فلامنکو
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معنی کلمه فلامنکو
معنی واژه فلامنکو
flamenco
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فلامنکو
معنی:
فلامنکو (به اسپانیایی: Flamenco) سبکی از آواز، موسیقی و رقص اسپانیایی است. این نوع موسیقی تحت تاثیر سبکها و فرهنگهای مختلف به شکل امروزی درآمدهاست و میتوان گفت که بیشترین تاثیر خود را از کولیهای اسپانیا گرفتهاست. در شکلگیری و تکامل این سبک نمیتوان از تاثیرگذاری موسیقی مورها و مسلمانان شمال آفریقا و حتی موسیقی عربی و موسیقی لاتین چشم پوشی کرد.
فلامنکو در حقیقت از ۳ قسمت رقص فلامنکو، آواز فلامنکو و گیتار فلامنکو تشکیل شدهاست. خاستگاه این نوع موسیقی ایالت اندلس است، ولی مبدل به سمبل موسیقی اسپانیایی و حتی بهطور کلی فرهنگ اسپانیایی شدهاست. این نوع موسیقی شامل تکنیکها و توکههای جالبی است.
البته کاربرد لغت توکه غلط مصطلح است زیرا معنی این کلمه نوازندگی گیتار میباشد و بهتر است از کلمهٔ پالو (معادل دستگاه در موسیقی ایرانی) استفاده شود. بعضی از این پالوها عبارتاند از بولریاس، رومبا، الگریاس، فاروکا و غیره.
موسیقی فلامنکو، موسیقی سنتی اسپانیا همانند تمامی موسیقیهای دیگر در جهان دارای رقص و علائم مخصوص به خود میباشد که این موسیقی و رقص، آن را از انواع دیگر موسیقی متمایز میسازد. حرکات دست و پا در فلامنکو هر کدام بیانکننده تاریخ، داستان و یا افسانهای میباشد که برای بیان کردن آنها از حرکات و فرمهای بخصوصی استفاده میشود. این رقص شباهتهای بسیاری به رقص اعراب دارد. با مروری بر تاریخ جهان در مییابیم که اسپانیا و اندولس مدتی در تصرف اعراب بودهاند و اعراب پس از بیرون رفتن از اسپانیا بعضی از فرهنگهای خود را در اسپانیا به یادگار گذاشتند که بسیاری از این فرهنگها را در معماری بناها در اسپانیا، موسیقی و رقص آنها به وضوح میتوان مشاهده کرد. منشاء این نوع موسیقی از طبقات پایین جامعه اندولسی سرچشمه گرفته بود، از این رو موسیقی از وجهه هنری لازم در میان طبقات متوسط و بالاتر جامعه برخوردار نبود. فرهنگ فلامنکو حاکی از شورش مردم تحت ستم است. اقوام مسلمان شمال آفریقا ملقب به مورها، اقوام گیتانو و یهودیان که همگی در گذشته از سوی تفتیش عقاید کلیسای اسپانیا مورد اذیت و آزار و تبعید واقع شدهاند. اقوام گیتانو اساساً پایهگذار اولیه این شکل هنری بودهاند اما آنها تنها دارای یک فرهنگ شفاهی هستند. آوازهای محلیشان از طریق اجرای مکرر آن در مجالس اجتماعی به نسل جدید منتقل شدهاست. این طبقات فقیر غیر چادرنشین جامعه اندولسی بهطور کلی بیسواد بودند.
همیشه در گذر زمان تغیرات و تعریفاتی وجود داشتند که آثار هنرمندان هر قرن بر آنها وارد میشد و موسیقی فلامنکو هم مثال کاملی از این نوع تغیرات است و تا به امروز نیز در حال تغیر و تحول بودهاست. نسلهای جدید فلامنکو، سبکهای جاز و دیگر سبکهای آفریقایی و برزیلی را با فلامنکو مدرن ترکیب کردهاند. فلامنکو یکی از غنیترین و فوقالعادهترین فرمهای موسیقی در جهان است و بر طبق گفته منتقدین فلامنکو اصیل و خالص هیچگاه در صنعت موسیقی و هنر کمرنگ نمیشود.
منابع
* سایت تخصصی گیتار
نماد خرد این یک نوشتار خُرد پیرامون موسیقی است. با گسترش آن به ویکیپدیا کمک کنید.
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ردههای صفحه:
* فلامنکو
* موسیقی
* موسیقی اسپانیایی
* کولیها
قس:
فلامنکو (بالإسبانیة: Flamenco) هو نوع من الموسیقى الإسبانیة، الذی یقوم على أساس الموسیقى والرقص. الجذور العربیة للفلامنکو تظهر فی طریقة الغناء من الحنجرة وفی جیتار الفلامنکو وتأثره بالعود، نشأت فی أندلسیا فی القرن الثامن عشر.
محتویات
* 1 أصل الفلامینکو
* 2 تاریخ =
* 3 وصلات خارجیة
* 4 مراجع
أصل الفلامینکو
کلمة الفلامنکو، فی إشارة إلى النوع الفنی المعروف بهذا الاسم، یعود تاریخها إلى منتصف القرن التاسع عشر. لیس هناک یقین عن أصل تسمیتها، والتی أثارت عدة فرضیات :وهناک احتمال ان یکون اسمها هو معنا الفلاح المنکوب
* حسب بلاس إنفانتی مصطلح فلامنکو یرجع إلى ≪فلاح منغو≫ مِن ≪فلاح من غیر أرض≫ وهم الفلاحین الموریسکیون الذین أصبحوا بلا أرض، فإندمجوا مع الغجر وأسسو ما یسمى بالفلامنکو کمظهر من مظاهر الألم التی یشعر بها الناس بعد إبادة ثقافتهم.
* البعض یربط اسم هذه الموسیقى بطائر النحام الوردی.
* ووجد فی بحوثات عن رقص الفلامنکو فی بعض البرامج الوثائقیه _وقد أذیع البرنامج فی قناة الجزیرة الوثائقیة بعنوان "الفلامنکو",یمکنک الرجوع إلیها_بأنه یعود تسمیتها إلى "فلاح منکو" وبالتالی "فلاح منکم".
