DOCSLIB.ORG

Spanish Curriculum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spanish Curriculum Spanish Curriculum Grade 8: Unit Three Title: The Arts and the Entertainment 1 | Page UNIT 3 Course Description Philosophy Paterson Public Schools is committed to seeing that all students progress and develop the required skills to support second language acquisition. At the completion of a strong series of course studies, students will be able to: ● Demonstrate knowledge of vocabulary pertaining to thematic unit contexts ● Express thoughts and ideas on a variety of topics ● Move progressively from simple sentence structures to a more complex use of verbs, adjectives, adverbs, richer expressions, etc… ● Rely on background knowledge to develop fluency in the second language related to their daily lives, families, and communities ● Compose short dialogues, stories and narratives on a variety of topics ● Describe the products, practices and perspectives of the target culture ● Read, listen, and understand age-appropriate authentic materials presented by natives for natives, as well as familiar materials translated from English into the target language ● Become global citizens, understanding and respecting cultural differences, and promoting acceptance of all people from all cultures 2 | Page UNIT 3 Overview The Spanish Program at Paterson Public Schools will focus on acquiring communication skills and cultural exposure. It is divided into four units of study and encompasses the N.J.C.C.C. Standards for World Languages that address the need to prepare all students for an interdependent world. The World Languages units for Grade 8 consist of the following four thematic units of study: Unit 1: Cyber World Unit 2: Let's go shopping! Unit 3: Entertainment world Unit 4: The arts 3 | Page UNIT 3 Pacing Chart – Unit 3 # Student Learning Objective CCSS 9 weeks 1 Identify and describe the various art and ● 7.1.NM.IPRET.4: entertainment forms orally and in writing. 7.1.NM.IPERS.4: 2 Identify and discuss music styles and genres orally ● 7.1.NH.IPRET.2: and in writing. ● 7.1.NH.PRSNT.4: 3 Identify and describe dance styles orally and in ● 7.1.NM.PRSNT.5: writing. ● 7.1.NM.IPERS.5 Identify and describe various movie genres and the 4 ● 7.1.NM.PRSNT.3 roles of actors in the film industry orally and in writing. ● 7.1.NM.IPRET.2 4 | Page UNIT 3 Effective Pedagogical Routines/Instructional Strategies Collaborative problem solving Word Study Drills Writing to learn Flash Cards Making thinking visible Interviews Note-taking Role Playing Rereading & rewriting Diagrams, charts and graphs Establishing text-based norms for discussions & writing Storytelling Establishing metacognitive reflection & articulation as a regular pattern Coaching in learning Reading partners Quick writes Visuals Pair/trio Sharing Reading Aloud Turn and Talk Model (I Do), Prompt (We Do), Check (You Do) Charting Mind Mapping Gallery Walks Trackers Whole class discussions Multiple Response Strategies Modeling Choral reading Reader’s/Writer’s Notebooks Conferencing 5 | Page UNIT 3 Computer Science and Design Thinking Standards 8.1.8.A.1, 8.1.8.B.1, 8.1.8.C.1, 8.1.8.D.1, 8.1.8.E.1, 8.1.8.F.1 ⮚ Technology Operations and Concepts € Create professional documents (e.g., newsletter, personalized learning plan, business letter or flyer) using advanced features of a word processing program. ⮚ Creativity and Innovation € Synthesize and publish information about a local or global issue or event on a collaborative, web-based service. ⮚ Communication and Collaboration € Participate in an online learning community with learners from other countries to understand their perspectives on a global problem or issue, and propose possible solutions. ⮚ Digital Citizenship € Model appropriate online behaviors related to cyber safety, cyber bullying, cyber security, and cyber ethics. ⮚ Research and Information Literacy € Gather and analyze findings using data collection technology to produce a possible solution for a content-related or real-world problem. ⮚ Critical Thinking, Problem Solving, Decision Making € Use an electronic authoring tool in collaboration with learners from other countries to evaluate and summarize the perspectives of other cultures about a current event or contemporary figure. 6 | Page UNIT 3 Career Readiness, Life Literacies and Key Skills Standards: 9.1.8.CP.1,9.1.8.FB.6,9.1.8.PB.1 ● 9.1.8.CP.1: Compare prices for the same goods or services. Example: Students can compare and contrast prices for shows on Broadway vs Off Broadway. Students can compare and contrast various prices for sources of entertainment (movies, dinner, plays) ● 9.1.8.FP.6: Compare and contrast advertising messages to understand what they are trying to accomplish. Example: Students can watch several commercials and identify, compare and contrast different advertising techniques. Students can use google video to create an advertisement video. ● 9.1.8.PB.1: Predict future expenses or opportunities that should be included in the budget planning process. Example: Students plan a mock vacation outside the United States and using what they have learned about finance they should create a budget. Students need to include elements of foreing currency exchange. 