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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. -
FLAMENCO ‘A Half Life’
FLAMENCO ‘A Half Life’ By Michael Moroch ‘ Miguel de Lucientes’ C 2012 MICHAEL MOROCH. All RIGHTS RESERVED Dedications To my son Michael, that he may know the joy of music throughout his life, my wife Johanna my mom Marian, Pete Seeger, Nancy, Ron, Carlos Montoya, Sabicas, Miguel de Cordoba, Arete, Lana, Joan, Marlene, Ellen, Phyllis, Susan, John, my wife Johanna, Toni, Silvia, And finally, to all those who have listened to me play Sections Dedication Index Introduction Why Flamenco Nancy American Cultural Program Miguel de Cordoba Marian’s Visit Tangiers, Morocco Teatro Calderon Gypsy Shoe Shine Boy Club Flamenco Tablao Flamenco Amor de Dios Playing Down Accompanying Singers and Dancers Glued Nails El Rastro Spanish Civil War When the Guardia Civil Sang Jose Rameriz III My Guitars Flamenco Guitarists Carlos Montoya/Manitas de Plata Sabicas/Paco de Lucia Nino Ricardo/Triguito Julio Vallejo/Peers of Paco de Lucia Don Pohren John Fulton Bullfighting The Matadors wore no hats Back to America Returning to Spain Antonia and Silvia Miscellaneous Thoughts La Ultima Lunch Time Rumbas La Liga El Guisante Pulpo Sangria Epilogue Recommended sources References Biography Introduction Flamenco ‘A Half Life’, is a collection of memories, vignettes, observations and experiences from my forty-five year involvement with flamenco guitar as well as flamenco’s impact upon my life. The title is reflective of my realization that I always remained halfway involved in the flamenco world, never really jumping in with both feet. Why it has taken me so many years to finally address my flamenco passion is probably due to my own laziness, procrastination and feeling that such personal experiences are difficult to share. -
Soundboardindexnames.Txt
SoundboardIndexNames.txt Soundboard Index - List of names 03-20-2018 15:59:13 Version v3.0.45 Provided by Jan de Kloe - For details see www.dekloe.be Occurrences Name 3 A & R (pub) 3 A-R Editions (pub) 2 A.B.C. TV 1 A.G.I.F.C. 3 Aamer, Meysam 7 Aandahl, Vaughan 2 Aarestrup, Emil 2 Aaron Shearer Foundation 1 Aaron, Bernard A. 2 Aaron, Wylie 1 Abaca String Band 1 Abadía, Conchita 1 Abarca Sanchis, Juan 2 Abarca, Atilio 1 Abarca, Fernando 1 Abat, Joan 1 Abate, Sylvie 1 ABBA 1 Abbado, Claudio 1 Abbado, Marcello 3 Abbatessa, Giovanni Battista 1 Abbey Gate College (edu) 1 Abbey, Henry 2 Abbonizio, Isabella 1 Abbott & Costello 1 Abbott, Katy 5 ABC (mag) 1 Abd ar-Rahman II 3 Abdalla, Thiago 5 Abdihodzic, Armin 1 Abdu-r-rahman 1 Abdul Al-Khabyyr, Sayyd 1 Abdula, Konstantin 3 Abe, Yasuo 2 Abe, Yasushi 1 Abel, Carl Friedrich 1 Abelard 1 Abelardo, Nicanor 1 Aber, A. L. 4 Abercrombie, John 1 Aberle, Dennis 1 Abernathy, Mark 1 Abisheganaden, Alex 11 Abiton, Gérard 1 Åbjörnsson, Johan 1 Abken, Peter 1 Ablan, Matthew 1 Ablan, Rosilia 1 Ablinger, Peter 44 Ablóniz, Miguel 1 Abondance, Florence & Pierre 2 Abondance, Pierre 1 Abraham Goodman Auditorium 7 Abraham Goodman House 1 Abraham, Daniel 1 Abraham, Jim 1 Abrahamsen, Hans Page 1 SoundboardIndexNames.txt 1 Abrams (pub) 1 Abrams, M. H. 1 Abrams, Richard 1 Abrams, Roy 2 Abramson, Robert 3 Abreu 19 Abreu brothers 3 Abreu, Antonio 3 Abreu, Eduardo 1 Abreu, Gabriel 1 Abreu, J. -
Ficha De Audición Activa: “Escuchar Flamenco”
ORIENTACIONES METODOLÓGICAS PARA EL PROFESORADO FICHA DE AUDICIÓN ACTIVA: ªESCUCHAR FLAMENCOº PROGRAMA EDUCATIVO: ªVIVIR Y SENTIR EL FLAMENCOº Realizada por Mã ÁNGELES SÁNCHEZ CARRASCO (Maestra de música, CEIP Los Montecillos, Dos Hermanas) ÍNDICE INTRODUCCIÓN 1. AUDICIÓN ACTIVA ¿QUÉ ES? 1. DEFINICIÓN 2. CONSIDERACIONES PREVIAS A LA AUDICIÓN 2. ESTRUCTURA DE LA FICHA ªESCUCHO FLAMENCOº 2.1. JUSTIFICACIÓN DIDÁCTICA 2.2 ESTRUCTURA DE LA FICHA 2.3. ORIENTACIONES METODOLÓGICAS 3. AUDICIONES PROPUESTAS 3.1. EL FLAMENCO EN LA MÚSICA CLÁSICA 4. PALOS DEL FLAMENCO.BREVE DESCRIPCIÓN 5. TRUCOS PARA IDENTIFICAR