* ووجد أیضا فی بحوثات عن أصل موسیقى الفلامنکو، بأن الکلمة التی تشتهر بلفظها فی موسیقى الفلامنکو وهی ال.."اوللیه",وهی کلمة تشتهر بالإسبانیة والمکسیکیه وغیرها عند العزف على موسیقا الفلامنکو ,ففرض عن اصل هذه الکلمه بأنها"اوللیه وبالتالی الله",ولیس هنالک اثبات حول هذا.
تاریخ =
تأثر الفلامنکو کثیرا بالإیقاع الشرقی البیزنطی والأغنیة الأندلسیة البدائیة والأغنیة الموروثة. ویظهر ذلک خاصة فی الموروثة فی عدة قرى قریبة من غرناطة والتی یسکنها المورسکیون. وهذا النوع من الأغانی یدل على مدى تأثر الفلامنکو بالأغنیة العربیة والهندیة القدیمة ومدى التشابه الکبیر بین الأغنیة الأندلسیة والفلامنکو.
کما أن أغانی الفلامنکو کلها وخاصة التی تلقى فی عید میلاد المسیح، هی زناتیة شمال إفریقیة فی الصوت واللإلقاء والانفعال العاطفی ولا شک أن المورسکیین هم الذین إبتدعوا هذا النوع تضرعا واستعطافا للکنیسة ومحاکم التفتیش .
و الملفت للانتباه أنه فی داخل العائلات التی أدمجت ببطء فی المدن والقرى الأندلسیة لم تبری هذه الظاهرة الموسیقیة المدهشة)الفلامنکو(إلا بعد ثلاث قرون من طرد المورسکیین إذ أن ارتباطه المحتل بالموسیقى العربیة لم یکن موضوع دراسة جادة .
== فرو ا
* سیریا (Seg
وصلات خارجیة
* الفلامنکو - ثقافة أسبانیة وجذور عربیة بی بی سی
* استمع Loudspeaker rtl.svg(؟معلومات) مقطوعة من الفلامنکو
مراجع
1. ^ CANO(Manuel) ,Flamenco et musique andalouse, in Al-hayat-athaqafia, Tunis, n°5,juin 1978, pp132,137
2. ^ دراجة – أبو القاسم – " أثار الأندلسیین المورسکیین فی الفنون الشعبیة بإسبانیا " – عبد الجلیل -، أعمال المؤتمر الثامن للدراسات المورسکیة حول : صورة المورسکیین فی الأداب والفنون، مؤسسة التمیمی للبحث العلمی والمعلومات، زغوان، أفریل 1999 ص51
3. ^ لوبلون – برنار- تر : التمیمی – عبد الجلیل – " المورسکیین والجیتان (GITANS) فی إسبانیا خلال القرنین السادس والسابع عشر : الأنشطة المهنیة والموسیقیة " فی : مهن المورسکیین الأندلسیین وحیاتهم الدینیة، مرکز الدراسات والبحوث العثمانیة والمورسکیة، زغوان 1990 ص17-19.
Eighth notes and rest.png هذه بذرة مقالة عن الموسیقى أو مؤلف موسیقی تحتاج للنمو والتحسین، فساهم فی إثرائها بالمشارکة فی تحریرها.
تم الاسترجاع من "
تصنیفات:
* رقص
* أنواع موسیقیة
* موسیقى أندلسیة
قس:
Flamenco (Spanish pronunciation: ) is a genre of music, song and dance from Andalusia in southern Spain, noted for its energetic, staccato style. It grew from Andalusian music, song and dance styles, influenced by the song and dance of the local Romani people.
The cante (singing), toque (guitar playing), dance and palmas (handclaps) are the principal facets of flamenco.
In recent years flamenco has become popular all over the world and is taught in many countries; in Japan flamenco is so popular there are more academies there than in Spain. On November 16, 2010, UNESCO declared Flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
Contents
* 1 Etymology
* 2 Flamenco today
* 3 Palos
* 4 Music
o 4.1 Harmony
o 4.2 Melody
o 4.3 Compás
* 5 Forms of flamenco expression
o 5.1 Toque (guitar)
o 5.2 Cante (song)
o 5.3 Baile (dance)
* 6 See also
* 7 References
* 8 Sources
o 8.1 Historical flamenco recordings
* 9 External links
Etymology
There are questions not only about the origins of flamenco, but also about the origins of the word itself. There are many theories (summarized below), but no solid evidence for any of them. The word was not recorded until the late 18th century.
George Borrow asserted the word flemenc is synonymous with "gypsy".needed Blas Infante, in his book Orígenes de lo flamenco y secreto del cante jondo, suggests the word may derive from Andalusian Arabic fellah mengu, "Escapee Peasant", referring to the Muslim Andalusians (Moriscos) who stayed in Spain and mixed with the Romani newcomers when the Spanish reclaimed their land.
Other hypotheses include "Fleming, native of Flanders" (Dutch Vlaming). Spain ruled Flanders for many years, and Charles I of Spainneeded is said to have brought to Toledo an entire Flemish court.needed The Spanish wife of his father, Felipe de Austria, brought Andalusian musicians to Court and the Habsburg Spanish troops in their Netherlands domains were accompanied by musicians and, on their return to Spain, these became known to other Europeans, including the players of more sober traditional Andalusian music as Flamenco, the flemish style.
The entry for "Flamenco" in the 1786 Diccionario español e ingles (Volume 1), gives the following definition: "f.m. a bird that has a red breast and pinions". "Flama" in Spanish means flame or fire, and "enco" or "endo", is a suffix which means a quality-of, or having a-similarity-to, or pertaining-to. This association between a fiery-breasted bird and the deep, flaming passion expressed in Flamenco music, song and dance, is wholly appropriate.
Flamenco today
From its roots in eighteenth century popular theatre, most flamenco performers were professionals. Originally they learned from other performers in the manner of an apprenticeship, not in conservatoriums or dance schools as is usually the way now. Today, most guitarists undergo rigorous professional training and often can read and play music in other styles like classical guitar or jazz and many dancers take courses in ballet and contemporary dance as well as flamenco.