7 | Page UNIT 3 8 | Page UNIT 3 9 | Page UNIT 3 10 | Page UNIT 3 Culturally Relevant Pedagogy Examples Relationships: Curriculum: Instructional Delivery: ● Learn about your students’ individual ● Incorporate student- centered stories, ● Establish an interactive dialogue to engage cultures. vocabulary and examples. all students. ● Adapt your teaching to the way your ● Incorporate relatable aspects of students’ ● Continuously interact with students and students learn lives. provide frequent feedback. ● Develop a connection with challenging ● Create lessons that connect the content to ● Use frequent questioning as a means to students your students’ culture and daily lives. keep students involved. ● Communicate and work with ● Incorporate instructional materials that ● Intentionally address visual, tactile, and parents/guardians on a regular basis (email relate to a variety of cultural experiences. auditory learners. distribution, newsletter, phone calls, notes, ● Incorporate lessons that challenge ● Present relatable real world problems from meetings, etc.) dominant viewpoints. various viewpoint. Provide student with opportunity to engage ● with text that highlights authors, speakers, characters or content that reflect students lived experiences (mirror) or provide a window into the lived experience of people whose identities differ from students. ● Bring in guest speakers. ● Use learning stations that utilize a range of materials. ● Use Media that positively depicts a range of cultures. 11 | Page UNIT 3 12 | Page UNIT 3 SEL Competency Examples Content Specific Activity & Approach to SEL ✔ Self-Awareness Example practices that address Self- Use age appropriate text or videos such as biographies, Awareness: autobiographies, , American and Multicultural literature, Self-Management • Clearly state classroom rules vignettes, short scenarios, current and world wide events Social-Awareness • Provide students with specific feedback to promote self-awareness. Relationship Skills regarding academics and behavior ● Teachers can take this time to introduce the reason and practices of social distancing. Responsible Decision-Making • Offer different ways to demonstrate ● Teachers provide and review syllabi which outline and understanding review classroom rules, routines, and procedures. • Create opportunities for students to self- ● Teachers should include Social Distancing regulations advocate as part of the expected conduct. • Check for student understanding / feelings ● Consequences for inappropriate behavior are discussed about performance with the students. Teachers must demonstrate • Check for emotional wellbeing flexibility with their students as they get acclimated • Facilitate understanding of student strengths to the new norm. and challenges ● Students are considered stakeholders in the creation of classroom rules, routines, and procedures. The teachers and students design a framework to maximize student learning time. ● For example, teachers provide and review rubrics for Accountable Talk both virtual and in person. ● Promote the use of dialectical journals on days that the students are engaged in virtual learning. The students work collaboratively to develop which supports self-regulation and a responsibility for staying on task. ● Establish best practices to have students remain on task when they are engaged in virtual learning 13 | Page UNIT 3 SEL Competency Examples Content Specific Activity & Approach to SEL Self-Awareness Example practices that address Self- Use age appropriate text or videos such as biographies, ✔ Self-Management Management: autobiographies, , American and Multicultural literature, vignettes, short scenarios, current and world wide events Social-Awareness • Encourage students to take pride/ownership to promote self-management. Relationship Skills in work and behavior ● Use current events to understand the need to Responsible Decision-Making • Encourage students to reflect and adapt to engage in social distancing. ● Ask the students to assist in creating classroom classroom situations rules and practices that support Social • Assist students with being ready in the Distancing. classroom ● Discuss rules and routines that promote healthy • Assist students with managing their own virtual learning. emotional states ● Teachers can encourage students to be cognizant of their own feelings when faced with difficult situations and develop strategies
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]
  • 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]
  • Danc-Dance (Danc) 1
    DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8.
