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1
Blumenfeld, Alice. « Beyond compás : Stepping outside flamenco’s performance norms ». Choreographic Practices 13, no 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.
2
Pérez Garrido, Javier. « "Beso Mediterráneo", tangos flamencos ». Revista de Investigación sobre Flamenco "La Madrugá", no 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.
3
Washabaugh, William. « Flamenco Music and Documentary ». Ethnomusicology 41, no 1 (1997) : 51. http://dx.doi.org/10.2307/852578.
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4
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, no 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.
5
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.
6
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, no 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.
7
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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8
Walther, Bo Kampmann. « Writing and Flamenco ». Qualitative Studies 8, no 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.
9
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", no 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.
10
Washabaugh, William. « The flamenco body ». Popular Music 13, no 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.
11
Casellas, Jesús López-Peláez. « The politics of Flamenco : La leyenda del tiempo and ideology ». Popular Music 36, no 2 (mai 2017) : 196–215. http://dx.doi.org/10.1017/s0261143017000058.
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AbstractFlamenco music has consistently been misrepresented as an exclusively aesthetic construct only concerned with the transmission of essential and timeless values and with the production of beauty. This insidious mystification is a consequence of the influence that several decades of nacionalcatolicismo (the ideological construction of Franco's Spain) has had over flamenco, together with its obscure and unclear origins, about three centuries ago. This paper will suggest that, against this commonly held belief, flamenco music frequently has a political agenda, which may be explicitly expressed in the lyrics of the cantes, or implicitly apparent in the formal and ideological structure of flamenco itself and its recordings. Camarón and Pachón's seminal La leyenda del tiempo (Polygram, 1979) will be explored both in its own right as one of the peaks of contemporary (new) flamenco and also as a clear showcase of how flamenco may be politicized in various ways and serve a clearly ideological purpose without neglecting its musical and aesthetic role.
12
Fujie, Linda, Angelillo, El Americano, Joselito de Cadiz, Cojo de Malaga, M. Borrull, Aurelio de Cadiz, El Nino de Almaden et El Chocolate. « Arte Flamenco, Vol. 13. Nostalgia. Los anos treinta [Flamenco in the Thirties] ». Yearbook for Traditional Music 29 (1997) : 204. http://dx.doi.org/10.2307/768335.
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13
Rodríguez-Bailón, Rosa, Josefa Ruiz et Miguel Moya. « The Impact of Music on Automatically Activated Attitudes : Flamenco and Gypsy People ». Group Processes & ; Intergroup Relations 12, no 3 (17 avril 2009) : 381–96. http://dx.doi.org/10.1177/1368430209102849.
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The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT measure, the IAT effect was lower than when a different positive stimulus was used (classical music clips). The findings of Study 2 showed that for the North African community—another highly discriminated group in Spain—the use of Flamenco or classical music clips did not have any effect on the implicit attitudes of participants toward them. The implications for attitudes toward discriminated groups and the use of music to improve intergroup relationships are discussed.
14
Hytönen-Ng, Elina T. « Flamenco Music and National Identity in Spain ». IASPM Journal 3, no 2 (26 octobre 2012) : 121–22. http://dx.doi.org/10.5429/602.
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Ortega Castejón, José Francisco, et Antonio Pardo-Cayuela. « El flamenco en los escritos de Rafael Mitjana ». Revista de Investigación sobre Flamenco "La madrugá", no 19 (28 décembre 2022) : 71–86. http://dx.doi.org/10.6018/flamenco.550201.
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Rafael Mitjana was a relevant personality in the field of music, whose main milestones were the discovery of the Cancionero de Upsala as well as a complete and systematic study of the history of Spanish music from its origins to the 19th century. Even without showing a priority interest, he also approached flamenco, a genre that he addressed, albeit superficially, in several of his writings, mainly in an article dedicated to Estébanez Calderón el Solitario. In relation to this art, he exposed some ideas that had a certain impact in his time. Defender of the theory that flamenco is an inheritance from Arab music, he tries to provide evidence. On the other hand, he takes a stand against the flamenco offered in cafés cantantes, which he considers lacking in authenticity and intended for a superficial and little-understood audience. Rafael Mitjana fue una personalidad relevante en el campo de la música, cuyos hitos principales fueron el hallazgo del Cancionero de Upsala así como un completo y sistemático estudio de la historia de la música española desde sus orígenes hasta el siglo XIX. Aun sin mostrar un interés prioritario, se acercó también al flamenco, género que abordó, aunque de manera superficial, en varias de sus escritos, principalmente en un artículo dedicado a Estébanez Calderón el Solitario. En relación con este arte, expuso algunas ideas que tuvieron cierta repercusión en su época. Defensor de la teoría de que el flamenco es herencia de la música árabe, trata de aportar evidencias. Por otra parte, se posiciona en contra del flamenco ofrecido en los cafés cantantes, que considera falto de autenticidad y pensado para un público superficial y poco entendido.
16
De Sancha-Navarro, Jesús Manuel, Juan Lara-Rubio, María Dolores Oliver-Alfonso et Luis Palma-Martos. « Cultural Sustainability in University Students’ Flamenco Music Event Attendance : A Neural Networks Approach ». Sustainability 13, no 5 (8 mars 2021) : 2911. http://dx.doi.org/10.3390/su13052911.