Flamenco occurs in four settings - the juerga, in small-scale cabaret, concert venues and in the theatre.
The juerga is an informal, spontaneous gitano gathering (rather like a jazz "jam session"). This can include dancing, singing, palmas (hand clapping), or simply pounding in rhythm on an old orange crate or a table. Flamenco, in this context, is organic and dynamic: it adapts to the local talent, instrumentation, and mood of the audience. This context invites comparison with that other creation of a dispossessed class, the blues. The Gypsy Blues, or even the European Blues as a means of providing a frame of reference to those new to the genre.
One tradition remains firmly in place: the cantaores (singers) are the heart and soul of the performance. A Peña Flamenca is a meeting place or grouping of Flamenco musicians or artists. There are also "tablaos", establishments that developed during the 1960s throughout Spain replacing the "café cantante". The tablaos may have their own company of performers for each show. Many internationally renowned artists have started their careers in "tablaos flamencos", like the famous singer Miguel Poveda who began in El Cordobés, Barcelona.
The professional concert is more formal. A traditional singing performance has only a singer and one guitar, while a dance concert usually includes two or three guitars, one or more singers (singing in turns, as flamenco cantaors sing solo), and one or more dancers. One of the singers may play the cajon (a wooden box drum played with the hands) if there is no dedicated cajon player, and all performers will play palmas even if there are dedicated palmeros. The so-called Nuevo Flamenco New flamenco may include flutes or saxophones, piano or other keyboards, or even the bass guitar and the electric guitar. Camarón de la Isla was one artist who popularized this style.
Finally, there is the theatrical presentation of flamenco. However, it is now an extended and sophisticated performance in its own right, comparable to a performance of ballet by such ensembles as the Maria Pagès Company.
Palos
Main article: Palo (flamenco)
Flamenco music styles are called palos. Songs are classified into palos based on criteria such as basic rhythmic pattern, mode, chord progression, form of the stanza, and geographic origin. There are over 50 different palos flamenco, although some are rarely performed. For a complete explanation, see the main Wikipedia entry on Palo (flamenco).
There are traditions associated with each palo. Some of the forms are sung unaccompanied, while others usually have guitar or other accompaniment. Some forms are danced while others are not. Some are the reserve of men and others of women, while some may be performed by either. Many of these traditional distinctions are breaking down; for example, the Farruca is now commonly performed by women too.
Palos are traditionally classified into three groups. The most serious forms are known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Other considerations factor into classification, such as whether the palo is considered to be of gypsy origin or not. Forms which do not fit either category are classified as cante intermedio.
Music
Harmony
Whereas in modern Western music it is usually only the major and minor scales which are commonly used by composers, flamenco also uses Phrygian mode (modo dórico in Spanish).
The Phrygian mode occurs in palos such as soleá, most bulerías, siguiriyas, tangos and tientos. The harmonic version of the scale requires the 3rd degree of the scale to be sharpened: For instance, if the scale is E Phrygian the tonic chord will contain G#.
Descending E Phrygian scale in flamenco music, with common alterations in parentheses
Based on the Phrygian scale, a typical cadence is formed, usually called "Andalusian cadence". The chords in E Phrygian are Am–G–F–E. According to Manolo Sanlúcar, in this mode, E is the tonic, F would take the harmonic function of dominant, while Am and G assume the functions of subdominant and mediant respectively.
When playing using the Phrygian mode, guitarists traditionally use only two basic positions for the tonic chord (music): E and A. However, they often transpose these basic tones by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions. Montoya himself started to use other chords for the tonic in the doric sections of several palos: F sharp for tarantas, B for granaína, A flat for the minera, and he also created a new palo as solo piece for the guitar, the rondeña, in C sharp with scordatura. Later guitarists have further extended the repertoire of tonalities, chord positions and scordatura.
There are also palos in major mode, e.g. most cantiñas and alegrías, guajiras, some bulerías and tonás, and the cabales (a major type of siguiriyas). The minor mode is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerías, etc. In general, traditional palos in major and minor mode are limited harmonically to the typical two-chord (tonic–dominant) or three-chord structure (tonic–subdominant–dominant) (Rossy 1998:92). However, modern guitarists have increased the traditional harmony by introducing chord substitution, transition chords, and even modulation.
Fandangos and the palos derived from it (e.g. malagueñas, tarantas, cartageneras) are bimodal. Guitar introductions are in Phrygian mode, while the singing develops in major mode, modulating to Phrygian mode at the end of the stanza. (Rossy 1998:92)
Traditionally, flamenco guitarists did not receive any formal training. This led them to interesting harmonic findings, with unusual unresolved dissonances (Rossy 1998:88). Examples of this are the use of minor 9th chords for the tonic, the tonic chord of tarantas, or the use of the 1st unstopped string as a kind of pedal tone.
Melody
Dionisio Preciado, quoted by Sabas de Hoces established the following characteristics for the melodies of flamenco singing:
1. Microtonality: presence of intervals smaller than the semitone.
2. Portamento: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals.
3. Short tessitura or range: Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres, and variety is accomplished by the use of microtones.
4. Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical name but different spellings (e.g. A flat and G sharp), in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes.
5. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
6. Baroque ornamentation, with an expressive, rather than merely aesthetic function.
7. Apparent lack of regular rhythm, especially in the siguiriyas: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment.
8. Most styles express sad and bitter feelings.
9. Melodic improvisation. flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment.
Musicologist Hipólito Rossy adds the following characteristics (Rossy 1998: 94):
* Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera aria, they usually go from the higher pitches to the lower ones, and from forte to piano, as was usual in ancient Greek scales.
* In many styles, such as soléa or siguiriya, the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs,influenced by Castilian jota.
Compás
Compás is the Spanish word for metre and time signature in classical music theory. It also refers to the rhythmic cycle, or layout, of a palo.
The compás is fundamental to flamenco. Without it, there is no flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than other Western styles of music. If there is no guitarist available, the compás is rendered through hand clapping (palmas) or by hitting a table with the knuckles. The guitarist uses techniques like strumming (rasgueado) or tapping the soundboard. Changes of chords emphasize the most important downbeats.
