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Littérature scientifique sur le sujet « Flamenco music »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 31 juillet 2024

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Articles de revues sur le sujet "Flamenco music"

Blumenfeld, Alice. « Beyond compás : Stepping outside flamenco’s performance norms ». Choreographic Practices 13, n^o 1 (1 juillet 2022) : 9–24. http://dx.doi.org/10.1386/chor_00039_1.

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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, improvisation outside the cuadro setting and even outside flamenco music opened new movement possibilities and ways to inform, deepen and step back into flamenco structures in my own work. I show how I created new choreography from combining movement knowledge and vocabulary from both inside and outside of the cuadro in choreographed flamenco performances for the theatre.

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Pérez Garrido, Javier. « "Beso Mediterráneo", tangos flamencos ». Revista de Investigación sobre Flamenco "La Madrugá", n^o 16 (27 décembre 2019) : 137–76. http://dx.doi.org/10.6018/flamenco.354511.

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Los tangos son uno de los palos más conocidos y reconocidos del universo flamenco. Su versatilidad les ha permitido adaptarse a diferentes enfoques, confiriéndoles de este modo la posibilidad de adherirse a una amplia variedad de estéticas sin perder por ello sus señas de identidad. Este artículo pretende dar a conocer, analizando sus aspectos más relevantes, una de mis más recientes composiciones, unos tangos flamencos sinfónicos, Beso mediterráneo, escritos originalmente para clarinete solo y arreglados para banda de música. "Tangos flamencos" are one of the best known and recognized flamenco music styles. Thanks to its versatility and since the first appearance of tangos in history, many of them have been adapted in many different ways without losing their main characteristics. This article has been written to speaks about Mediterranean kiss, a symphonic tangos flamencos for concert band. Although they were originally written for solo clarinet, the composer has just orchestrated this piece for symphony band. For getting a better understanding of the mentioned work, this article will analyse many of the most relevant aspects of this band music composition.

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Washabaugh, William. « Flamenco Music and Documentary ». Ethnomusicology 41, n^o 1 (1997) : 51. http://dx.doi.org/10.2307/852578.

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García-Peinazo, Diego. « ¿Popular Music Studies en la investigación sobre flamenco ? De los (des) encuentros epistemológicos al análisis musical en la canción grabada y la transfonografía ». Anuario Musical, n^o 76 (21 décembre 2021) : 207–25. http://dx.doi.org/10.3989/anuariomusical.2021.76.10.

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Este artículo examina las relaciones entre el flamenco y los estudios sobre músicas populares urbanas desde una dimensión teórica y metodológica. En una primera parte, se presentan algunos de los encuentros epistemológicos entre los denominados Popular Music Studies y los estudios sobre flamenco, focalizando en líneas temáticas de investigación de los primeros. Tras ello, se reflexiona sobre el estado de la cuestión de las aproximaciones analíticas al flamenco, para posteriormente profundizar en las potenciales aplicaciones a estos repertorios de modelos emergentes de análisis musical en el ámbito de estudio de las músicas populares urbanas, centradas tanto en la noción de canción grabada como en la intertextualidad y la transfonografía. Tomando en consideración a la fuente fonográfica como foco de estudio, este trabajo demuestra cómo estos enfoques permiten conectar procesos musicales y procesos culturales, los sonidos y la articulación de significados, a fin de tender puentes para el entendimiento de prácticas y discursos flamencos desde el análisis musicológico.

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Heredia-Carroza, Jesús, Luis Palma Martos et Alejandro Marín. « Determinants of attendance frequency to flamenco shows in Spain. A cultural economic approach ». Revista de Métodos Cuantitativos para la Economía y la Empresa 29 (24 février 2020) : 79–98. http://dx.doi.org/10.46661/revmetodoscuanteconempresa.3751.

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This article aims to determine which variables have effect on the attendance frequency to live flamenco shows. Firstly we have done interviews to flamenco and music industry experts to achieve new-fangled variables in our analysis. Secondly, these variables were valued by flamenco consumers through surveys. Afterwards, with these data, we used a methodology based on different econometric models to obtain the coefficients of the variables. The results show how variables such as educational level, the way the music is listened or the valuation of the performer, amongst others, have an influence on the attendance frequency to flamenco live shows. The article contributes to the scarce empirical literature relating attendance frequency determinants to traditional popular genres by adding never studied before variables, focusing on the flamenco case.