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University students consume live music; however, almost 40% declare that they have never attended a flamenco show, an intangible heritage of humankind. Numerous studies have shown that cultural capital and socioeconomic profile, among other factors, are variables that influence cultural consumption, and therefore, cultural sustainability. Considering the relationship between several variables, this paper pursues a double objective. On the one hand, identifying the factors that influence attendance at flamenco shows, and on the other, proposing a predictive model that quantifies the likelihood of an individual attending a flamenco show. To this end, we analyse flamenco consumption by means of a survey conducted on 452 university students, using Multilayer Perceptrom (a non-parametric model), a methodology based on an artificial neural network. Our results confirm the importance of cultural capital, as well as personal and external factors, among other. The findings of this research work are of potential interest for management and planning of cultural events, as well as to promote cultural sustainability.
17
Manuel, Peter. « Rosalía and Flamenco : A Musicological Perspective ». Romance Notes 63, no 2 (2023) : 257–68. http://dx.doi.org/10.1353/rmc.2023.a919720.
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Abstract: While the styles and sources of Rosalía's music are diverse and eclectic, flamenco is certainly the genre of which she has made most consistent and extensive use, with her idiosyncratic and original interpretations provoking much controversy in flamenco circles. Without discussing such polemics, this article explores in some specificity the particular flamenco forms she has used, from her first album Los Ángeles through her 2022 Motomami . It further makes some general observations about her flamenco interpretations, though these resist facile categorization. Some of the specific flamenco forms ( cantes and estilos ) that she performs are familiar and iconic, such as the " yeli yeli " tango chorus in "Di mi nombre." Others, such as the tango of Porrina de Badajoz in "Juro que," are items that only flamenco connoisseurs would recognize. Similarly, some of her interpretations are straightforward and por derecho , while others are strikingly original, whether in terms of instrumental accompaniment, production effects, or her own vocal rendering. A close observation of these rearticulations reveals both her originality as well as her deliberate engagement with traditional flamenco forms.
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Garcia-Falgueras, Alicia. « Possible Gender Differences in Classical Music, Flamenco and Fado ». Neuroscience Insights 18 (janvier 2023) : 263310552211470. http://dx.doi.org/10.1177/26331055221147009.
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Music is an art form and cultural activity whose language, the sounds and silences, is organized in time with logic and sensitivity. Music as a whole is the result of an ancestral nonverbal and international mode of human expression and communication. The primitive and former mother-child bonding might be highly influenced and modulated by the music and singing with their babies. Musicality and music imply two different sides of the same coin, where the former is based on the human capacity to produce the latter. Some theories about evolution suggest music might have an adaptive advantage for humans in society. Historical examples of different styles in music point out that if any allusion or reminder about gender in music might happen most probably occurs in folk non always written pagan or secular music with lyrics or voice. This genre of music usually tells about traditional gender differences in jobs, habits, lifestyles, etc., and has a clear preference for male musicians, while on the contrary, classical music usually does not have a clear gender difference in meaning, and instruments are played by both. In this text, I explore and empirically describe, neuroanatomically or functionally, some examples of different genres of music and brain differences, related to music and dance. Three different genres of music (Classical music, Fado and Flamenco) are explored in an attempt to elucidate some reasons for possible gender differences.
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Núñez, Faustino. « Los paisajes de la sal y la música Española = The landscapes of salt and Spanish music ». Cuadernos de Investigación Urbanística, no 128 (28 février 2020) : 35. http://dx.doi.org/10.20868/ciur.2020.128.4390.
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RESUMEN:Si los italianos son dulces, los españoles somos salaos. La sal como analogía de una idiosincrasia que mezcla lo exótico con el desparpajo propio de los hispanos. En contraposición a la delicadeza del europeo el temperamento español. Aunque sea considerado un tópico, en nuestra música queda reflejado a la perfección ese carácter. La música española es extrovertida, abierta, simpática, sociables, cordial, salada. En los géneros inspirados en la música tradicional más que en aquellos cultivos en la música académica se aprecia ese carácter, y entre ellos, y ahí vamos a centrar nuestra exposición, en las tonadillas, sainetes y entremeses de la segunda mitad del siglo XVIII y en nuestro género más internacional, el flamenco. En esta ponencia repasamos aquellos momentos en los que la sal es protagonista y, en la medida de lo posible, expondremos los elementos musicales que podemos considerar salados en los géneros mencionados. Estos contenidos han sido recopilados en los últimos años a través de la investigación en los archivos y bibliotecas que contienen las partituras de estas obras, así como el análisis de los estilos flamencos. ABSTRACT:If the Italians are sweet, the Spaniards are salty (salaos). Salt as an analogy of an idiosyncrasy that mixes the exotic with the self-confidence of Hispanics. In contrast to the delicacy of the European, the Spanish temperament. Although it is considered a topic, in our music that character is perfectly reflected. Spanish music is outgoing, open, friendly, sociable, friendly, salty. In the genres inspired by traditional music more than in those crops in academic music, that character is appreciated, and between them. And there we will focus our exhibition, on the tonadillas, saleros and hors d'oeuvres of the second half of the 18th century and on our most international genre, flamenco. In this paper, we review those moments in which salt is the protagonist and, as far as possible, we will present the musical elements that we can consider salty in the aforementioned genres. These contents have been compiled in recent years through research in the archives and libraries that contain the scores of these works, as well as the analysis of flamenco styles.
