the composer as an individual genius, and on the special importance 21 of “the work,” as an original, reproducible, structurally unified, aesthetically 22 unique, and privately owned entity (Goehr 1992). Concepts of authorship 23 can be particularly problematic in the case of oral traditions that evolve into 24 or become absorbed into commercial popular musics, entailing new concep- 25 tions of and a new prominence of the “song” and its individual composers, 26 and new notions of ownership as embodied in copyright. At the same time, 27 however, instead of promoting pre-composed “songs” and “works,” modernity 28 can also reinforce and rearticulate approaches which in fact de-emphasize 29 composition, via, for example, the legitimization and elaboration of exist- 30 ing oral traditions, the elevation of individual, soloistic virtuoso expression 31 and interpretation (as in jazz)—as opposed to composition per se—and en- 32 couraging trends toward the standardization and codification of an existing 33 repertoire, which thenceforth becomes in its own way resistant to accretion 34 and new composition. 35 In this article I explore how some of these processes have operated in 36 the modernization of flamenco, in the various forms in which it has flourished 37 over the last century. Paralleling developments in certain other genres, in 38 commercial pop flamenco collective, oral-tradition recycling of stock musical 39 materials can be seen to give way to mass mediated, pre-composed songs, 40 as new dimensions of finance and copyright precipitate polemics and legal 41 42 © 2010 by the Society for Ethnomusicology 43 Manuel: Flamenco, Past and Present 107 actions. At the same time, however, the new importance of compositions 1 and composing in the realm of this mass-mediated “nuevo flamenco” (new 2 flamenco) has been counterbalanced in mainstream, neo-traditional flamenco 3 by a certain codification of the existing repertoire, which has become less 4 accommodating to new creations. The contradictions and complexities of 5 these processes acquire various sorts of importance—as revealed by polemics 6 and disputes—involving issues of aesthetics, ownership, and even ethnicity 7 (as concerning Gypsies and non-Gypsies). Their complexity derives in part 8 from the heterogeneity of forms of flamenco—from traditional to pop—and 9 from the way that even traditional flamenco (in some respects like jazz) de- 10 fies categorization as folk, classical, or pop. 11 12 Traditional Flamenco: Cantes and Estilos 13 14 If flamenco is understood as comprisingcante (singing), toque (guitar), 15 and baile (dance), it is cante which is traditionally regarded as structurally 16 and aesthetically the most important and representative aspect of the art, and 17 which accordingly is the primary focus of this essay. Traditional flamenco is 18 based on a body of basic song-types which are called palos or cantes (aside 19 from the general meaning of cante as “singing”). The mainstream repertoire 20 comprises around a dozen basic and familiar cantes/palos, and some two 21 dozen subsidiary or less common variants of these. The palos are distin- 22 guished variously in terms of poetic form, characteristic vocal melodies, in 23 some cases metrical scheme, called compás (with distinctive internal ac- 24 cents), and guitar tonalities and conventional accompaniment patterns.1 25 The basic cantes/palos themselves may be regarded as general categories, 26 and as frames or molds which accommodate a variety of more specific stock 27 tunes, which could be called “sub-cantes” but are traditionally referred to 28 by some vocalists as estilos—literally, “styles.” Generally, an estilo—to those 29 who use this term—comprises a distinctive melody, which accommodates 30 a copla, which is a verse of from three to five lines. Thus, a typical rendition 31 of a soleá (one of the palos) might consist of a string or “set” of four or five 32 coplas or verses, which would probably be in different estilos, punctuated by 33 guitar interludes (falsetas), all conforming to the characteristic twelve-beat 34 compás and familiar chordal progressions of that cante. In practice, most 35 soleá sub-cantes follow fairly similar melodic patterns.2 36 While a vocalist might sing a familiar copla in the estilo traditionally as- 37 sociated with it, the estilos function as stock tunes in the sense that a singer 38 is free to set a new (or old) lyric to a suitable estilo. Writers on flamenco— 39 notably Soler Guevara and Soler Díaz (1992) and Norman Kliman,3 elabo- 40 rating the work of Antonio Mairena (with Molina, 1979)—have identified 41 almost one hundred distinct estilos of soleares and of siguiriyas, which are 42 43 108 Ethnomusicology, Winter 2010 1 associated variously with places or with the names of singers who created or 2 popularized them. While many singers might be unaware of such associations, 3 a knowledgeable vocalist might announce, “Now I’ll sing a soleá of Alcalá,’’ 4 which would imply any suitable copla or verse set to one of the loose stock 5 soleá melodies supposedly deriving from the Gypsy singers from Alcalá; or it 6 might be announced as “la soleá de cierre de El Mellizo,” meaning a standard 7 closing estilo attributed to Enrique Mellizo (1848–1906). Only literati famil- 8 iar with the erudite taxonomies of Kliman and the Solers would be able or 9 inclined to further identify the estilo as, for example, “La Andonda 2.” Estilos 10 in other palos could be similarly catalogued. 11 If the cantes constitute traditional song-types providing the basic mold 12 or structure, the estilos or sub-cantes, in combination with the words to 13 which they are set, are somewhat more “song-like” in their greater melodic 14 specificity. Some of the lighter, metered sub-cantes—especially fandangos 15 de Huelva, tangos, and familiar tunes like “Tanguillo Castillo de Arena”—are 16 fairly “hummable” in the sense that their melodies are relatively fixed and 17 tuneful, and are largely syllabic rather than melismatic in style. Such items 18 can even be sung in unison by two or more singers, especially as lighter fare 19 accompanying a commercial dance show (a tablao) at a club. However, estilos 20 in the more serious flamenco cantes like soleares, siguiriyas, and tientos 21 are better understood as flexible schematic outlines, which place greater 22 demands on the singer’s creativity of rendition. Accordingly, as cante jondo 23 (“deep song”), they are more highly regarded by connoisseurs, and could 24 never be sung in unison. Free-rhythmic fandango styles, including malagueña 25 and granaína, although not seen as cante jondo or cante gitano, can be also 26 quite melismatic, loose, demanding, and soloistic in their own way. Certain 27 singers, to be sure, developed fairly fixed ways of rendering even melismatic 28 estilos, such that they acquired some of the character of pre-composed enti- 29 ties, although they would be treated as stock tunes to be used strophically 30 with different verses. 31 Despite the known authorship of many estilos, a typical traditional fla- 32 menco item, whether in concert or on a commercial recording, has few of 33 the essential attributes of a “song” or composition, being instead a “set” of 34 three to five coplas, which each constitute thematically unrelated and wholly 35 independent and complete lyric statements. Insofar as the coplas are sung 36 in similar or identical estilos, the rendering is thus loosely strophic and addi- 37 tive rather than organically structured like, for example, a 32-bar AABA song. 38 Although in the case of cantes like soleares, there are certain conventions as 39 to sequence of estilos, there is no particular overall structure, symmetry, or 40 design, nor is there any particular form of closure, aside from the occasional 41 use of short cadential patterns (remates) in cantes like bulerías. The “title” of 42 a piece that appears on the label of commercial recording is typically the first 43 Manuel: Flamenco, Past and Present 109 line of the first copla, or perhaps a distinctive line from another copla, rather 1 than constituting a phrase relevant to the set as a whole. Further, in traditional 2 singing, a vocalist need not make any particular attempt to reproduce any 3 particular sequence of coplas and estilos that (s)he has sung previously, in 4 concert or recordings (unless the artist is specifically attempting to promote 5 a recent record).