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Piotrowska, Anna G. « Muzyka a dyplomacja kulturowa, czyli kilka słów o budowaniu marki „hiszpańskości” i muzyce Manuela de Falli (na przykładzie baletu El Amor brujo) ». Intercultural Relations 8, n^o 1(15) (23 juillet 2024) : 13–27. http://dx.doi.org/10.12797/rm.01.2024.15.01.

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MUSIC AND CULTURAL DIPLOMACY, OR A FEW WORDS ABOUT BUILDING THE BRAND OF SPANISHNESS’ AND THE MUSIC OF MANUEL DE FALLA (ON THE EXAMPLE OF HIS BALLET EL AMOR BRUJO) Manuel de Falla’s (1876–1946) oeuvre was already discussed in terms of national Spanish music and specific Spanish values during the composer’s lifetime. Following de Falla’s death, some of his compositions, most notably the ballet El Amor brujo (1915), which refers to the culture of Gitanos and the phenomenon of flamenco, began to function as emblematically Spanish works, i.e. representative of contemporary Spanish music. As a result of the cultural diplomacy implemented by the Francoist government, flamenco was endorsed internationally as a hallmark of Spanishness. Works referring to flamenco, such as de Falla’s El Amor brujo, were thus also intensively promoted: numerous film productions referring to flamenco alluding to de Falla’s ballet in the plot and in the musical layer, significantly contributed to the international success of this work.

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Manuel, Peter, et Timothy Mitchell. « Flamenco Deep Song ». Yearbook for Traditional Music 27 (1995) : 139. http://dx.doi.org/10.2307/768109.

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Walther, Bo Kampmann. « Writing and Flamenco ». Qualitative Studies 8, n^o 1 (28 mars 2023) : 23–57. http://dx.doi.org/10.7146/qs.v8i1.136778.

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This article asks how the art of music may contribute to the understanding of writing as a phenomenological act. More specifically, I will introduce parts of the vocabulary, theory, and practice of flamenco to investigate the musicality and notably rhythmic qualities of the handwritten, personal signature. The aim is to demonstrate how the introduction of flamenco per se to the qualitative field of writing studies may open a way of thinking of writing as an expressed as well as expressive musical practice. Besides analyzing in detail the flamenco traits of the personal signature the article also scrutinizes the signature-as-music through the phenomenological philosophies of Merleau-Ponty and Derrida. Ultimately the article demonstrates how writing can itself be theorized off the beaten track, following the untraditional clue of guitar play in the flamenco tradition. The portrait that the article paints of writing is thus itself to be considered off the beaten track qua unconventional, unorthodox and, perhaps for some, controversial.

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Serrano Montero, Lucía. « La técnica vocal en el cante flamenco : su relación con el canto clásico y el canto popular ». Revista de Investigación sobre Flamenco "La madrugá", n^o 19 (28 décembre 2022) : 49–69. http://dx.doi.org/10.6018/flamenco.533371.

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The voice is the first recorded musical instrument, considered the most expressive and the communication tool par excellence. In flamenco it occupies an indispensable place but, while in classical singing there are certain pedagogical methodologies that govern vocal technique and even flamenco guitar and dance have their own pedagogical methodologies, there is no defined technique for flamenco singing, as its learning has not been treated as a fundamental element of this art. The bases of vocal technique in classical singing date back to the Renaissance period and have evolved up to the present day, while flamenco acquired its own personality at the end of the 19th century, although its antecedents include classical and popular music. The aim of this article is to investigate about the vocal technique in flamenco singing, making an approach to its most relevant aspects, relating it to both classical and popular singing. Likewise, a comparative journey between traditional and contemporary vocal pedagogy is approached. La voz es el primer instrumento musical del que se tiene constancia, considerado el más expresivo y la herramienta de comunicación por excelencia. En el flamenco ocupa un lugar indispensable pero, mientras que en el canto clásico existen determinadas metodologías pedagógicas que rigen la técnica vocal e incluso la guitarra y el baile flamencos cuentan con metodologías pedagógicas propias, no existe una técnica definida de cante flamenco, al no haberse tratado su aprendizaje como un elemento fundamental de este arte. Las bases de la técnica vocal en el canto clásico se sitúan en la época del Renacimiento y han evolucionado hasta la actualidad; mientras, el flamenco adquiere personalidad propia a finales del XIX, si bien entre sus antecedentes están la música clásica y la música popular. El objetivo de este artículo es investigar acerca de la técnica vocal en el cante flamenco, realizando una aproximación a sus aspectos más relevantes, relacionándolo a la vez con el canto clásico y el canto popular. Asimismo, se aborda un recorrido comparativo entre la pedagogía vocal tradicional y la contemporánea.