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Hytönen-Ng, Elina. « Flamenco Music and National Identity in Spain ». IASPM@Journal 3, no 2 (24 juin 2013) : 121–22. http://dx.doi.org/10.5429/2079-3871(2013)v3i2.13en.
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Manuel, Peter, Claus Schreiner, Juan Serrano et Jose Elgorriaga. « Flamenco : Gypsy Dance and Music from Andalusia ». Ethnomusicology 36, no 2 (1992) : 269. http://dx.doi.org/10.2307/851923.
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Piza, Antoni, et Timothy Mitchell. « Flamenco Deep Song ». Notes 53, no 1 (septembre 1996) : 86. http://dx.doi.org/10.2307/900315.
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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda et Antonio Menor-Campos. « The Cultural Tourism and Flamenco ». Journal of Social Sciences Research, no 61 (5 janvier 2020) : 32–39. http://dx.doi.org/10.32861//jssr.61.32.39.
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Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.
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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda et Antonio Menor-Campos. « The Cultural Tourism and Flamenco ». Journal of Social Sciences Research, no 61 (5 janvier 2020) : 32–39. http://dx.doi.org/10.32861/jssr.61.32.39.
Texte intégralRésumé :
Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.
25
Kajanová, Yvetta. « World music, flamenco, klezmer and traditional folk music in Slovakia ». Musicologica Brunensia, no 2 (2020) : 25–40. http://dx.doi.org/10.5817/mb2020-2-2.
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Gómez, Emilia, et Jordi Bonada. « Towards Computer-Assisted Flamenco Transcription : An Experimental Comparison of Automatic Transcription Algorithms as Applied to A Cappella Singing ». Computer Music Journal 37, no 2 (juin 2013) : 73–90. http://dx.doi.org/10.1162/comj_a_00180.
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This article deals with automatic transcription of flamenco music recordings—more specifically, a cappella singing. We first study the specifics of flamenco singing and propose a transcription system based on fundamental frequency and energy estimation, which incorporates an iterative strategy for note segmentation and labeling. The proposed approach is evaluated on a music collection of 72 performances, including a variety of singers and recording conditions, and the presence or absence of percussion, background voices, and noise. We obtain satisfying results for the different approaches tested, and our system outperforms a state-of-the-art approach designed for other singing styles. In this study, we discuss the difficulties found in transcribing flamenco singing and in evaluating the obtained transcriptions, we analyze the influence of the different steps of the algorithm, and we state the main limitations of our approach and discuss challenges for future studies.
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Casas-Mas, Amalia, Juan Ignacio Pozo et Ignacio Montero. « The influence of music learning cultures on the construction of teaching-learning conceptions ». British Journal of Music Education 31, no 3 (1 avril 2014) : 319–42. http://dx.doi.org/10.1017/s0265051714000096.
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Current research in music education tends to put the emphasis on learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal and informal settings: Classical, Jazz and Flamenco, respectively. We observed the conceptions of learning, teaching and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting out on their professional careers in the three cultures and analysed whether there are related profiles. The results show that: (a) the Flamenco culture differs significantly from the others in the conception of teaching; (b) the three cultures are most alike in the conception of evaluation, for which conceptions are more sophisticated; (c) the classical culture is closer to constructive conceptions and farther from direct positions, while the opposite is true of Flamenco.
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Fujie, Linda. « Rafael Romero. Grands Cantaores du Flamenco ». Yearbook for Traditional Music 29 (1997) : 204. http://dx.doi.org/10.2307/768333.
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Hliniak, Krzysztof. « Mimesis a duende. Proces kreacji flamenco w świetle koncepcji naśladownictwa w starożytnej estetyce greckiej ». Polish Journal of the Arts and Culture New Series 11, no 1 (2020) : 65–92. http://dx.doi.org/10.4467/24506249pj.20.003.12989.
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The paper describes the relationship between imitation and creativity in flamenco style, referring them to the Greek concept of mimesis and comparing it with the duende concept present in this genre. Although both ideas are separated by two thousand years, they transpire to be unexpectedly convergent in their basic premises. In order to present the phenomenon of duende, the author also attempts a short answer to the question of what the phenomenon of flamenco is, what conditioned its emergence, what its characteristics are, and what forms and styles of flamenco can be currently found. Describing the phantasms about duende and a flamenco show, the author presents the process of creating a flamenco performance and its choreography. The paper refers to the accomplishments of the acclaimed Polish philosopher Władysław Tatarkiewicz, and is also a tribute to the late professor Jagna Dankowska, a sound director, a Professor of Philosophy, a Professor at the Fryderyk Chopin University of Music in Warsaw, who inspired the author to write this text.
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Calahorro Arjona, Manuel Ángel. « Principios del proceso de enseñanza-aprendizaje de la guitarra flamenca fundamentada en su transmisión oral ». Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 16 (19 août 2019) : 117–44. http://dx.doi.org/10.5209/reciem.63309.
