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Cantaor
The cante flamenco (), meaning "flamenco singing", is one of the three main components of flamenco, along with ''toque'' (playing the guitar) and ''baile'' (dance). Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form — in fact, it is the ''cante'' which is the heart and soul of the genre. A ''cante'' singer is a ''cantaor'' or ''cantaora''. The cante flamenco is part of musical tradition in the Andalusian region of Spain. Its origins are uncertain but scholars see many influences in the cante flamenco including: The traditional song of the gitanos (Spanish Gypsies), the Perso-Arab Zyriab song form, the classical Andalusian orchestras of the Islamic Empire, the Jewish synagogue chants, Mozarabic forms such as zarchyas and zambra, Arabic zayal (the foundation for the Fandango), and Andalusian regional folk forms, as well as West African and South American influences as seen in the '' cant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concurso De Cante Jondo
El Concurso del Cante Jondo (Contest of the Deep Song) was a fiesta of flamenco arts, music, song, and dance, held in Granada in 1922. Conceived and initiated by composer Manuel de Falla, it enjoyed early and strong support from the poet Federico García Lorca. The two-day evening event was held outdoors at the Alhambra. The show included the best of well-known flamenco artists, but the contest's prize money was reserved for amateur performers. Producing the artistic event Falla's purpose The Spanish classical composer Manuel de Falla (1876–1946) was the principal organizer of the ''Concurso''. He sought to encourage and enhance the music of ''cante jondo'' (literally "deep song", referring to a key element of flamenco, as opposed to "cante chico", the "lighter" more accessible element), which he sensed had fallen into a period of decadence. Falla simply recognized in flamenco an art form of great beauty and drive. The composer had devoted years developing his intuitive ability ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flamenco
Flamenco (), in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, it is a portmanteau term used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage. The oldest record of flamenco music dates to 1774 in the book ''Las Cartas Marruecas'' by José Cadalso. The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas, popular song books and song sheets, customs, studies of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cante Flamenco
The cante flamenco (), meaning "flamenco singing", is one of the three main components of flamenco, along with ''toque'' (playing the guitar) and ''baile'' (dance). Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form — in fact, it is the ''cante'' which is the heart and soul of the genre. A ''cante'' singer is a ''cantaor'' or ''cantaora''. The cante flamenco is part of musical tradition in the Andalusian region of Spain. Its origins are uncertain but scholars see many influences in the cante flamenco including: The traditional song of the gitanos (Spanish Gypsies), the Perso-Arab Zyriab song form, the classical Andalusian orchestras of the Islamic Empire, the Jewish synagogue chants, Mozarabic forms such as zarchyas and zambra, Arabic zayal (the foundation for the Fandango), and Andalusian regional folk forms, as well as West African and South American influences as seen in the '' cant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
El Caracol (singer)
Manuel Ortega Juárez (9 July 1909 – 24 February 1973) was a Spanish flamenco cantaor (singer). Life and family Born in Seville, Spain, he was descended from a long line of flamenco artists including Enrique Ortega (father and son) and Curro Dulce, and he was possibly related to and El Fillo. The family was also known for its bull fighters. Under the stage name ''El Caracol'', he "gained international fame as much for his flamboyant personality as for his extraordinary '' cante''." Later his ''juergas'' (days long flamenco parties) became notorious. Although as a singer he always retained the ability to deliver the core of the traditional art, he was not ashamed to commercialize flamenco to attract a mass popularity; then he gained fame and fortune, as well as adding to a checkered reputation. For the most part, this was during what was later widely known as a decadent age in the history of the art, the age of Ópera flamenca. In 1922 as a youth, he had been awarded the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Federico García Lorca
Federico del Sagrado Corazón de Jesús García Lorca (5 June 1898 – 19 August 1936), known as Federico García Lorca ( ), was a Spanish poet, playwright, and theatre director. García Lorca achieved international recognition as an emblematic member of the Generation of '27, a group consisting mostly of poets who introduced the tenets of European movements (such as symbolism, futurism, and surrealism) into Spanish literature. He initially rose to fame with '' Romancero gitano'' (''Gypsy Ballads'', 1928), a book of poems depicting life in his native Andalusia. His poetry incorporated traditional Andalusian motifs and avant-garde styles. After a sojourn in New York City from 1929 to 1930—documented posthumously in ''Poeta en Nueva York'' (''Poet in New York'', 1942)—-he returned to Spain and wrote his best-known plays, ''Blood Wedding'' (1932), ''Yerma'' (1934), and ''The House of Bernarda Alba'' (1936). García Lorca was gay and suffered from depression after the end ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alegrías
''Alegrías'' () is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 '' 4 5 '' 7 '' 9 0'' 11 2''. Alegrías originated in Cádiz. Alegrías belongs to the group of ''palos'' called Cantiñas and it is usually played in a lively rhythm (120-170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone. One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (literally "a tap of the foot") and bulerías. This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas. Recommended listenings for this '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caló Language
