DOCSLIB.ORG

The Flamenco Dance in the Cafés Cantantes Epoch: a Historiographical Review

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Flamenco Dance in the Cafés Cantantes Epoch: a Historiographical Review Revista del Centro de Investigación Flamenco Telethusa • ISSN 1989 - 1628 • Cádiz 2012 • 5(5) • pp.5-12 Review article / 050501-2012 The flamenco dance in the cafés cantantes epoch: a historiographical review El baile flamenco en la época de los cafés cantantes: un recorrido historiográfico PhD. Juan Zagalaz (1) Email: [email protected] PhD. Javier Cachón-Zagalaz (2) (1) Department of Didactics of Musical Expression. University of Castilla–La Mancha. Albacete, Spain. (2) Department of Didactics of Corporal Expression. University of Jaén. Jaén, Spain. Received: November 29, 2011 Editorial review: December 2, 2011 Peer-review: December 23, 2011 Accepted: December 27, 2011 Published online: January 3, 2012 Abstract Resumen The main objective of this article is to examine Este artículo tiene como principal objetivo revi- the perception of flamencology and flamenco sar la percepción de la flamencología y la histo- historiography regarding the phenomenon that riografía flamenca, del fenómeno que consolidó strengthened flamenco dancing in the era of al baile flamenco en la época de los cafés can- the ‘cafés cantantes’, from the second half of tantes, comprendida entre la segunda mitad del the 19th century to the early years of the 20th siglo XIX y los primeros años del XX. Para ello, century. For this purpose, we have performed a se ha realizado un profundo trabajo bibliográ- thorough bibliographic review in which we have fico, en el que se han analizado las diferentes analysed various interpretations from the most interpretaciones de los más destacados espe- prominent specialists in the field in order to cialistas, con el fin de ofrecer, en la medida de offer, as closely as possible, a transversal and lo posible, una visión transversal y sintética que synthetic vision that helps to decipher the state ayude a desentrañar el estado de la cuestión. of the art. Thus, we have taken a close look at Así, se ha observado el surgimiento de elemen- the emergence of key elements in the establis- tos determinantes para la consolidación de este hment of this art, such as the appearance of a arte, como la aparición de un nuevo espacio new theatre space, the progressive professiona- escénico, la paulatina profesionalización de los lization of the dancers, or the various technical intérpretes o los diversos avances técnicos y es- and stylistic advances. Furthermore, we have tilísticos. Además, se han analizado los distintos analysed the different types of dances perfor- tipos de bailes que se llevaron a cabo en el pe- med during this period, reaching the main con- riodo, obteniendo como principal conclusión la clusion of the existence of a multitude of histo- existencia de multitud de perspectivas historio- riographical perspectives and the absence of a gráficas y la ausencia de un estudio específico specific study of the period which corresponds del periodo que corresponda a la importancia de to the importance of this art in the development éste en el desarrollo del baile flamenco. of flamenco dance. Palabras Clave Keywords Bailaor, bailaora, tablao, flamencología, soleá, Bailaor, bailaora, tablao, flamencology, soleá, alegrías. alegrías. 5 Zagalaz J, Cach J The flamenco dance in the cafés cantantes epoch: a historiographical review González A, Gómez R, Fernández J, Costa JL González A, Gómez R, Fernández bailaoras de flamenco de las amplitudes articulares y acortamientos musculares en Valoración Rev Cent Investig Flamenco Telethusa 2012 • 5(5)• pp.5-12 Introduction Flamenco dance in the ‘cafés cantantes’ era: a historiographical review In recent years, flamencology has made marked advancements with the proliferation of regulated Martínez’s1 work is one of the most complete studies and the consequent emergence of new and most focused on dance, and it retains much means of transmission and research. Even so, of its relevance despite originally having been the historical category of flamenco as one of published in 1969. The author rigorously goes the most developed and characteristic national deep into the universe of flamenco dancing in artistic representations of the entire European a well-organized fashion, in a practical dealing spectrum requires a more in-depth study which has an interesting and complete opening that highlights its outstanding attributes. The section dedicated to its origin and historical constant difficulty stemming from the study of evolution. It divides the history of flamenco both corporal and musical artistic expressions dance into three phases, the second stage is perfectly well-known, particularly those from being the one which corresponds to the ‘cafés specific historical periods that solely provide us cantantes’. This section outlines a brief historical with graphic representations, direct and indirect context that makes the importance of this time mentions, or less-specific iconographic and period evident, in which the styles are set, the literary material. While in other artistic domains, rhythm is disciplined and the rules