    [Show full text]
  • Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
    Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART
    [Show full text]
  • Castanets 1 Castanets
    Castanets 1 Castanets Castanet(s) Castanets Percussion instrument Classification hand percussion Hornbostel–Sachs classification 111.141 (Directly struck concussive idiophone) Castanets are a percussion instrument (idiophone), used in Moorish, Ottoman, ancient Roman, Italian, Spanish and Portuguese music. The instrument consists of a pair of concave shells joined on one edge by a string. They are held in the hand and used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks. They are traditionally made of hardwood, although fibreglass is becoming increasingly popular. In practice a player usually uses two pairs of castanets. One pair is held in each hand, with the string hooked over the thumb and the castanets resting on the palm with the fingers bent over to support the other side. Each pair will make a sound of a slightly different Castanets seller in Granada, Spain pitch. The origins of the instrument are not known. The practice of clicking hand-held sticks together to accompany dancing is ancient, and was practised by both the Greeks and the Egyptians. In more modern times, the bones and spoons used in Minstrel show and jug band music can also be considered forms of the castanet. When used in an orchestral setting, castanets are sometimes attached to a handle, or mounted to a base to form a pair of machine castanets. This makes them easier to play, but also alters the sound, particularly for the machine castanets. It is possible to produce a roll on a pair of castanets in any of the three ways in Castanets 2 which they are held.
    [Show full text]
  • Contemporary Flamenco Between Heritage Tourism and Cultural Identity Seung Ho Chung University of Massachusetts - Amherst
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Cultural Heritage in European Societies and Spaces CHESS Student Research Reports (CHESS) 2012 Contemporary Flamenco between Heritage Tourism and Cultural Identity Seung ho Chung University of Massachusetts - Amherst Follow this and additional works at: https://scholarworks.umass.edu/chess_student_research Part of the Anthropology Commons Chung, Seung ho, "Contemporary Flamenco between Heritage Tourism and Cultural Identity" (2012). CHESS Student Research Reports. 2. Retrieved from https://scholarworks.umass.edu/chess_student_research/2 This Article is brought to you for free and open access by the Cultural Heritage in European Societies and Spaces (CHESS) at ScholarWorks@UMass Amherst. It has been accepted for inclusion in CHESS Student Research Reports by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Contemporary Flamenco between Heritage Tourism and Cultural Identity Seung ho Chung Please do not cite without permission of the author In 2010, UNESCO declared flamenco one of the “Masterpieces of the Oral and IntangiBle Heritage of Humanity.” According to the criteria for inscription into UNESCO, “Flamenco is strongly rooted in its community, strengthening its cultural identity and continuing to Be passed down from one generation to the next.” What does it mean that flamenco is strengthening its cultural identity? When we say this, we already use the concept of culture for flamenco as a cultural agent. But, there are people who are really involved in this phenomenon. In considering that it is people who are strengthening the cultural identity of flamenco, I’d like to see how people around flamenco are living in their lives with flamenco.
    [Show full text]
  • Spanish & Latin American Dance
    Spanish Through Dance Study Guides Spanish & Latin American Dance Description and Goals Through interactive workshops and classes, which incorporate dance and music with historical and cultural information, this Latin Ballet of Virginia (LBV) program brings to life the rich heritage of Spain and Latin America. The primary goal is to introduce students of all backgrounds to the rich cultural and artistic Spanish and Latin American heritage by learning Flamenco and traditional Spanish and Latin American dances that will enhance physical capabilities, self-assurance, and provide a multicultural educational experience. 1 Cultural Context and History through Dance Students learn traditional and social Spanish, sing songs, and study Latin American and Caribbean dances, therefore connecting dance to language, culture, and history. ● Students are exposed to Spanish language through directions and commands, as well as the vocabulary and terminology of Spanish and Latin American dance and music. ● Students understand dance arts within the contexts of culture and history. ● Students understand that music and dance are natural forms of Spanish and Latin American expression. ● Students learn about the Spanish and Latin American history, roots and culture. Classes focus on Spanish colonization and its affect on music and dance, giving birth to new forms of expression. ● Students study the origin of Flamenco, learning that India and Egypt were the main influence of Flamenco and the Gypsies theories. ● Students study the basic history of each dance, touching on the influences of Africa and Spain in the music, dance, and culture of the Americas and how the United States is comprised of a richly varied cultural background.