Flamenco uses three basic counts or measures: Binary, Ternary and the (unique to flamenco) twelve-beat cycle. There are also free-form styles including, among others, the tonás, saetas, malagueñas, tarantos, and some types of fandangos.
* Rhythms in 2/4 or 4/4. These metres are used in forms like tangos, tientos, gypsy rumba, zambra and tanguillos.
* Rhythms in 3/4. These are typical of fandangos and sevillanas, suggesting their origin as non-Gypsy styles, since the 3/4 and 4/4 measures are not common in ethnic Gypsy or Hindi music.
* 12-beat rhythms usually rendered in amalgams of 6/8 + 3/4 and sometimes 12/8. The 12 beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th Century such as the zarabanda, jácara and canarios.
There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería.
1. peteneras and guajiras: 1 2 3 4 5 6 7 8 9 10 11 12 Both palos start with the strong accent on 12. Hence the meter is 12 1 2 3 4 5 6 7 8 9 10 11...
2. The seguiriya, liviana, serrananeeded , toná liviana, cabales: 1 2 3 4 5 6 7 8 9 10 11 12 The seguiriya is the same as the soleá but starting on the 8th beat
3. soleá, within the cantiñas group of palos which includes the alegrías, cantiñas, mirabras, romera, caracoles and soleá por bulería (also " bulería por soleá"): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular 3/4.
The Bulerías is the emblematic palo of flamenco: today its 12 beat cycle is most often played with accents on the 3, 7, 8, 10 and 12th beats. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter rhythms and percussive voices within the 12 beat compás
Forms of flamenco expression
Toque (guitar)
Main article: Flamenco guitar
The origins, use and technique of the flamenco guitar are fully covered in the main Wikipedia entry for flamenco guitar.
Cante (song)
Main article: Cante flamenco
Flamenco performance by the La Primaveraneeded group
The origins, history and importance of the cante is covered in the main Wikipedia entry for the cante flamenco.
Baile (dance)
El baile flamenco is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet. As with any dance form, many different styles of flamenco have developed.
In its most authentic form, flamenco can be seen danced informally at gitano (Gypsy) weddings and celebrations in Spain. There is less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different to classical flamenco, curving around the head and body rather than extending, often with a bent elbow.
"Flamenco puro" is considered the form of performance flamenco closest to its gitano origins. In this style, the dance is always performed solo, and is improvised rather than choreographed. Some purists frown on castanets (even though they can be seen in many early 20th century photos of flamenco dancers).
The type of dance most Europeans would call "flamenco" is a commercialized style, developed as a spectacle for tourists. To add variety, group dances are included, and even solos are more likely to be choreographed. The frilly, voluminous spotted dresses are derived from a style of dress worn for the annual Feria in Seville (the original is actually too tight to dance in!).
"Classical flamenco" is the style used in modern Spanish flamenco dance companies. It is characterized by a proud, upright carriage - for the women, the back is often held in a marked back bend. Unlike gitano flamenco, there is little movement of the hips, the body is tightly held and the arms are long, like a ballet dancer. In fact many of the dancers in these companies have trained in ballet as well as flamenco.
Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, shawls and fans.
"Flamenco nuevo" is the new wave in flamenco, characterized by pared-down costumes (the men often dance bare-chested, and the women in plain jersey dresses). Props such as castanets, fans and shawls are rarely, if ever, used. Dances are choreographed and include influences from other dance styles.
In traditional flamenco, young people are not considered to have the emotional maturity to adequately convey the "duende" (soul) of the genre. Therefore unlike other dance forms, where dancers turn professional early to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond.
See also
Portal icon Guitar portal
* Andalusian Centre of Flamenco
* Camarón de la Isla
* Concurso de Cante Jondo
* Festival Bienal Flamenco
* Flamenco shoes
* New Flamenco
* Paco Peña
* Paco de Lucía
* Palo
* Picados
* Silverio Franconetti
References
1. ^ "Nowadays, we know that there are hundreds and hundreds of data which allow us to know in detail what flamenco was from 1760 until 1860...the theatre movement of sainetes (one-act plays) and tonadillas, the popular songbooks and song sheets, the narrations and descriptions from travellers describing customs, the technical studies of dances and toques, the musical scores, the newspapers, the graphic documents in paintings and engravings;...in continuous evolution together with the rhythm, the poetic stanzas, and the ambiance." Ríos Ruiz 1997
2. ^ See the 3rd definition of the term flamenco in the Dictionary of Real Academia Española.
3. ^ The first known mention of flamenco in literature is in 1774, in the book Cartas Marruecas by José Cadalso.
4. ^ Mendoza, Gabriela, "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52,
5. ^ En El Salvador la agrupación Alma Flamenca es considerada la máxima representante y pionera de este movimiento musical. Mendoza, Gabriela (2011), "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52,
6. ^ El flamenco es declarado Patrimonio Cultural Inmaterial de la Humanidad por la Unesco, Yahoo Noticias, 16 de noviembre de 2010, consultado el mismo día.
7. ^ RAE:flama
8. ^ RAE:-enco
9. ^
10. ^
11. ^
12. ^
Sources
* ÁLVAREZ CABALLERO, Ángel: El cante flamenco, Alianza Editorial, Madrid, Second edition, 1998. ISBN 84-206-9682-X (First edition: 1994)
* ÁLVAREZ CABALLERO, Ángel: La Discografía ideal del cante flamenco, Planeta, Barcelona, 1995. ISBN 84-08-01602-4
* BANZI, JULIA LYNN (Ph.D.): "Flamenco Guitar Innovation and the Circumscription of Tradition" 2007, 382 pages; AAT 328581, DAI-A 68/10, University of California, Santa Barbara.
* COELHO, Víctor Anand (Editor): "Flamenco Guitar: History, Style, and Context", in The Cambridge Companion to the Guitar, Cambridge University Press, 2003, pp. 13–32.