that will have such as painting, sculpture or architecture, we to last more-or-less undistorted until our time possess artistic fact in itself, in music and dance, are forged1 (p. 28). The section dedicated to up until the appearance of video and techniques technical documentation in regards to dance is for recording and mechanical reproduction, we particularly useful. Therein, the author divides only retain visual and textual representations: the prominent stylistic parameters in flamenco individual perspectives to narrate a dynamic dancing that were produced during the ‘cafés and changing reality. Is it possible to reconstruct cantantes’ era into five points. The constant expressions of music or dance exclusively references to this work in the historiography of through writings, testimonies and graphic, the dance, as we will see below, position it as pictorial or photographic representations? Can one of the central works when being introduced one tell the history of dance and music? Can to the world of flamenco dancing, both on a flamenco fact be passed on solely with words? theoretical-historical plane as well as on a practical and performative plane. When recreating these types of representations, the accuracy will vary depending on the Martínez, more recently, wrote an interesting information available. This is what flamencology chapter2 in which she stresses the importance of has produced in order to narrate the state of the academies in consolidating flamenco dance, flamenco during its consolidation in the nineteenth placing great relevance on the appearance century. Therefore, different specialists have of a characteristic theatre space, the ‘cafés made a great effort in that reconstruction, basing cantantes’, where the professionalism of the it on the existing sources, which though not dance would be produced. Moreover, she exactly scarce, aren’t as numerous as one would highlights the analytical ability of the maestros like, either. This article attempts to examine the of the dance, who perceived the capacity of reflection of dance in flamenco historiography, flamenco to attract society and remove the dominated by the Andalusian folk song, during expressive tricks and variants that the gypsies the ‘cafés cantantes’ period, dated between attached to existing popular dances. the last third of the 19th century and the first years of the 20th century. In order to do that, Álvarez3 makes an in-depth analysis based we’ve analysed the most prominent historical on historical documents of varying types. The literature on flamenco, from books dedicated to author delves into the origins of the ‘cafés general history to those dedicated specifically cantantes’ in a descriptive tone, constantly to dance, as well as practical or theoretical inserting contemporary sources into the playful -practical manuals. The comparative study of and rowdy atmosphere of these establishments, flamenco has given a current perspective of the as observed in the words of the Nicaraguan poet most important time period in the consolidation Rubén Darío included in his work: of flamenco dance, from the ‘café’ flamenco bars to the professionalization, stylisation and After they’ve danced, the female bolero and artistic independence of its origins: the guitar flamenco dancers come down to visit the and the folk song. consumers at their tables, to make them spend as much as they can, at the orders 6 Rev Cent Investig Flamenco Telethusa 2012 • 5(5) • pp. 5-12 Zagalaz J, Cach J of the café’s owner […] From table to table to Estébanez Calderón. From this to the ‘cafés pouring manzanilla and more manzanilla, from cantantes’ and from these to the theatre, without table to table where there are foreigners and significant clarifications. (p. 217) 5 visitors, because the locals know the game and don’t allow themselves to be exploited. (p. 57)3 Manfredi6, another classic flamenco historian, Thus, the surface on which flamenco dance succinctly mentions dancing, although his work ended up strengthening itself is demystified, is much more focused on flamenco singing. The flamenco dance in the cafés cantantes epoch: a historiographical review although there are no specific mentions of the According to his vision, the gradual separation of dance made until the chapter titled The dance song and dance has been verified, between the evolves, which focuses on the role played by 19th and 20th centuries, based on the idea that these local patrons in the direct development initially the singer was the centrepiece and that of the dance. The final result is a genuine and nowadays it seems like the song is on a second historically verified vision in which many aspects plane, only there as an accompaniment. Thus, relating to the general history of flamenco dance he states that dancing has invaded the forbidden are clarified. territories of folk singing and acknowledges that some dancers have taken the ‘soleá’ to peaks as For his part, Navarro4 performs an excellent high as those reached by the masters of the folk analysis of the historical development of the song. (p. 152)6 dance in Andalusia since Roman times with the known exponent of Telethusa.
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.