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La música flamenca; con una clara reminiscencia popular producto del influjo de diferentes pueblos y culturas que han estado en contacto con Andalucía; presenta una serie de características musicales de tal singularidad que le proporcionan un sello de identidad inconfundible. Por el carácter popular que la caracteriza; la transmisión oral siempre ha sido en ella un rasgo destacado. Esa transmisión oral se traduce en toda una metodología tradicional y una serie de procedimientos sobre los que se han fundamentado el proceso de enseñanza y aprendizaje de este arte; cuestión en torno a la cual trataremos en este artículo. Mediante el testimonio oral de artistas que gozan de un notable prestigio en el mundo flamenco actual; establecemos un conjunto de procedimientos que forman parte de esa metodología tradicional y que deberán ir anejos a la enseñanza de este instrumento; ya sea dentro o fuera de un contexto legislado como el conservatorio.
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Melnik, V. Yu. « Aflamencado practice in the contemporary piano perfoming ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no 56 (10 juillet 2020) : 266–80. http://dx.doi.org/10.34064/khnum1-56.17.
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Introduction. Flamenco is a cultural phenomenon that dates back to the 5–6th centuries. This artistic practice organically unites plastic, gesture, singing, word, instrumental play. It is difficult to determine the hierarchical relationships between these components. Each of them has its own “vocabulary”, its own laws of constructing the artistic whole, that is, its canons. In a wide artistic field, canons consider a set of certain rules, based on which creative activity is carried out, and the originality of its result is ensured by the specificity of their improvisational transformation by a particular performer. Any phenomenon that is subject to the action of a set of these specific canons acquires formal, stylistic, genre qualities that indicate the cultural and artistic environment from which they originate. Flamenco is developing dynamically and actively absorbing the experience of other musical cultures. Any phenomena that fall into the gravitational field of the flamenco canons acquire the specific traits inherent in this culture. This assimilation of alien elements is defined by the concept of aflamencado (“one that acquires the characteristic features of flamenco”). Theoretical background. Contemporary views toward flamenco culture are very different: the discrepancies are noticeable among flamenco fans, performers and scientists. The paper of Marta Wieczorec “Flamenco: Contemporary Research Dilemmas” (2018) considers disputes about the scientific issue of flamenco. She pays attention to the debatable side in science comprehension of this ethnic phenomena and its place in Spanish culture. This article also looks at the antagonism between traditional and contemporary, or, “pure” and commercial branches of flamenco. William Washbaugh in his book “Flamenco music and national identity in Spain” (2012) considers as a ambitious project the tendency to rethink Spanish national identity under the influence of the spread of flamenco music culture, its various forms. Among many contemporary musicians, he also calls Miriam Méndez. The purpose of this paper is to identify the basic strategies of aflamencado in piano art of the XX century (the ways of interaction flamenco and piano performance art of this period). Such study requires the use of musicological and performing analytical methods of scientific research, among them the methods of genre and style analysis, historical and comparative approach that are applied on this paper. The genre theory by E. Nazaykinskiy (1982) is used in this study. This theory defines genres as historically established types and kinds of musical creation, which divides according to number of criteria: by purpose (public, common, artistic function); by conditions and facilities of performing; by content and ways of creation. Aflamencado characterization using the theory of T. Cherednichenko (2002) about typologique of musical practices allowed considering different methods of adapting the flamenco ethnic elements to the academic traditions and to determine the degree of transformation of the constituent elements of the synthesis. Research results. Piano art began to embrace flamenco culture in the late XIX century. The pioneer along this path was maestro F. Pedrell and his students. One of them, І. Albenis, composed the cycles for piano “Spanish Music” No. 1 (1886), No. 2 (1889) and “Iberia” (1906–1908), where the piano pieces are enriched with the characteristic flamenco sound. The piano texture includes some elements of guitar technique: the “razguiado”, which involves repeated chords, the “punteado” – accenting performance of each sound. Melody line of Albenis’s piano works correlates with flamenco due to its generous embellishments, melismatics and hangs in detentions, which are also a projection of flamenco vocal art. The metro-rhythmic sphere of the Spanish opus by I. Albenis is often based on the typical flamenco-“compass” associated with changeable the dual and triple pulsations. Tonal and harmonic reliance on Lydian and Phrygian modes and the use of the so-called “Andalusian cadence” (t-VII-VI-D) complements the palette of flamenco expressive means of expression. These aflamencado examples have some contradictions. The nature of the pianoforte is extremely elitist and aristocratic. The “wild” and arbitrary art of Spanish Roma from the poorest regions of Andalusia, when it falls into the sound pianistic “wrapper”, is transformed significantly and acquires an academic taste. Authentic art with its oral tradition of imitation is engraved in the musical text, such fixation sends flamenco to “foreign” territory, creating grounds to believe that the cycles “Spanish suite” and “Iberia” are examples of “composer expansion” on the flamenco territory. In this example, the principles of aflamencado have a specific vector directed into the sphere of “opus- music”, and a set of tools and techniques that allow to attract the characteristic features of folk practice, with its oral and collective nature (according to T. Cherednichenko’s typology of musical practices), to creation of original, individual, non-canonical composer work. In such interaction the resources of one cultural layer allow to reach of new artistic content in other. In this sense, aflamencado acts as a means of simulating a particular object of reality in the individual perception of the author. Aflamencado in the works of contemporary composer, arranger and pianist Miriam Méndez is oriented in the opposite direction. She called her first album “Bach por Flamenco” (2005). The intertextuality of this musical experiment provides radically new content to the work that has long been canonized. J. S. Bach’s Fugue is transformed into a target. The rigid, immutable confines of the genre are being tested by the ever-changing, flamenco element. The timbre, the properties of the tools used, the built-in “cante” – all serve to update the original. The pianist, who, along with other musicians, created this genre mix, was guided, mainly, by the idea of flamenco. Conclusions. Thus, in the contemporary piano art, the aflamencado phenomenon reveals a dual nature that depends on the basic level of interaction between cultures. In one case, composer creativity engages a flamenco resource to implement authorial creative strategies. Otherwise, the composer’s work is being “prepared” for the purpose of immersing it in the primordial folk element. As a result, two fundamentally different models of pianism are formed – the academic and its flamenco variety adapted to the musical-linguistic canons. This version of piano performance in listening circles was called “flamenco-pianism”. The hybrid nature of this phenomenon now needs in further investigation.