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Washabaugh, William. « The flamenco body ». Popular Music 13, n^o 1 (janvier 1994) : 75–90. http://dx.doi.org/10.1017/s0261143000006851.

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This article is part of an on-going analysis of a Spanish television documentary series entitled Rito y Geografía del Cante. This larger on-going analysis treats the programmes in this series as ‘cultural performances’. The programmes are assumed to model personhood as they go about presenting information about flamenco music. This particular article focuses on the role of the body in these performed models of personhood.

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Thèses sur le sujet "Flamenco music"

LOBATO, JUAN ALEJANDRO. « CLASSICAL TO FLAMENCO CLARINET : HOW TO APPROACH FLAMENCO FROM A CLASSICAL PERSPECTIVE ? » Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4176.

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About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future.

Inspelningen av konserten startar efter några minuter.

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Lobato, Juan Alejandro. « Classical to flamenco clarinet : How to approach Flamenco from a classical perspective ? » Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4185.

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Inspelningen av konserten startar efter några minuter.

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Chuse, Loren. « The cantaoras : music, gender, and identity in flamenco song / ». New York : Routledge, 2003. http://www.loc.gov/catdir/enhancements/fy0647/2002190800-d.html.

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Rodríguez-Quiles, y. García José A. « ¿Están los alemanes interesados por el flamenco ? : una aproximación a la cultura flamenca en la República Federal ». Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3213/.

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Are the Germans interested in flamenco nowadays? If so they are, then how can a type of art that is so different from both German cultured and popular music be represented in the culture of that country? Possible answers to this and other questions on the still romantic image of flamenco held in Central Europe, will be provided by the analysis of the flamenco being offered at German universities, festivals, private dance schools, publishing houses and websites.

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Holden, Carolyn. « Flamenco in South Africa : outsider in two places ». Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.

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Includes abstract.
Includes bibliographical references.
This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this.

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Harris, Christine. « An investigation of the content and process of learning Spanish flamenco music at the Flamenco Centre of South Australia / ». Title page, contents and preface only, 1991. http://web4.library.adelaide.edu.au/theses/09MUB/09mubh313.pdf.

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Sardo, Fabio. « A utilização da improvisação como estratégia no ensino da guitarra flamenca ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-100426/.

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A presente pesquisa trata da utilização da improvisação como recurso didático para o ensino e aprendizagem da guitarra flamenca possibilitando ganhos qualitativos na técnica instrumental, na percepção e na interatividade nas aulas e apresentações coletivas. A proposta metodológica teve como suporte teórico proposições de Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso e Vinko Globokar na área de educação musical e práticas de improvisação e Pierre Schaeffer referente à escuta do objeto sonoro. Na pesquisa de campo, foram realizadas aulas experimentais com um grupo de alunos compostas por atividades de improvisação, conteúdos da música e técnica da guitarra flamenca, além de questionários.
This research deals with the use of improvisation as a didactical resource for the teaching and learning of flamenco guitar allowing qualitative gains in instrumental technique, in perception and in interaction in class and collective presentations. The methodology proposal has been supported by theoretical propositions of Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso and Vinko Globokar in the area of music education and practice of improvisation, as well as of Pierre Schaeffer referred to the listening of the sound object. In field research, experimental classes were conducted with a group of students and they were composed of improvisational activities, of music content and of flamenco guitar technique, besides some questionnaires.

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Bert, Alison. « The influence of Flamenco on the guitar works of Joaquin Turina ». Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185487.

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Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)

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Driggs, Victoria Katherine. « El Mal Querer : Merging Flamenco with a Postmodern Universe ». Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103618.