* MAIRENA, Antonio & MOLINA, Ricardo: Mundo y formas del cante flamenco, Librería Al-Ándalus, Third Edition, 1979 (First Edition: Revista de Occidente, 1963)
* MARTÍN SALAZAR, Jorge: Los cantes flamencos, Diputación Provincial de Granada, Granada, 1991 ISBN 84-7807-041-9
* MANUEL, Peter. "Flamenco in Focus: An Analysis of a Performance of Soleares." In Analytical Studies in World Music, edited by Michael Tenzer. New York: Oxford University Press, 2006, pp. 92–119.
* ORTIZ NUEVO, José Luis: Alegato contra la pureza, Libros PM, Barcelona, 1996. ISBN 84-88944-07-1
* RÍOS RUIZ, Ayer y hoy del cante flamenco, Ediciones ISTMO, Tres Cantos (Madrid), 1997, ISBN 84-7090-311-X
* ROSSY, Hipólito: Teoría del Cante Jondo, CREDSA, Barcelona, 1998. ISBN 84-7056-354-8 (First edition: 1966)
* CABA LANDA, Pedro y Carlos CABA LANDA, Carlos. Andalucía, su comunismo y su cante jondo. 1ª Ed Editorial Atlántico 1933 . 3ª Edición, Editorial Renacimiento 2008. ISBN 978-84-8472-348-6
Historical flamenco recordings
* Flamencologia (Planet Records)
* Grabaciones Históricas; Centro de Documentación Musical de Andalucía (1)
External links
Wikimedia Commons has media related to: Flamenco
* The Flamenco Metronome
* World Class Flamenco
* Online Flamenco Guitar Lessons by Adam del Monte
* José Greco Foundation for Spanish Dance
* FlamencoBeat Radio on FLAMENCO.CA ♯♭ 24-hour Authentic Flamenco Music Online by Pirouz de Caspio
* Flamenco Forum
* Flamenco has been proposed for Intangible Cultural Heritage of Humanity by UNESCO vote for it!
* Hot Flamenco in Havana By Irina Echarry, Havana Times June 9, 2009
* Flamenco - Its Origin and evolution
* La Tana, singer discover by Paco de Lucía, singing a soleá in Barcelona
* Flamenco dance at the Open Directory Project
* Flamenco music at the Open Directory Project
* Flamenco dancing photos at Fiesta Day in Tampa
* Almacenes del Pilar
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flamenco
فلامنكو رقصة إسبانية، الفلامنكو
فلامنکو در حقیقت از ۳ قسمت رقص فلامنکو، آواز فلامنکو و گیتار فلامنکو تشکیل شدهاست. خاستگاه این نوع موسیقی ایالت اندلس است، ولی مبدل به سمبل موسیقی اسپانیایی و حتی بهطور کلی فرهنگ اسپانیایی شدهاست. این نوع موسیقی شامل تکنیکها و توکههای جالبی است.
البته کاربرد لغت توکه غلط مصطلح است زیرا معنی این کلمه نوازندگی گیتار میباشد و بهتر است از کلمهٔ پالو (معادل دستگاه در موسیقی ایرانی) استفاده شود. بعضی از این پالوها عبارتاند از بولریاس، رومبا، الگریاس، فاروکا و غیره.
موسیقی فلامنکو، موسیقی سنتی اسپانیا همانند تمامی موسیقیهای دیگر در جهان دارای رقص و علائم مخصوص به خود میباشد که این موسیقی و رقص، آن را از انواع دیگر موسیقی متمایز میسازد. حرکات دست و پا در فلامنکو هر کدام بیانکننده تاریخ، داستان و یا افسانهای میباشد که برای بیان کردن آنها از حرکات و فرمهای بخصوصی استفاده میشود. این رقص شباهتهای بسیاری به رقص اعراب دارد. با مروری بر تاریخ جهان در مییابیم که اسپانیا و اندولس مدتی در تصرف اعراب بودهاند و اعراب پس از بیرون رفتن از اسپانیا بعضی از فرهنگهای خود را در اسپانیا به یادگار گذاشتند که بسیاری از این فرهنگها را در معماری بناها در اسپانیا، موسیقی و رقص آنها به وضوح میتوان مشاهده کرد. منشاء این نوع موسیقی از طبقات پایین جامعه اندولسی سرچشمه گرفته بود، از این رو موسیقی از وجهه هنری لازم در میان طبقات متوسط و بالاتر جامعه برخوردار نبود. فرهنگ فلامنکو حاکی از شورش مردم تحت ستم است. اقوام مسلمان شمال آفریقا ملقب به مورها، اقوام گیتانو و یهودیان که همگی در گذشته از سوی تفتیش عقاید کلیسای اسپانیا مورد اذیت و آزار و تبعید واقع شدهاند. اقوام گیتانو اساساً پایهگذار اولیه این شکل هنری بودهاند اما آنها تنها دارای یک فرهنگ شفاهی هستند. آوازهای محلیشان از طریق اجرای مکرر آن در مجالس اجتماعی به نسل جدید منتقل شدهاست. این طبقات فقیر غیر چادرنشین جامعه اندولسی بهطور کلی بیسواد بودند.
همیشه در گذر زمان تغیرات و تعریفاتی وجود داشتند که آثار هنرمندان هر قرن بر آنها وارد میشد و موسیقی فلامنکو هم مثال کاملی از این نوع تغیرات است و تا به امروز نیز در حال تغیر و تحول بودهاست. نسلهای جدید فلامنکو، سبکهای جاز و دیگر سبکهای آفریقایی و برزیلی را با فلامنکو مدرن ترکیب کردهاند. فلامنکو یکی از غنیترین و فوقالعادهترین فرمهای موسیقی در جهان است و بر طبق گفته منتقدین فلامنکو اصیل و خالص هیچگاه در صنعت موسیقی و هنر کمرنگ نمیشود.
منابع
* سایت تخصصی گیتار
نماد خرد این یک نوشتار خُرد پیرامون موسیقی است. با گسترش آن به ویکیپدیا کمک کنید.
ن • ب • و
برگرفته از «
ردههای صفحه:
* فلامنکو
* موسیقی
* موسیقی اسپانیایی
* کولیها
قس:
فلامنکو (بالإسبانیة: Flamenco) هو نوع من الموسیقى الإسبانیة، الذی یقوم على أساس الموسیقى والرقص. الجذور العربیة للفلامنکو تظهر فی طریقة الغناء من الحنجرة وفی جیتار الفلامنکو وتأثره بالعود، نشأت فی أندلسیا فی القرن الثامن عشر.