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Alvarez-Cueva, Priscila, et Paula Guerra. « Rosalía’s kaleidoscope in the crossroads of late modernity ». Catalan Journal of Communication & ; Cultural Studies 13, no 1 (1 avril 2021) : 3–21. http://dx.doi.org/10.1386/cjcs_00036_1.
Texte intégralRésumé :
Rosalía gained worldwide fame with the release of El Mal Querer in 2018, carving a niche for herself in mainstream music with her distinctive aesthetic style and the incorporation of flamenco rhythms in her music. Our study aims to analyse four of her most important songs to highlight how she created her artistic place by incorporating collective cultural memories and translating them into a late modern scenario while at the same time commodifying the working-class standard of choni women in Spain. Our main findings suggest that (1) Rosalía’s work appropriates certain cultural and collective memories and translates them into a fashionable and desirable late modern lifestyle that combines a flamenco sound with other rhythms that could lead to the sustenance of this music genre in the new generations; (2) Rosalía establishes her youth style and femininity by incorporating a set of consumer practices that are also guided by elements of the postfeminist sensibility; and (3) there are four main actions that helped Rosalía to establish the choni-chic style. With this combination, we argue that Rosalía brings to the present a hybridized flamenco for contemporary generations while also rescuing cultural and patrimonial elements that are relevant within the construction of identities.
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Aymamí Reñé, Eva. « Kissing the Cactus : Dancing Gender and Politics in Spain ». Congress on Research in Dance Conference Proceedings 2012 (2012) : 124–31. http://dx.doi.org/10.1017/cor.2012.16.
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In Bésame el Cactus (2004), Sol Picó, modern dancer and choreographer, simultaneously performs flamenco music and dance. Using her body, her shoes, castanets, and hands, she is integrating flamenco—as a cultural symbol of Spain—into a contemporary performance. In a Spain impacted by Franco's dictatorship (1939–1975), the peculiar ambiguous choice of using flamenco in a modern performance raises questions about the construction of national and gender identity, both during the dictatorship and now. Franco's regime promoted a centralized nationalism, and imposed it on the other cultures that were part of the Spanish state. These were cultural regionalisms linked to the historic communities of Catalonia, Galicia, and the Basque Country. During Francoism, popular and folk music and dances were employed as an effort to construct a unified Spanish culture. This paper will address the problems of gender and national construction in contemporary Spain through a close reading of this choreographic piece. A methodological analysis of Bésame el Cactus will be presented using applied performing arts theories. I will also draw upon interview material with the choreographer/performer, Sol Picó. In conclusion, this paper will illustrate the ways in which the heritage of Francoism still informs choreographers' choices, and thereby creates an artificial national music and dance in Spain.
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Mitchell, Timothy, Bernard Leblon et Sinead ni Shuinear. « Gypsies and Flamenco : The Emergence of the Art of Flamenco in Andalusia ». Notes 54, no 1 (septembre 1997) : 56. http://dx.doi.org/10.2307/899939.
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Pancrácio, Micael. « A prática musical do flamenco como forma de interação : aspectos performáticos da “cena” musical do flamenco no Brasil ». Opus 29 (26 décembre 2023) : 1–28. http://dx.doi.org/10.20504/opus2023.29.21.
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O estudo da performance com foco nos aspectos não verbais da prática musical evidencia a existência de elementos sociais que permeiam a atividade musical e os processos de interação entre indivíduos. Essas experiências de engajamento musical, cujas interações físicas podem não se interligar por meio de mediação linguística, flexionam discursos para além de uma camada interpretativa, em que gestos e formas não verbais de comunicação possuem aspectos corporificados diante dos significados atribuídos aos sons musicais. A investigação etnográfica realizada na “cena” do flamenco no sudeste brasileiro demonstrou que as relações sociais por meio da música (BLACKING, 1973), estabelecidas por meio do domínio léxico de elementos não verbais de interação musical, bem como da construção de discursos musicais improvisados em contextos performáticos apresentacionais (TURINO, 2008), possuem uma estreita relação com a construção de uma narrativa fundamentada em um pensamento local de “autenticidade performática”. Esse pensamento, vinculado ao contexto das performances interativas e ao domínio da linguagem musical do flamenco, medeia e estabelece as relações entre seus indivíduos, destacando aspectos de translocalidade, (re)construção de significados e formas particulares de engajamento social. Este artigo busca apresentar, portanto, por meio de excertos etnográficos recolhidos na “cena” do flamenco no Brasil, uma análise sistemática e reflexiva desses elementos não verbais de interação musical, bem como das relações que se estabelecem entre o domínio dessa linguagem e a construção local de um pensamento de “autenticidade performática”.