PALOS O ESTILOS FLAMENCOS 6. TIPOS DE VOCES FLAMENCAS 7. CANTE, BAILE Y TOQUE 8. COPLAS FLAMENCAS 9. CONCLUSIÓN 10. ANEXOS INTRODUCCIÓN ªLa audición activa se define como la acción de escuchar, de estar atento. De ahí que la primera fase para toda audición musical es desarrollar la capacidad auditiva para poder percibir , asimilar, comprender y, en definitiva, gozar con la músicaº. Este programa educativo denominado ªVIVIR Y SENTIR EL FLAMENCOº requiere un material didáctico que favorezca precisamente disfrutar del flamenco a través de la ESCUCHA, de la audición activa, una actividad globalizadora e interdisciplinar que se hace imprescindible en el área de Educación Musical para trabajar con ella y a través de ella todos los aspectos que competen al desarrollo integral de nuestro alumnado. En este documento llamado ªOrientaciones metodológicasº el docente (sea o no especialista en música) podrá encontrar información necesaria para abordar de manera eficaz, con sus alumnos, la ficha de audición activa denominada ªESCUCHO FLAMENCOº que es el gran eje vertebrador de este documento. Así, encontraremos la definición de los que es la audición activa, la justificación pedagógica de la estructura de la ficha, una explicación teórica y detallada de las actividades contenidas en ella, una relación de audiciones propuestas de distintos palos flamencos, trucos para identificar los distintos palos o estilos flamencos.. -
Lectura Activa
LECTURA ACTIVA Literatura Juvenil - Antaviana Nova - Sèrie blava LECTURA ACTIVA EINES PER TREBALLAR LA LECTURA A LES AULES F. Xavier Ambròs L’assassinat del professor de música Jordi Sierra i Fabra ÍNDEX L’OBRA I EL SEU ENTORN Fitxa tècnica . 3 Introducció . 3 L’autor..................................................................4 L’argument . 4 Gènere, estil i context literari. 4 Tema i subtemes. 5 Informació complementària sobre l’autor i la seva obra . 5 PROPOSTES DE COMPRENSIÓ LECTORA Abans de la lectura. 13 Durant la lectura. 15 Després de la lectura . 26 Avaluació . 29 PROPOSTES PER A LA DIVERSITAT Reforç.................................................................31 Ampliació . 32 L’OPINIÓ DEL LECTOR O LA LECTORA Opinions i valoracions . 36 PROPOSTES LÚDIQUES Activitats. 38 INTERDISCIPLINARIETAT Activitats. 39 LITERATURA COMPARADA Activitats . 41 SOLUCIONARI 42 2 L’assassinat del professor de música L’OBRAIELSEUENTORN FITXA TÈCNICA A N T A V I A N A Títol: L’assassinat del professor de música Autor: Jordi Sierra i Fabra Dibuix de la coberta: Fernando Martínez Editorial: Barcanova N Lloc i any d’edició: Barcelona, 2011 O Col·lecció: «Antaviana Nova», Sèrie blava, 172 V Pàgines: 158 A INTRODUCCIÓ L’assassinat del professor de música és una novel·la d’intriga en la qual tres joves amics han de superar una sèrie de proves si volen salvar el seu professor de música, que ha estat segrestat. Aquestes proves s’acaben convertint en jocs per als joves lectors i acaben reforçant el seu interès per seguir la trama, tant des del punt de vista lúdic com des del punt de vista d’una font d’aprenentatge d’un món tan divers com és el de la música. -
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. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
FDLI Library
FLAMENCO CD of the Month Club FREE TO FLAMENCO DE LA ISLA MEMBERS *A list of CD’s and the Library Waiver Form are available on our website: www.flamencodelaisla.org under “Members Info” **You may request a particular CD, but please give the librarian a few days prior notice for special requests. FLAMENCO DE LA ISLA SOCIETY RESOURCE LIBRARY DVDs DVD Title: Approx. Details length: Arte y Artistas Flamencos 0:55 Eva La Yerbabuena; Sara Baras; Beatriz Martín Baile Flamenco 1:30 Joaquin Grilo – Romeras; Concha Vargas – Siguiriyas; Maria Pagés – Garrotín; Lalo Tejada – Tientos; Milágros Mengíbar – Tarantos; La Tona – Caracoles; Ana Parilla – Soleares; Carmelilla Montoya - Tangos Bulerías (mixed) 1:22 Caminos Flamenco Vol. 1 