    [Show full text]
  • Dance As a Cultural Element in Spain and Spanish America
    University of Northern Iowa UNI ScholarWorks Presidential Scholars Theses (1990 – 2006) Honors Program 1992 Dance as a cultural element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1992 Amy Lynn Wall Follow this and additional works at: https://scholarworks.uni.edu/pst Part of the Other Arts and Humanities Commons Recommended Citation Wall, Amy Lynn, "Dance as a cultural element in Spain and Spanish America" (1992). Presidential Scholars Theses (1990 – 2006). 151. https://scholarworks.uni.edu/pst/151 This Open Access Presidential Scholars Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Presidential Scholars Theses (1990 – 2006) by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Dance as Cultural Element 1 Dance as a Cultural Element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Submitted in partial completion of University of Northern Iowa Presidential Scholars Board and Scholarship requirements. Submitted the 6th day of May, 1992 A.O. Running head: Dance as a Cultural Element Dance as Cultural Element 2 Table of Contents Introduction 3 History 4 Purpose of Dance 1 0 Recent Dance Styles 1 3 Northern Provinces l 8 Pais Vasco 21 Mediterranean Provinces 28 Central Plateau Provinces 30 Southern Region 33 Liturgical Dance 37 Gypsy Culture 43 Spanish Influence m America 46 Uruguay 47 Argentina 50 Central America 53 Discussion 54 Conclusion 55 Bibliography 57 Appendices A-Glossary of Names and Places 6 3 B-Glossary of Dance, Music, Instruments 7 0 Continental Maps 7 6 Dance as Cultural Element 3 Dance, a performing and recreational art throughout the world, plays an important role in Spanish and Hispanic culture.
    [Show full text]
  • Lúcia Caruso and the Castanets
    Teaching the Music of the Other: Lúcia Caruso and the Castanets MODALIDADE: COMUNICAÇÃO Márcia de Oliveira Goulart SOAS - University of London – [email protected] Abstract: The main goal of the present paper is to expose pedagogical and cultural issues involved when the music belonged to a culture is taught by an individual of another culture. The participant observation of Spanish castanets classes taught in London by a Brazilian teacher was part of this research. As a result, it was observed that there can be hierarchical conflicts between student and master when the music taught in the classroom belongs to the student’s culture but not to the master’s. To support this research, the author has been studying texts about interculturality, teaching the music of the other and the castanets in the Spanish culture. Keywords: Music. Teaching. Spanish castanets. Interculturality. Ensinando a música do outro: Lúcia Caruso e as castanholas Resumo: Este trabalho tem como objetivo levantar questões pedagógicas e de conflito cultural envolvidas quando a música de um povo é ensinada por um indivíduo pertencente a outra cultura. Para este estudo, houve a participação-observante durante as aulas de castanholas espanholas oferecidas por uma professora brasileira. Os autores estudados durante o trabalho discorrem sobre interculturalidade, o ensino da música do “outro” e a castanhola na cultura espanhola. Durante a pesquisa observou-se, por exemplo, a ocorrência de conflitos hierárquicos entre estudante e mestre quando a música ensinada pertence à cultura do aluno e não à do professor. Palavras-chave: Música. Ensino. Castanholas espanholas. Interculturalidade. 1. Introduction In 2010 I was looking for castanets classes when I found Lúcia Caruso, a flamenco and castanets teacher in her 50s who has moved to London from her native Brazil in 2005.