    [Show full text]
  • Columbia University Libraries Music Library Zarzuela Collection
    COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION [Shelvedoff-sST BlOTJ^ COU-tCTloh) -XS Shelvedoffeftf 1993 CONTENTS page DESCRIPTION OF THE COLLECTION 1 LISTING OF CONTENTS IN BOXORDER 4 BIBLIOGRAPHIC TITLE SHEETS (duplicates are included in boxes and have been filmed with the materials) COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION DESCRIPTION The Zarzuela Collection at Columbia University consists of almost five hundred different zarzuelas. Both nineteenth and twentieth century works are represented by libretti, scores, and separate instrumental parts. Formats include printed, typewritten, and handwritten items. Many of the libretti contain role assignments and other handwritten notes which indicate they were used by a traveling zarzuela company. Among the authors of the libretti are Javer de Bergos y Sarragoiti, Jose Estremero y Cuenca, Jacinto Benavente, and the Quintero brothers. BACKGROUND The Zarzuela Collection was given to the Columbia Music Library by the Hispanic Institute in 1986. The Institute was founded in 1916 as the Instituto de las Espanas en los Estados Unidos by Frederico de Onis, the year he became head of the Spanish Department at Columbia University. In 1940 the Institute acquired its present name, and in 1961 it moved to the Columbia campus. Since there was no space in the new quarters for the collection, it was donated to the Music Library in two installments — the first included the music scores, the second the libretti and other texts. The source and original organization of the collection are difficult to determine, since the card catalog which accompanied it did not accurately reflect it. In an unpublished study, Janet L.
    [Show full text]
  • Historical Background
    Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera).
    [Show full text]
  • El Toque Por Alegrías Oculto En Los Panaderos
    Revista del Centro de Investigación Flamenco Telethusa • ISSN 1989 - 1628 • Cádiz 2013 • 6(7) • pp.40-49 Artículo de Revisión / 060707-2013 El Toque por Alegrías oculto en los Panaderos The Alegrías style hidden in the Panaderos Guillermo Castro Buendía IES Mar Menor. Santiago de la Ribera, Murcia, España. Email: [email protected] Recibido: 13 mayo 2013 Revisión editorial: 15 mayo 2013 Revisión por pares: 22 mayo 2013 Aceptado: 28 mayo 2013 Publicado online: 30 mayo 2013 Resumen Abstract Las formas expresivas del flamenco han per- The different forms of Flamenco music were manecido camufladas bajo nombres de estilos camouflaged under names of styles with double con doble naturaleza: una de tipo bolero y otra expressiveness: one of bolero style and another flamenca; esta última no suficientemente docu- of Flamenco style; the latter not sufficiently doc- mentada desde el punto de vista musical. Las umented in music. The sources in the score of fuentes de estudio en partitura de los modelos the Flamenco models do not abound in the XIXth flamencos no abundan en el siglo XIX, lo que century, which impedes to detect the expressive dificulta el poder detectar el lenguaje expresivo Flamenco language focusing only on the names flamenco basándonos sólo en los nombres de los of the styles and the descriptions of them. The estilos y las descripciones que se hacen de los Panaderos are an example of style with two very mismos. Los panaderos son un ejemplo de estilo different languages, one bolero, and another que se manifestó con dos lenguajes expresivos one, Flamenco. This Flamenco form of the Pana- muy distintos, uno de tipo bolero, y otro de tipo deros practised what we know today as alegrías flamenco.
    [Show full text]
  • El Flamenco En Tiempos Del Cancionero De Eduardo Ocón
    El flamenco en tiempos del Cancionero de Eduardo Ocón. Estudio especial de la «Soledad» Flamenco at the time of Eduardo Ocón's «Cancionero». A study of «Soledad» Berlanga Femández, Miguel Ángel * BIBLID [021 0-962-X( 1995); 26; 321-335] RESUMEN Por los años en que Eduardo Ocón elaboraba sus Cantos Españoles ( década de 1860) los códigos estéticos del naciente arte flamenco se estaban decantando. Algunas de las piezas que Ocón recoge en su Cancionero son un precioso testimonio del punto en que se encontraba esta evolución. El autor del artículo acude a este Cancionero, a un testimonio literario de la misma época, la obra Viaje por España del francés Charles Davillier y a los datos del folklore actual para adentrarse en el flamenco de una época de la que se tienen abundantes referencias literarias pero escasos y poco estudiados testimonios musicales. Palabras clave: Ocón, Eduardo. Flamenco. Cante jondo. Música popular. Folklore. España. Siglo 19. ABSTRACT At the time when Eduardo Ocón was writing his Sp anish Songs (Cantos Españoles), that is in the 1860s, the relatively young art of flamenco was also developing its own aesthetic identity. Sorne of the pieces which Ocón includes in his «Cancionero» offer fine evidence of this development. The present paper is based on an analysis of the Cancionero, of a literary work of the same period, the Frenchman Charles Davillier's Travels through Sp ain and of data from current folklore, and is an attempt to study flamenco at a time when many literary references have been studied but there has been little analysis of purely musical evidence .