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Grinina, E. A., et T. M. Balmatova. « On the Question of the Relationship of Collective and Individual Principles in the Flamenco Culture (mid-XVIII — first quarter of the XX century) ». Concept : philosophy, religion, culture 5, no 1 (1 avril 2021) : 178–92. http://dx.doi.org/10.24833/2541-8831-2021-1-17-178-192.
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The flamenco culture, an original composition of music, poetry, dance and costume, was born in Andalusia, over time has become one of Spain’s «brands», and has now spread well beyond the Iberian Peninsula. Flamenco is full of contradictions that’s why flamenco studies and cultural studies researchers have been working on it for centuries, both in its homeland and abroad. The purpose of this article is to study the relationship between individual and collective elements in the flamenco culture and to analyze various aspects of its formation and existence basing on the literary and historical sources, works on the history of culture, in general, and flamenco, in particular. The Russian segment of flamenco studies research is dominated by works devoted to individual components of flamenco culture — dance, music, history and mythology or particular styles. At the same time, there are no works that attempt to understand the functioning of internal mechanisms and their role in the formation and development of this art. It seems relevant to conduct research from these positions, and the possibility of identifying objective patterns of interaction between the individual and the collective elements determines the scientific novelty of the proposed article. The authors come to the conclusion that, combining elements of rural and urban folklore, flamenco is a popular culture that performs a communicative function both within one social layer and between different layers of urban society. The collective and individual principles in this culture find expression at different levels of social interaction, historical ties, and interpersonal communication; they are not parallel, but interconnected and mutually intertwined. At the level of the text, the collective principle serves as a source of topics, each of which a particular author gives an individual interpretation. At the level of performance and perception, the author transmits to the listener a message containing information about the collective (the memory and experience of previous generations or the current situation for a certain part of society); shares his own experiences or assessments. The listener, perceiving information, on the one hand, joins the collective, and on the other, individualizes it by relating it to his own picture of the world. The presence of contrasts in the flamenco culture is due to the social environment of its formation and existence, the presence of a commercial component and the focus of the performer on the tastes and needs of the audience. The need to attract, surprise and interest the audience at different stages of the development of flamenco influenced all components of this art, and the competition factor encouraged performers to look for new forms and develop new styles. And in general, the presence of opposite vectors provided this culture with the potential that allowed it to go beyond the narrow social stratum, to develop and gain popularity not only in Spain, but also far beyond its borders.
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Forczek-Karkosz, Wanda, Robert Michnik, Katarzyna Nowakowska-Lipiec, Alfonso Vargas Macías, Irene Baena Chicón, Sebastián Gómez Lozano et Joanna Gorwa. « Rhythm or symmetry ? What matters more in flamenco footwork ? » Journal of Kinesiology and Exercise Sciences 32, no 99 (27 septembre 2022) : 35–46. http://dx.doi.org/10.5604/01.3001.0016.0121.
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Background: Music, rhythm, symmetry, and body awareness are important aspects of dancing training. Flamenco dancers not only mark and accentuate the rhythm, but they produce the rhythm through the footwork (zapateado). The main purpose of this study was to determine whether the rhythm tapped by the flamenco dancer’s feet occurs with the symmetry in the lower limb movements. Methods: The zapateado (ZAP-3) technique sequence based on 30 cycles composed of six repeating sequences of taps performed with right and left feet was analyzed. Movement kinematics was recorded using a 3D motion system. The following parameters were analyzed: time of subsequent ZAP-3 cycles, time of successive taps of the feet in the cycle, joint angular changes throughout the cycle, and lower limb joint angles at the time when the tap was performed. Results: Temporal parameters within the cycles of the ZAP-3 test revealed small variability (coefficient of variation up to 5.05% for the right and left lower limbs for a single cycle) and high symmetry (symmetry index did not exceed 3% for a single cycle), which indicates the rhythmicity of the flamenco test. Furthermore,the kinematic analysis revealed a lack of perfect symmetry in the movements performed by both lower limbs. This allows a flamenco dancer to have room for individual interpretation or improvisation so important in flamenco. It seems that rhythm plays a more important role in flamenco footwork than movement symmetry. Conclusion: Rhythm plays a more important role in flamenco footwork than movement symmetry.
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Molero, Hayda García, Óscar Romero-Ramos et José Carlos Fernández-García. « Impact of Musical Resource on Time Distribution in Classical Dance Classes : A Comparison of Dance Styles ». Polish Journal of Sport and Tourism 26, no 4 (1 décembre 2019) : 16–21. http://dx.doi.org/10.2478/pjst-2019-0021.