    [Show full text]
  • Divergence and Convergence in Spanish Classical and Flamenco Guitar Traditions (1850- 2016): a Dissertation Comprising 2 CD Recital Recordings and Exegesis
    Divergence and Convergence in Spanish Classical and Flamenco Guitar Traditions (1850- 2016): A Dissertation Comprising 2 CD Recital Recordings and Exegesis Aloysius Leeson B.Mus. (Hons) 2013 Submitted in fulfilment of the requirements for the degree of Master of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide August 2016 i Table of Contents Abstract .................................................................................... iv Declaration ................................................................................ v Acknowledgements .................................................................... vi List of Figures .......................................................................... vii List of Tables .......................................................................... viii Chapter 1: Introduction ............................................................... 1 1.1 Overview of classical and flamenco guitar traditions .....................................3 1.2 Literature review ............................................................................................5 Chapter 2: Historical Background ................................................ 9 2.1 1850–1900: A complex of guitar traditions ...................................................9 2.2 1900–1950: Bifurcation ................................................................................10 2.3 1950–1980: Cross-pollination ......................................................................11 2.4 1980–2016:
    [Show full text]
  • La Escuela Bolera
    La escuela bolera Los bailes boleros son producto del intercambio de ideas, movimientos y técnicas de los maestros de ballet franceses e italianos con los maestros de folclor español, durante el último tercio del siglo XVIII y principios del XIX. Los bailes regionales se academizan al salir de las comunidades y pequeñas poblaciones, para trasladarse a las representaciones teatrales. De Santiago (2006) menciona al respecto: "Con expresión eminentemente teatral, se la denominó escuela por la preparación del bailarían, al que se exigía un entrenamiento académico y el dominio de las castañuelas, también llamadas palillos" En el último tercio del siglo XVIII y primeros del siglo XIX, se presenta en España una actividad cultural importante (ballet, ópera y teatro) principalmente en Madrid, Barcelona y Sevilla. Las grandes compañías de ballet italianas y francesas, comienzan a difundir el vocablo y la terminología de la danza clásica. En 1819 sube al trono de España Felipe de Anjou, nieto de Luis XIV (Rey Sol) creador en Francia de la Academia de la Danza, el cuál trajo maestros franceses que enseñaron la contradanza y el minue y paulatinamente conformaron la planta de maestros de las nuevas academias de danza en España. Lo anterior genera un intercambio entre los métodos de enseñanza de los profesores franceses y españoles, arrojando como consecuencia la gestación de la escuela bolera. Existen tres grandes etapas de la escuela bolera a) Primera etapa: siglos XVII, XVIII y XIX. El bolero es el baile más aceptado por la sociedad. Aparecen los primeros escritos de danza, los cuales reconocen el papel fundamental del maestro (recordemos que la escuela bolera se deslinda de las danzas regionales españolas, pues su enseñanza ya no está fundamentada en la tradición oral o en la enseñanza de padres a hijos.
    [Show full text]
  • APRENDE a TOCAR FLAMENCO Dedicado a Mis Hijos Marc Y Aina
    Guitarra Flamenca APRENDE A TOCAR FLAMENCO Dedicado a mis hijos Marc y Aina CD: Producción en “Leiva Studi” MP3 guitarra + percusión Agradecimientos: A Institut Flamenco de Barcelona por dejar sus instalaciones para desarrollar el libro. www.institutflamenco.com Al Taller de Músics por su asesoramiento en el proyecto. www.tallerdemusics.com Fotografía: Teresa Sala y Taller de Músics Todas las composiciones y textos son de autoría de David Leiva Foto de portada: Flamencolive - RGB © 2018 Volontè & Co. s.r.l. - Milano All rights reserved No está permitida la reproducción total o parcial de este libro, ni su tratamiento informático, ni la transmisión de ninguna forma o por cualquier medio, ya sea electrónico, mecánico, por fotocopia, por registro y otros métodos, sin el permiso previo y por escrito de los titulares del Copyright. All rights reserved. ÍNDICE INTRODUCCIÓN . 5 BIOGRAFÍA . 6 CONSEJOS DE ESTUDIO . 7 LENGUAJE MUSICAL Y ARMONÍA . 8 RELOJ FLAMENCO . 12 GRÁFICO DE LAS NOTAS EN EL DIAPASÓN DE LA GUITARRA . 13 Afinación Y partes DE la guitarra . 14 POSICIÓN DE LA MANO DERECHA E IZQUIERDA . 16 ABREVIATURAS Y SÍMBOLOS UTILIZADOS . 17 TÉCNICA PARA MANO DERECHA Rueda DE acordes . 19 Pulgar . 20 Notas simultáneas . 21 Arpegio . 21 Trémolo . 23 Picado . 24 AlzapÚA . 26 RASGUEO . 27 los Estilos SOLEÁ . 30 SOLEÁ POR BULERÍAS . 36 SIGUIRIYA . 42 SERRANA . 48 ALEGRÍAS . 54 FANDANGOS . 60 BULERÍAS . 66 VERDIALES . 72 GUAJIRA . 78 SEVILLANAS . 84 TIENTOS . 88 TANGOS . 94 RUMBA . 100 TARANTO . 106 FARRUCA . 112 GRANAINA . 118 MALAGUEÑA . 123 los estudios ESTUDIO 1 . 131 ESTUDIO 2 . 134 ESTUDIO 3 . 136 GLOSARIO . 138 3 GuIa DE CD 1 SOLEÁ 1 .
    [Show full text]