محتویات
* 1 أصل الفلامینکو
* 2 تاریخ =
* 3 وصلات خارجیة
* 4 مراجع
أصل الفلامینکو
کلمة الفلامنکو، فی إشارة إلى النوع الفنی المعروف بهذا الاسم، یعود تاریخها إلى منتصف القرن التاسع عشر. لیس هناک یقین عن أصل تسمیتها، والتی أثارت عدة فرضیات :وهناک احتمال ان یکون اسمها هو معنا الفلاح المنکوب
* حسب بلاس إنفانتی مصطلح فلامنکو یرجع إلى ≪فلاح منغو≫ مِن ≪فلاح من غیر أرض≫ وهم الفلاحین الموریسکیون الذین أصبحوا بلا أرض، فإندمجوا مع الغجر وأسسو ما یسمى بالفلامنکو کمظهر من مظاهر الألم التی یشعر بها الناس بعد إبادة ثقافتهم.
* البعض یربط اسم هذه الموسیقى بطائر النحام الوردی.
* ووجد فی بحوثات عن رقص الفلامنکو فی بعض البرامج الوثائقیه _وقد أذیع البرنامج فی قناة الجزیرة الوثائقیة بعنوان "الفلامنکو",یمکنک الرجوع إلیها_بأنه یعود تسمیتها إلى "فلاح منکو" وبالتالی "فلاح منکم".
* ووجد أیضا فی بحوثات عن أصل موسیقى الفلامنکو، بأن الکلمة التی تشتهر بلفظها فی موسیقى الفلامنکو وهی ال.."اوللیه",وهی کلمة تشتهر بالإسبانیة والمکسیکیه وغیرها عند العزف على موسیقا الفلامنکو ,ففرض عن اصل هذه الکلمه بأنها"اوللیه وبالتالی الله",ولیس هنالک اثبات حول هذا.
تاریخ =
تأثر الفلامنکو کثیرا بالإیقاع الشرقی البیزنطی والأغنیة الأندلسیة البدائیة والأغنیة الموروثة. ویظهر ذلک خاصة فی الموروثة فی عدة قرى قریبة من غرناطة والتی یسکنها المورسکیون. وهذا النوع من الأغانی یدل على مدى تأثر الفلامنکو بالأغنیة العربیة والهندیة القدیمة ومدى التشابه الکبیر بین الأغنیة الأندلسیة والفلامنکو.
کما أن أغانی الفلامنکو کلها وخاصة التی تلقى فی عید میلاد المسیح، هی زناتیة شمال إفریقیة فی الصوت واللإلقاء والانفعال العاطفی ولا شک أن المورسکیین هم الذین إبتدعوا هذا النوع تضرعا واستعطافا للکنیسة ومحاکم التفتیش .
و الملفت للانتباه أنه فی داخل العائلات التی أدمجت ببطء فی المدن والقرى الأندلسیة لم تبری هذه الظاهرة الموسیقیة المدهشة)الفلامنکو(إلا بعد ثلاث قرون من طرد المورسکیین إذ أن ارتباطه المحتل بالموسیقى العربیة لم یکن موضوع دراسة جادة .
== فرو ا
* سیریا (Seg
وصلات خارجیة
* الفلامنکو - ثقافة أسبانیة وجذور عربیة بی بی سی
* استمع Loudspeaker rtl.svg(؟معلومات) مقطوعة من الفلامنکو
مراجع
1. ^ CANO(Manuel) ,Flamenco et musique andalouse, in Al-hayat-athaqafia, Tunis, n°5,juin 1978, pp132,137
2. ^ دراجة – أبو القاسم – " أثار الأندلسیین المورسکیین فی الفنون الشعبیة بإسبانیا " – عبد الجلیل -، أعمال المؤتمر الثامن للدراسات المورسکیة حول : صورة المورسکیین فی الأداب والفنون، مؤسسة التمیمی للبحث العلمی والمعلومات، زغوان، أفریل 1999 ص51
3. ^ لوبلون – برنار- تر : التمیمی – عبد الجلیل – " المورسکیین والجیتان (GITANS) فی إسبانیا خلال القرنین السادس والسابع عشر : الأنشطة المهنیة والموسیقیة " فی : مهن المورسکیین الأندلسیین وحیاتهم الدینیة، مرکز الدراسات والبحوث العثمانیة والمورسکیة، زغوان 1990 ص17-19.
Eighth notes and rest.png هذه بذرة مقالة عن الموسیقى أو مؤلف موسیقی تحتاج للنمو والتحسین، فساهم فی إثرائها بالمشارکة فی تحریرها.
تم الاسترجاع من "
تصنیفات:
* رقص
* أنواع موسیقیة
* موسیقى أندلسیة
قس:
Flamenco (Spanish pronunciation: ) is a genre of music, song and dance from Andalusia in southern Spain, noted for its energetic, staccato style. It grew from Andalusian music, song and dance styles, influenced by the song and dance of the local Romani people.
The cante (singing), toque (guitar playing), dance and palmas (handclaps) are the principal facets of flamenco.
In recent years flamenco has become popular all over the world and is taught in many countries; in Japan flamenco is so popular there are more academies there than in Spain. On November 16, 2010, UNESCO declared Flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
Contents
* 1 Etymology
* 2 Flamenco today
* 3 Palos
* 4 Music
o 4.1 Harmony
o 4.2 Melody
o 4.3 Compás
* 5 Forms of flamenco expression
o 5.1 Toque (guitar)
o 5.2 Cante (song)
o 5.3 Baile (dance)
* 6 See also
* 7 References
* 8 Sources
o 8.1 Historical flamenco recordings
* 9 External links
Etymology
There are questions not only about the origins of flamenco, but also about the origins of the word itself. There are many theories (summarized below), but no solid evidence for any of them. The word was not recorded until the late 18th century.