1:08 Caminos Flamenco Vol. 2 0:55 Carlos Saura’s Carmen 1:40 Antonio Gades, Laura del Sol, Paco de Lucia Familia Carpio 1:12 Flamenco 1:40 Carlos Saura Flamenco at 5:15 0:30 National Ballet School of Canada Flamenco de la Luz 1:45 Flamenco de la Luz; Una Noche de la Luz; Women artists Gracia del Baile Flamenco 0:40 Gyspy Heart 0:45 Joaquin Cortés y Pasiόn Gitana 1:38 La Chana 0:45 Latcho Drome 1:40 The Life and music of Manuel de Falla 1:15 Montoyas y Tarantos 1:40 Noche Flamenca 0:55 Noche Flamenca Vol. 5 1:00 Nuevo Flamenco Ballet Fury 1:11 Paco Peña’s Misa Flamenco 0:52 "Unique combination of the religious Mass and Flamenco singing and dancing…" [cover] Queen of the Gypsies - Carmen Amaya 1:40 Rito y Geografía del Baile Vol. -
Revista 2 Pag 4-13 Los Indicadores De Paco De Lucía
LOS INDICADORES DE PACO DE LUCÍA EL MAESTRO DE LA GUITARRA INICIA UN AÑO MUY ESPECIAL, EL DE SU SESENTA CUMPLEAÑOS, RECIBIENDO EL DOCTORADO HONORIS CAUSA TEXTO: JUAN JOSÉ TELLEZ p A lo largo de su historia perso- nal -que es tangencial a la de la última etapa de la música flamenca o simplemente de la música- Fran- cisco Sánchez Gómez ha demostra- do que es algo más que la caricatu- ra expresa en el año 1983 por Andrés Segovia: “Ese señor, Paco de Lucía, que porque tiene ligere- za en los dedos para hacer una de esas cuartetas simples, creen que es un portento”. Paco es algo más que un portento y, más allá de su indudable virtuosismo autodidac- ta, existe una serie de indicadores rigurosos sobre los que asentar su reputación. En él concurre un primer valor, extramusical. El de la humildad, que lleva parejo un claro sentido de la dignidad: “Cuando cumplí nueve años mi padre me dijo: “¿Hijo, sabes leer y escribir?” “¿Hijo, sabes sumar, restar, multi- plicar y dividir?” “Ya no te puedo seguir pagando la escuela, quédate en casa, tendrás todo el día para tocar la guitarra y podrás llegar a ser alguien”. No puedo esconder que, como niño que era, esto me produjo una gran alegría y a los doce años, durante mi primer viaje como guitarrista, en una gira de diez meses por América, no dejé de agradecer la decisión de mi padre, me había dado la oportunidad de EN PORTADA Paco de Lucía, flamante doctor Honoris Causa y premio Príncipe de Asturias de las Artes. -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
122.60 € 143.75 Usd
- Integral Paco de Lucía (27 CDs)Reedición 122.60 € 143.75 USD Reedición de la caja de la discografía completa del gran guitarrista Paco de Lúcía.Paco de Lucía "Integral" caja con los 27 Cds del artista con nuevo formato y diseño nuevo. Incluye como novedad "Cositas Buenas" su último album de estudio.Ahora en un nuevo formato, un pack especial que permitirá a los amantes del flamenco disfrutar del buen hacer de este maestro de la guitarra. Contenidos: - "Dos guitarras flamencas en stereo" (1964) Ricardo Modrego and Paco de Lucía. - "12 canciones de García Lorca para guitarra" (1965) Paco de Lucía and Ricardo Modrego. - "12 éxitos para dos guitarras flamencas" (1965) Paco de Lucía and Ricardo Modrego. - "La fabulosa guitarra de Paco de Lucía" (1967). - "Canciones andaluzas para 2 guitarras" (1967) Paco de Lucía and Ramón de Algeciras.- "Dos guitarras flamencas en América latina" (1967) Paco de Lucía and Ramón de Algeciras. - "Fantasía flamenca de Paco de Lucía" (1969). - "12 hits para 2 guitarras flamencas y orquesta de cuerda (1969) Paco de Lucía and Ramón de Algeciras. - "Paco de Lucía y Ramón de Algeciras en Hispanoamérica" (1969). - "El mundo del flamenco" (1971).- "Recital de guitarra de Paco de Lucía" (1971) with Ramón de Algeciras, Enrique Jiménez De Melchor,Paco Cepero, Isidro de Sanlúcar Muñoz and Julio Vallejo. Teléfono: (0034) 91 5427251 - Exportamos Flamenco a todos los países del mundo. - - "El duende flamenco de Paco de Lucía" (1972). - "Fuente y Caudal" (1973). - "Paco de Lucía en vivo desde el Teatro Real" (1975). - "Almoraima" (1976). - "Paco de Lucía interpreta a Manuel de Falla" (1978).