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This thesis examines how the postmodern fusion of flamenco and non-flamenco elements in Rosalía's sophomore album, El mal querer (2018), not only justifies the artist's place within the "Experimental Generations" of flamenco fusion artists but also distances her from the rest. The thesis builds off the work of Carlos Morales Gálvez by centering its analyses around three of the album's video chapters; "Malamente," "Pienso en tu mirá," and "De aquí no sales." Through an exploration of the aural and visual manifestations of flamenco within these three video chapters, this thesis will first reveal how Rosalía aligns with other flamenco fusion artists through her ability to find a liminal space between flamenco's "traditions" and "innovations." The thesis will demonstrate how flamenco manifests itself in the album in ways that honor past forms and figures of flamenco while also cohabitating with non-flamenco elements in ways that allow it to adapt to the postmodern context of the album and the globalized context of our world. Then, through an analysis of the nature of flamenco's fusion with non-flamenco elements in the same three video chapters, the thesis will highlight the importance of Rosalía apart from other flamenco fusion artists. Unlike others, Rosalía's aural and visual melding of flamenco and non-flamenco elements creates an intertextual "universe" that gives global viewers the agency to create their own meanings alongside Rosalía.
Master of Arts
This thesis examines the ways in which Spanish artist Rosalía's usage of flamenco in her album El mal querer (2018) establishes her within a genealogy of flamenco fusion artists while also distancing her from that same genealogy. By exploring the presence of the art form within three of the album's video chapters, this thesis will first demonstrate that Rosalía, like other flamenco fusion artists, has found ways to honor flamenco's "traditions," meaning its past notable performers and artistic styles, while also allowing flamenco to continue evolving with the globalized world around it. Yet, by also exploring the nature of flamenco's fusion with other non-flamenco elements in the same three video chapters, this thesis will subsequently reveal that the implications of Rosalía's eclectic combination of flamenco with other art forms and cultural references distances her from other flamenco fusion artists. Her aural and visual fusion of many distinct artistic and cultural elements lead it to become a "universe" of meanings which encourages viewers from around the world to contribute their own interpretations.

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Oyarzún, Sepúlveda Inti. « "Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent ». Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.

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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.

Numera Inti Oyarzun-Jonsson.

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Livres sur le sujet "Flamenco music"

Lafuente, Rafael. Los gitanos, el flamenco y los flamencos. Sevilla : Signatura Ediciones de Andalucía, 2005.

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Amador, Andrés Fernandez. Flamenco total. East Grinstead, West Sussex : ARC Music, 1996.

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Leblon, Bernard. Gitans et flamenco : L'émergence de l'art flamenco en Andalousie. Paris : Centre de recherches tsiganes, 1994.

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1917-1968, Molina Ricardo, dir. Cante flamenco. Madrid : Taurus Ediciones, 1985.

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Olivo, Silvia Calado. Todo sobre flamenco = : All about flamenco. Cádiz : Ediciones Absalon, 2005.

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Pasqualino, Caterina. Flamenco gitan. Paris : CNRS, 2008.

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Ruiz, Luis López. Guía del flamenco. Madrid : Istmo, 1999.

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Reguera, Rogelio. Historia y técnica de la guitarra flamenca = : History and téchniques of flamenco guitar. 3^e éd. Madrid : Editorial Alpuerto, 1990.

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Ricardo, Romero Gómez, dir. El cante flamenco. 4^e éd. Barcelona : Editorial Astro Uno, 2006.

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Caballero, Angel Alvarez. El cante flamenco. Madrid : Alianza Editorial, 1994.

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Chapitres de livres sur le sujet "Flamenco music"

Díaz-Báñez, José-Miguel, et Nadine Kroher. « Maths, Computation and Flamenco : Overview and Challenges ». Dans Mathematics and Computation in Music, 344–51. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_29.

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Alonso, Celsa. « Copla and Flamenco in Spanish Republican cinema ». Dans Popular Music in Spanish Cinema, 26–40. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-4.

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Kroher, Nadine, Emilia Gómez, Amin Chaachoo, Mohamed Sordo, José-Miguel Díaz-Báñez, Francisco Gómez et Joaquin Mora. « Computational Ethnomusicology : A Study of Flamenco and Arab-Andalusian Vocal Music ». Dans Springer Handbook of Systematic Musicology, 885–97. Berlin, Heidelberg : Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_43.

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Casas-Mas, Amalia. « Developing an Approach to the Flamenco Learning-Teaching Culture : An Innovative (Traditional) Learning ». Dans Traditional Musics in the Modern World : Transmission, Evolution, and Challenges, 25–39. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_3.

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Manuel, Peter. « The Café Cantante Period : 1860–1920s ». Dans Flamenco Music, 36–72. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045332.003.0002.