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AbstractIntroduction. This paper tries to elucidate the possible differences in time distribution in a classical dance (CLD) class, depending on whether it is taught using recorded music (CD) or live music played by the piano teacher accompanying the dance (PD).Material and methods. In this work, different temporal categories have been compared according to the style of dance of 89 female students divided into two groups: classical-contemporary dance and Spanish-flamenco dance, with CD or PD.Results. Higher values were obtained in most of the categories in the classical-contemporary group than in the Spanish-flamenco group, and the differences were maintained according to the musical resource used, with better results when using live music.Conclusions. PD in CLD classes can result in more profitable sessions for both students and teachers due to more cost-effective use of time during classes.
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Fernández de Molina Ortés, Elena. « An Example of Linguistic Stylization in Spanish Musical Genres : Flamenco and Latin Music in Rosalía’s Discography ». Languages 8, no 2 (17 mai 2023) : 128. http://dx.doi.org/10.3390/languages8020128.
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Studies on stylistic change in music argue that when singers use stylistic devices in their songs, they have one purpose: to represent their image and their artistic and social identity. In this paper we focus on the singer Rosalía, a Catalan artist who sings flamenco and Latin music. These two musical genres are associated with innovative varieties of Spanish, but this singer is not a speaker of this variety (she uses the Spanish spoken in Catalonia, a conservative variety). So, we want to know whether, when she sings, she linguistically adapts to the associated phenomena of flamenco and Latin music. In order to carry out this work, we have collected two oral corpora: the first is Rosalía’s discography and the second is 40 min of interviews in Spain and America. In our analyses we have verified that, indeed, when Rosalía sings, she uses indexicalized phenomena of the genres. However, in the interviews she keeps her vernacular variety, Catalan, although we have observed signs of accommodation to American Spanish, which also reveal a significant change in the singer’s idiolect.
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Golemo, Karolina. « Muzyka w relacjach międzykulturowych ». Intercultural Relations 1, no 1(1) (15 mai 2017) : 197–218. http://dx.doi.org/10.12797/rm.01.2017.01.10.
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Music in Intercultural RelationsThe author undertakes a very relevant analysis of intercultural relations performed by individuals and groups by means of music. Music constitutes here a specific language, able to communicate and transmit the most complicated and intimate thoughts and emotions of the sender(s). Examples given in the article stem from different cultures and traditions and are discussed on the basis of flamenco, Cape Verdean music, the case of Orchestra di Piazza Vittorio, the concept of lusophony and so called “world music”. The general conclusion leads to a statement about a unique role of music in the intercultural relations.
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Fairley, Jan. « Guide to Andalusian Flamenco. Junta de Andalucia, 2003 [flamenco@ andalucia.org, www.andaluciaflamenco.org]. 233 pp. Duende, a Journey in Search of Flamenco. By Jason Webster. Doubleday, 2003. 292 pp. » Popular Music 23, no 1 (janvier 2004) : 95–97. http://dx.doi.org/10.1017/s0261143004239010.
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Kroher, Nadine, et Emilia Gomez. « Automatic Transcription of Flamenco Singing From Polyphonic Music Recordings ». IEEE/ACM Transactions on Audio, Speech, and Language Processing 24, no 5 (mai 2016) : 901–13. http://dx.doi.org/10.1109/taslp.2016.2531284.
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Heras-Fernández, Rosa de las, Carolina Bonastre Vallés, Diego Calderón-Garrido et Juana María Anguita Acero. « Implicit Theories on Teaching, Learning, and Evaluating Flamenco Dance in the Classroom : Demographic Comparison of Spain and Japan ». International Journal of Instruction 17, no 1 (1 janvier 2024) : 697–714. http://dx.doi.org/10.29333/iji.2024.17136a.
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Flamenco dance is present not just in many regions of Spain but also throughout the world, including places as far as Japan. These diverse teaching contexts have led to disparate studies on flamenco teaching and learning processes. However, most of these studies differ from general theories of education; for example, there is no record of studies of flamenco applying implicit learning theories. Much like music and physical education, flamenco dance entails a type of procedural learning that can be based on different theories depending on whether the focus is on learning, teaching or educational evaluation. This study aims to disclose the presence of implicit theories (direct, interpretive and constructive) in these processes, and determine Spanish and Japanese dancers’ educational preferences in the classroom in connection with these theories, while exploring geographical and demographic characteristics. The results show that the situations extracted from the theories are present in the classroom, and that there is a clear connection between the country where dancers train professionally, and their age and gender. There are statistically significant differences that reveal the importance of the country with respect to the latter two characteristics. Overall, participants preferred constructivist situations. Given these results, more research should be carried out in this field. Keywords: teaching and learning processes, implicit learning theories, flamenco, teaching contexts, evaluation
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Washabaugh, William. « The politics of passion : Flamenco, power, and the body ». Journal of Musicological Research 15, no 1 (janvier 1995) : 85–112. http://dx.doi.org/10.1080/01411899508574714.
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Martínez del Baño, Benito. « Copla, flamenco y cine ». Revista de Investigación sobre Flamenco "La madrugá", no 18 (30 décembre 2021) : 141–49. http://dx.doi.org/10.6018/flamenco.485251.