George Borrow asserted the word flemenc is synonymous with "gypsy".needed Blas Infante, in his book Orígenes de lo flamenco y secreto del cante jondo, suggests the word may derive from Andalusian Arabic fellah mengu, "Escapee Peasant", referring to the Muslim Andalusians (Moriscos) who stayed in Spain and mixed with the Romani newcomers when the Spanish reclaimed their land.
Other hypotheses include "Fleming, native of Flanders" (Dutch Vlaming). Spain ruled Flanders for many years, and Charles I of Spainneeded is said to have brought to Toledo an entire Flemish court.needed The Spanish wife of his father, Felipe de Austria, brought Andalusian musicians to Court and the Habsburg Spanish troops in their Netherlands domains were accompanied by musicians and, on their return to Spain, these became known to other Europeans, including the players of more sober traditional Andalusian music as Flamenco, the flemish style.
The entry for "Flamenco" in the 1786 Diccionario español e ingles (Volume 1), gives the following definition: "f.m. a bird that has a red breast and pinions". "Flama" in Spanish means flame or fire, and "enco" or "endo", is a suffix which means a quality-of, or having a-similarity-to, or pertaining-to. This association between a fiery-breasted bird and the deep, flaming passion expressed in Flamenco music, song and dance, is wholly appropriate.
Flamenco today
From its roots in eighteenth century popular theatre, most flamenco performers were professionals. Originally they learned from other performers in the manner of an apprenticeship, not in conservatoriums or dance schools as is usually the way now. Today, most guitarists undergo rigorous professional training and often can read and play music in other styles like classical guitar or jazz and many dancers take courses in ballet and contemporary dance as well as flamenco.
Flamenco occurs in four settings - the juerga, in small-scale cabaret, concert venues and in the theatre.
The juerga is an informal, spontaneous gitano gathering (rather like a jazz "jam session"). This can include dancing, singing, palmas (hand clapping), or simply pounding in rhythm on an old orange crate or a table. Flamenco, in this context, is organic and dynamic: it adapts to the local talent, instrumentation, and mood of the audience. This context invites comparison with that other creation of a dispossessed class, the blues. The Gypsy Blues, or even the European Blues as a means of providing a frame of reference to those new to the genre.
One tradition remains firmly in place: the cantaores (singers) are the heart and soul of the performance. A Peña Flamenca is a meeting place or grouping of Flamenco musicians or artists. There are also "tablaos", establishments that developed during the 1960s throughout Spain replacing the "café cantante". The tablaos may have their own company of performers for each show. Many internationally renowned artists have started their careers in "tablaos flamencos", like the famous singer Miguel Poveda who began in El Cordobés, Barcelona.
The professional concert is more formal. A traditional singing performance has only a singer and one guitar, while a dance concert usually includes two or three guitars, one or more singers (singing in turns, as flamenco cantaors sing solo), and one or more dancers. One of the singers may play the cajon (a wooden box drum played with the hands) if there is no dedicated cajon player, and all performers will play palmas even if there are dedicated palmeros. The so-called Nuevo Flamenco New flamenco may include flutes or saxophones, piano or other keyboards, or even the bass guitar and the electric guitar. Camarón de la Isla was one artist who popularized this style.
Finally, there is the theatrical presentation of flamenco. However, it is now an extended and sophisticated performance in its own right, comparable to a performance of ballet by such ensembles as the Maria Pagès Company.
Palos
Main article: Palo (flamenco)
Flamenco music styles are called palos. Songs are classified into palos based on criteria such as basic rhythmic pattern, mode, chord progression, form of the stanza, and geographic origin. There are over 50 different palos flamenco, although some are rarely performed. For a complete explanation, see the main Wikipedia entry on Palo (flamenco).
There are traditions associated with each palo. Some of the forms are sung unaccompanied, while others usually have guitar or other accompaniment. Some forms are danced while others are not. Some are the reserve of men and others of women, while some may be performed by either. Many of these traditional distinctions are breaking down; for example, the Farruca is now commonly performed by women too.
Palos are traditionally classified into three groups. The most serious forms are known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Other considerations factor into classification, such as whether the palo is considered to be of gypsy origin or not. Forms which do not fit either category are classified as cante intermedio.
Music
Harmony
Whereas in modern Western music it is usually only the major and minor scales which are commonly used by composers, flamenco also uses Phrygian mode (modo dórico in Spanish).
The Phrygian mode occurs in palos such as soleá, most bulerías, siguiriyas, tangos and tientos. The harmonic version of the scale requires the 3rd degree of the scale to be sharpened: For instance, if the scale is E Phrygian the tonic chord will contain G#.
Descending E Phrygian scale in flamenco music, with common alterations in parentheses
Based on the Phrygian scale, a typical cadence is formed, usually called "Andalusian cadence". The chords in E Phrygian are Am–G–F–E. According to Manolo Sanlúcar, in this mode, E is the tonic, F would take the harmonic function of dominant, while Am and G assume the functions of subdominant and mediant respectively.
When playing using the Phrygian mode, guitarists traditionally use only two basic positions for the tonic chord (music): E and A. However, they often transpose these basic tones by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions. Montoya himself started to use other chords for the tonic in the doric sections of several palos: F sharp for tarantas, B for granaína, A flat for the minera, and he also created a new palo as solo piece for the guitar, the rondeña, in C sharp with scordatura. Later guitarists have further extended the repertoire of tonalities, chord positions and scordatura.
There are also palos in major mode, e.g. most cantiñas and alegrías, guajiras, some bulerías and tonás, and the cabales (a major type of siguiriyas). The minor mode is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerías, etc. In general, traditional palos in major and minor mode are limited harmonically to the typical two-chord (tonic–dominant) or three-chord structure (tonic–subdominant–dominant) (Rossy 1998:92). However, modern guitarists have increased the traditional harmony by introducing chord substitution, transition chords, and even modulation.
Fandangos and the palos derived from it (e.g. malagueñas, tarantas, cartageneras) are bimodal. Guitar introductions are in Phrygian mode, while the singing develops in major mode, modulating to Phrygian mode at the end of the stanza. (Rossy 1998:92)
Traditionally, flamenco guitarists did not receive any formal training. This led them to interesting harmonic findings, with unusual unresolved dissonances (Rossy 1998:88). Examples of this are the use of minor 9th chords for the tonic, the tonic chord of tarantas, or the use of the 1st unstopped string as a kind of pedal tone.