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This chapter covers the early history of flamenco per se, especially as it emerged and flourished throughout Andalusia--and by extension, Madrid and Barcelona--in the contributions of influential artists such as Silverio Franconetti, Antonio Chacon, and Manuel Torre. Further discussed are controversies about the respective roles of Gitanos and non-Gitanos, and the problematic “hermetic theory” that attributes flamenco’s evolution to private Gitano fiestas rather than professional performance contexts. The coalescence of the flamenco repertoire of cantes and guitar styles is outlined, along with the sociocultural milieu that conditioned their evolutionary trajectory, and the way that the art evolved in response to the tastes both of local connoisseurs as well as tourists inspired by exoticizing Romantic ideas about Gypsies.

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Manuel, Peter. « Flamenco Lyrics ». Dans Flamenco Music, 219–42. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045332.003.0006.

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This chapter is devoted to flamenco lyrics. It surveys their general style and format and their typical themes, with numerous examples. Representations of gender, sociopolitical commentary, Gitano identity, and class consciousness are discussed, as are arguments about their origins--that is, whether they derive from lettered poets or from oral tradition. The relation to the Andalusian tradition of singing and freely composing short coplas is assessed, and the contributions of some particular modern writers (letristas) are noted, especially in relation to production of commercial recordings.

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Washabaugh, William. « The Pleasures of Music ». Dans Flamenco, 54–72. Routledge, 2021. http://dx.doi.org/10.4324/9781003085416-3.

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Manuel, Peter. « From Stagnation to Revival ». Dans Flamenco Music, 73–106. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045332.003.0003.

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This chapter covers flamenco history from the 1920s to the modern period. With the decline of the cafés cantantes and the rise of a moralistic anti-flamenco campaign, followed by the cultural repression and stagnation of the Franco regime, flamenco struggled to survive. A belated revival commenced in the 1950s and 1960s, comprising the activism and scholarship of Antonio Mairena, the production of recorded anthologies and “flamencological” literature, the establishment of competitions and festivals, and other developments. The period saw the further consolidation, expansion, and refinement of vocal repertoire and guitar techniques, and especially the emergence of brilliant performers such as vocalist Camarón de la Isla and guitarist Paco de Lucía, along with eclectic innovations in the realm of nuevo flamenco (“new flamenco”).

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Manuel, Peter. « Pre-Flamenco Music ». Dans Flamenco Music, 1–35. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045332.003.0001.

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This chapter explores the prehistory of flamenco, starting with its roots in Moorish Spain, and the likely connections between Arab-derived modality and Andalusian modal harmony. Possible connections with India, and the impact of Afro-Latin musics are discussed, along with the important role played by Gitanos. Roots of specific features of flamenco are traced in various Spanish musics, such as seventeenth- and eighteenth-century keyboard fandangos and the guitar music of Gaspar Sanz. Special attention is paid to the emergence of urban lumpen proletarian subcultures from the latter eighteenth century, and to the role of their music and dance in the formation of a particular kind of Spanish cultural nationalism influenced by Romantic ideology and a reaction against French and Italian fashions and aesthetics.

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Washabaugh, William. « Anglo Perspectives on Flamenco Music ». Dans Flamenco, 118–31. Routledge, 2021. http://dx.doi.org/10.4324/9781003085416-7.

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Actes de conférences sur le sujet "Flamenco music"

Kroher, Nadine, Aggelos Pikrakis, Jesus Moreno et Jose-Miguel Diaz-Banez. « Discovery of repeated vocal patterns in polyphonic audio : A case study on flamenco music ». Dans 2015 23rd European Signal Processing Conference (EUSIPCO). IEEE, 2015. http://dx.doi.org/10.1109/eusipco.2015.7362341.

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Rapports d'organisations sur le sujet "Flamenco music"

Anzillotti Zamorano, Marta. ECMI Minorities Blog. The Cultural Appropriation of Flamenco : Views of Gitanos from Jerez de la Frontera. European Centre for Minority Issues, mai 2023. http://dx.doi.org/10.53779/aapl9656.

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With discussions surrounding cultural appropriation ongoing in numerous spheres including music, fashion, and language, this blogpost explores the ever-changing nature of culture through the first-hand accounts of Gitanos from Jerez de la Frontera. The presence of the Gitano minority in Jerez has historically had – and continues to have – a significant impact on the city. This is especially true regarding flamenco, an artform encompassing centuries of history and culture. In this blogpost, the author uses interviews and a survey conducted for her MA thesis, as well as two case studies (namely that of Lola Flores and Rosalía), to explore the various ways of approaching and contextualizing theoretical understandings of cultural appropriation.

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