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Few are the artists who really triumph in the song, during the first years of life of the cinema, and of the radio, at the beginning of the 20th century. Within the historical context that we will proceed to establish, reference will be made to music, focusing on the copla and flamenco, in the period in which the cinematographic image lacks sound integrated into the film band, being synchronized for years film and album in trade passes. In the early twenties, the most famous singer was none other than Raquel Meller, especially in the field of cuplé, without forgetting Pastora Imperio, who excelled in flamenco. But a new voice would arrive, that of Conchita Piquer. The three artists, versatile where they exist, each one from their place, change the history of cinema by participating in the shootings to which they are summoned. History and even biographers continue to mix dates, titles and formats today. The time has come to put the first years of cinema in order again, now with Conchita Piquer, who is the first Spanish artist to shoot a sound short film outside of Spain. Pocos son los artistas que realmente triunfan en la canción, durante los primeros años de vida del cine, y de la radio, a principios del siglo XX. Dentro del contexto histórico que procederemos a establecer, se realizará referencia a la música, centrándonos en la copla y el flamenco, en el periodo en que la imagen cinematográfica carece de sonido integrado en la banda de película, siendo sincronizado durante años película y disco en los pases comerciales. En los primeros años veinte, la más famosa cantante no es otra que Raquel Meller, sobre todo en el campo del cuplé, sin olvidar a Pastora Imperio, quien destacaba en el flamenco. Pero, llegaría una nueva voz, la de Conchita Piquer. Las tres artistas, polivalentes donde las haya, cada una desde su sitio, cambian la historia del cine al participar en los rodajes a los que son convocadas. La historia e incluso los biógrafos, continúan actualmente entremezclando fechas, títulos y formatos. Ha llegado el momento de poner en orden, nuevamente, los primeros años del cine, ahora con Conchita Piquer, quien es la primera artista española en rodar fuera de España un cortometraje sonoro.
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Clark, Walter Aaron, et Carlos Surinach. « Doppio Concertino, Flamenco Cyclothymia, Concerto for String Orchestra, Piano Quartet ». American Music 13, no 2 (1995) : 254. http://dx.doi.org/10.2307/3052267.
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Debrois Castro, Marion Bastiana. « Interculturalidad, world music y gestión de patrimonio musical en espectáculos musicales : un acercamiento a la Fundación Casa de la India de Valladolid ». Indialogs 10 (12 avril 2023) : 73–91. http://dx.doi.org/10.5565/rev/indialogs.236.
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El presente artículo pretende ser un acercamiento a las actividades musicales de la Fundación Casa de la India desde una perspectiva musicológica. Para ello se han seleccionado cuatro de sus actividades musicales y se han estudiado aplicando teorías y metodologías provenientes de disciplinas como la etnomusicología, antropología, sociología y estudios culturales y, en especial, cuestiones vinculadas a la interculturalidad, los estudios sobre la world music y la gestión del patrimonio musical. La recogida de información se llevó a cabo mediante la realización de entrevistas a los directores de Casa de la India y la consulta de diversas fuentes bibliográficas (libros, manuales, artículos científicos, memorias de Casa de la India, páginas web oficiales de este centro cultural, artistas y demás entidades culturales involucradas en las actividades estudiadas).
Las cuatro actividades seleccionadas fueron: “India en Concierto”, un festival de conciertos y espectáculos de música y danza clásicas de la India; “Flamenco, India”, un espectáculo que combina números de flamenco y diferentes danzas clásicas indias; “Rasa y Duende”, donde se mezclan técnicas de artes escénicas indias y del flamenco y poesía de Lorca; y, finalmente, “Kijote Kathakali”, una adaptación teatral de Don Quijote al lenguaje de la danza-teatro kathakali.
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Guastavino, Catherine, Francisco Gómez, Godfried Toussaint, Fabrice Marandola et Emilia Gómez. « Measuring Similarity between Flamenco Rhythmic Patterns ». Journal of New Music Research 38, no 2 (juin 2009) : 129–38. http://dx.doi.org/10.1080/09298210903229968.
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Maduell, Mariana, et Alan M. Wing. « The dynamics of ensemble : the case for flamenco ». Psychology of Music 35, no 4 (16 août 2007) : 591–627. http://dx.doi.org/10.1177/0305735607076446.
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Lee, Jisun, et Joonho Kim. « Ethnic Musical Elements of Andalusia, Spain, Reflected in Turina’s Piano Dance Music ». Korean Society of Culture and Convergence 44, no 12 (31 décembre 2022) : 413–25. http://dx.doi.org/10.33645/cnc.2022.12.44.12.413.
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This study investigated the ethnic musical elements of Andalusia, southern Spain, reflected in Turina’s piano dance pieces. Turina integrated the traditional music style and impressionism music technique in Paris with the national music of Andalusia, implementing it in piano music. Turina, a composer who occupies a major position in Spanish nationalist piano music, produced the most piano works of any Spanish composers of his time. The dance suite, a large portion of his piano work list, preserves the identity of flamenco as a complex art with dance, a representative music of the Andalusia, and recreates it within the framework of traditional European music. This study analyzed Andalusian national music elements in Turina’s piano dance pieces by dividing into melodic, harmonic, and rhythmic elements. Turina’s piano dance have gained musical universality by fusion with the mainstream music trends of Western Europe beyond the limits of Andalusia, Spain.