    [Show full text]
  • 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.
    [Show full text]
  • Simon Powis, Guitar (Australia) New Opportunities for a Twenty-First Century Guitarist 6:00 - 7:15 P.M
    The 16th Annual Cleveland International Classical Guitar Festival June 3 - 5, 2016 Vieaux, USA SoloDuo, Italy Poláčková, Czech Republic Gallén, Spain De Jonge, Canada North, England Powis, Australia Davin, USA Beattie, Canada Presented by UITARS NTERNATIONAL G I in cooperation with the GUITARSINT.COM CLEVELAND, OHIO USA 216-752-7502 Grey Fannel HAUTE COUTURE Fait Main en France • Hand Made in France www.bamcases.com Welcome Welcome to the sixteenth annual Cleveland International Classical Guitar Festival. In pre- senting this event it has been my honor to work closely with Jason Vieaux, 2015 Grammy Award Winner and Cleveland Institute of Music Guitar Department Head; Colin Davin, recently appointed to the Cleveland Institute of Music’s Conservatory Guitar Faculty; and Tom Poore, a highly devoted guitar teacher and superb writer. Our reasons for presenting this Festival are fivefold: (1) to help increase the awareness and respect due artists whose exemplary work has enhanced our lives and the lives of others; (2) to entertain; (3) to educate; (4) to encourage deeper thought and discussion about how we listen to, perform, and evaluate fine music; and, most important, (5) to help facilitate heightened moments of human awareness. In our experience participation in the live performance of fine music is potentially one of the highest social ends towards which we can aspire as performers, music students, and audience members. For it is in live, heightened moments of musical magic—when time stops and egos dissolve—that often we are made most conscious of our shared humanity. Armin Kelly, Founder and Artistic Director Cleveland International Classical Guitar Festival Acknowledgements We wish to thank the following for their generous support of this event: The Cleveland Institute of Music: Gary Hanson, Interim President; Lori Wright, Director, Concerts and Events; Marjorie Gold, Concert Production Manager; Gina Rendall, Concert Facilities Coordinator; Susan Iler, Director of Marketing and Communications; Lynn M.
    [Show full text]
  • 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.
    [Show full text]
  • Vahdah Olcott-Bickford Collection, 1800-2008
    http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist.
    [Show full text]
  • DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
    DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo.
    [Show full text]
  • 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.
    [Show full text]
  • The Intimate Connection of Rural and Urban Music in Argentina at the Beginning of the Twentieth Century
    Swarthmore College Works Spanish Faculty Works Spanish 2018 Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century Julia Chindemi Vila Swarthmore College, [email protected] P. Vila Follow this and additional works at: https://works.swarthmore.edu/fac-spanish Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Julia Chindemi Vila and P. Vila. (2018). "Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century". Sound, Image, And National Imaginary In The Construction Of Latin/o American Identities. 39-90. https://works.swarthmore.edu/fac-spanish/119 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Spanish Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Chapter 2 Another Look at the History of Tango The Intimate Connection of Rural ·and Urban Music in Argentina at the Beginning of the Twentieth Century Julia Chindemi and Pablo Vila Since the late nineteenth century, popular music has actively participated in the formation of different identities in Argentine society, becoming a very relevant discourse in the production, not only of significant subjectivities, but also of emotional and affective agencies. In the imaginary of the majority of Argentines, the tango is identified as "music of the city," fundame ntally linked to the city of Buenos Aires and its neighborhoods. In this imaginary, the music of the capital of the country is distinguished from the music of the provinces (including the province of Buenos Aires), which has been called campera, musica criolla, native, folk music, etc.
    [Show full text]