Caló (; ; ; ) is a language spoken by the Spanish and Portuguese Romani. It is a mixed language (referred to as a Para-Romani language in Romani linguistics) based on Romance grammar, with an adstratum of Romani lexical items through language shift by the Romani community. It is often used as an argot, a secret language for discreet communication amongst Iberian Romani. Catalan, Galician, Portuguese, and Spanish are closely related varieties that share a common root.Adiego, I. ''Un vocabulario español-gitano del Marqués de Sentmenat (1697–1762)'' Ediciones Universitat de Barcelona (2002) Spanish caló, or Spanish Romani, was originally known as . Portuguese , or Portuguese Romani, also goes by the term ; it used to be referred to as , but this word has since acquired the general sense of jargon or slang, often with a negative undertone (cf. , 'obscene language', lit. low-level ). The language is mainly spoken in Brazil, Spain, France, Portugal and Colombia. Etymology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duende (art)
''Duende'' or ''tener duende'' ("to have duende") is a Spanish term for a heightened state of emotion, expression and authenticity, often connected with flamenco.Maurer (1998) pp. viii Originating from folkloric Andalusian vocal music (''canto jondo)'' and first theorized and enhanced by Andalusian poet Federico García Lorca, the term derives from "dueño de casa" (master of the house), which similarly inspired the ''duende'' of folklore. Origins of the term ''El duende'' has been defined as the spirit of evocation, "a state of tragedy-inspired ecstasy," "a poetic emotion which is uncontrolled." It comes from inside as a physical/emotional response to art. It is what gives you chills, makes you smile or cry as a bodily reaction to an artistic performance that is particularly expressive. Folk music in general, especially flamenco, tends to embody an authenticity that comes from a people whose culture is enriched by diaspora and hardship; vox populi, the human condition of joys and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Copla (meter)
The ''copla'' is a poetic form of four verses found in many Spain, Spanish popular songs as well as in Spanish language literature. There is a copla (music), related musical genre of the same name. The form is also found widely in Latin America. The name derives from the Latin language, Latin ''copula'', ("link" or "union"). ''Coplas'' normally consist of four verses ''de arte menor'' (that is, of no more than eight syllables to a line) of four lines each, either of Spain's most characteristic popular meter, the romance (meter), romance (8- 8a 8- 8a), or of seguidilla (7- 5a 7- 5a) or redondilla (8a 8b 8b 8a). Although most commonly considered a popular form, it has not been scorned by cultivated writers. Among those who have written ''coplas'' are Íñigo López de Mendoza, Marquis of Santillana, Rafael Alberti, Luis de Góngora, Antonio Machado, Jorge Manrique and Federico García Lorca. Manuel Machado (poet and playwright), Manuel Machado wrote of ''coplas'', using the form him ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soleá
''Soleares'' (plural of ''soleá'', ) is one of the most basic forms or '' palos'' of Flamenco music, probably originating among the Calé Romani people of Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode "''por arriba''" (fundamental on the 6th string); "'' Bulerías por soleá''" is usually played "''por medio''" (fundamental on the 5th string). Soleares is sometimes called "mother of palos" although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. fandangos family is from a different origin) Lyrics When singers sing soleá, as with most palos, they normally choose different "''coplas''" (stanzas), with different melody, and combine them according to the inspiration of the moment or to a previous plan. Even if the singer has a previous plan, it is often altered on the spur of the moment. These stanzas are independent in subject ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seguiriya
''Siguiriyas'' (; also ''seguiriyas'', ''siguerillas'', ''siguirillas'', ''seguidilla gitana'', etc.) are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani (Calé) in origin. Siguiriyas are normally played in the key of A Phrygian with each measure (the compás) consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here: : : '' 2 '' 4 '' 6 7 '' 9 10 1'' 12 This rhythm can be contrasted with the rhythmic pattern of the soleares, which also has 12 beats, but the accents fall differently. Taking the unusual accenting into account, it can technically be seen as a measure of 3/4 (counted in eighth notes) starting on "2", then a measure of 6/8 followed by the "1 and" of the 3/4. Every note is evenly spaced apart. For example: : : '' and '' and '' 2 3 '' 5 6 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martinetes
''Martinetes'' (, sing. ''martinete'') are a flamenco ''palo'' belonging to the group of the ''tonás'' or ''cantes a palo seco''. As the rest of the songs in this group, it is sung with no accompaniment. In some dance shows for the stage, though, it is accompanied by percussion played with the compás of siguiriya. The percussion instruments chosen for this are frequently a hammer and anvil, to evocate the origins of this ''palo'', attributed to Gypsy smiths. It is not probable, though, that they were real work songs: they demand too much effort and faculties to be sung while carrying out a heavy task like that of a smith. They were more probably sung in family gatherings. Although martinetes are often classified under the toná group on the grounds that they share its a cappella nature, the melody types differ strongly from the rest of tonás, so it is now generally considered to be a different ''palo''. A characteristic that differentiates them from the tonás, normally in majo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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