Melody
Dionisio Preciado, quoted by Sabas de Hoces established the following characteristics for the melodies of flamenco singing:
1. Microtonality: presence of intervals smaller than the semitone.
2. Portamento: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals.
3. Short tessitura or range: Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres, and variety is accomplished by the use of microtones.
4. Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical name but different spellings (e.g. A flat and G sharp), in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes.
5. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
6. Baroque ornamentation, with an expressive, rather than merely aesthetic function.
7. Apparent lack of regular rhythm, especially in the siguiriyas: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment.
8. Most styles express sad and bitter feelings.
9. Melodic improvisation. flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment.
Musicologist Hipólito Rossy adds the following characteristics (Rossy 1998: 94):
* Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera aria, they usually go from the higher pitches to the lower ones, and from forte to piano, as was usual in ancient Greek scales.
* In many styles, such as soléa or siguiriya, the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs,influenced by Castilian jota.
Compás
Compás is the Spanish word for metre and time signature in classical music theory. It also refers to the rhythmic cycle, or layout, of a palo.
The compás is fundamental to flamenco. Without it, there is no flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than other Western styles of music. If there is no guitarist available, the compás is rendered through hand clapping (palmas) or by hitting a table with the knuckles. The guitarist uses techniques like strumming (rasgueado) or tapping the soundboard. Changes of chords emphasize the most important downbeats.
Flamenco uses three basic counts or measures: Binary, Ternary and the (unique to flamenco) twelve-beat cycle. There are also free-form styles including, among others, the tonás, saetas, malagueñas, tarantos, and some types of fandangos.
* Rhythms in 2/4 or 4/4. These metres are used in forms like tangos, tientos, gypsy rumba, zambra and tanguillos.
* Rhythms in 3/4. These are typical of fandangos and sevillanas, suggesting their origin as non-Gypsy styles, since the 3/4 and 4/4 measures are not common in ethnic Gypsy or Hindi music.
* 12-beat rhythms usually rendered in amalgams of 6/8 + 3/4 and sometimes 12/8. The 12 beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th Century such as the zarabanda, jácara and canarios.
There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería.
1. peteneras and guajiras: 1 2 3 4 5 6 7 8 9 10 11 12 Both palos start with the strong accent on 12. Hence the meter is 12 1 2 3 4 5 6 7 8 9 10 11...
2. The seguiriya, liviana, serrananeeded , toná liviana, cabales: 1 2 3 4 5 6 7 8 9 10 11 12 The seguiriya is the same as the soleá but starting on the 8th beat
3. soleá, within the cantiñas group of palos which includes the alegrías, cantiñas, mirabras, romera, caracoles and soleá por bulería (also " bulería por soleá"): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular 3/4.
The Bulerías is the emblematic palo of flamenco: today its 12 beat cycle is most often played with accents on the 3, 7, 8, 10 and 12th beats. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter rhythms and percussive voices within the 12 beat compás
Forms of flamenco expression
Toque (guitar)
Main article: Flamenco guitar
The origins, use and technique of the flamenco guitar are fully covered in the main Wikipedia entry for flamenco guitar.
Cante (song)
Main article: Cante flamenco
Flamenco performance by the La Primaveraneeded group
The origins, history and importance of the cante is covered in the main Wikipedia entry for the cante flamenco.
Baile (dance)
El baile flamenco is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet. As with any dance form, many different styles of flamenco have developed.
In its most authentic form, flamenco can be seen danced informally at gitano (Gypsy) weddings and celebrations in Spain. There is less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different to classical flamenco, curving around the head and body rather than extending, often with a bent elbow.
"Flamenco puro" is considered the form of performance flamenco closest to its gitano origins. In this style, the dance is always performed solo, and is improvised rather than choreographed. Some purists frown on castanets (even though they can be seen in many early 20th century photos of flamenco dancers).
The type of dance most Europeans would call "flamenco" is a commercialized style, developed as a spectacle for tourists. To add variety, group dances are included, and even solos are more likely to be choreographed. The frilly, voluminous spotted dresses are derived from a style of dress worn for the annual Feria in Seville (the original is actually too tight to dance in!).
"Classical flamenco" is the style used in modern Spanish flamenco dance companies. It is characterized by a proud, upright carriage - for the women, the back is often held in a marked back bend. Unlike gitano flamenco, there is little movement of the hips, the body is tightly held and the arms are long, like a ballet dancer. In fact many of the dancers in these companies have trained in ballet as well as flamenco.
Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, shawls and fans.
"Flamenco nuevo" is the new wave in flamenco, characterized by pared-down costumes (the men often dance bare-chested, and the women in plain jersey dresses). Props such as castanets, fans and shawls are rarely, if ever, used. Dances are choreographed and include influences from other dance styles.
In traditional flamenco, young people are not considered to have the emotional maturity to adequately convey the "duende" (soul) of the genre. Therefore unlike other dance forms, where dancers turn professional early to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond.
See also
Portal icon Guitar portal
* Andalusian Centre of Flamenco
* Camarón de la Isla
* Concurso de Cante Jondo
* Festival Bienal Flamenco
* Flamenco shoes
* New Flamenco
* Paco Peña
* Paco de Lucía
* Palo
* Picados
* Silverio Franconetti
References
1. ^ "Nowadays, we know that there are hundreds and hundreds of data which allow us to know in detail what flamenco was from 1760 until 1860...the theatre movement of sainetes (one-act plays) and tonadillas, the popular songbooks and song sheets, the narrations and descriptions from travellers describing customs, the technical studies of dances and toques, the musical scores, the newspapers, the graphic documents in paintings and engravings;...in continuous evolution together with the rhythm, the poetic stanzas, and the ambiance." Ríos Ruiz 1997
2. ^ See the 3rd definition of the term flamenco in the Dictionary of Real Academia Española.
3. ^ The first known mention of flamenco in literature is in 1774, in the book Cartas Marruecas by José Cadalso.
4. ^ Mendoza, Gabriela, "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52,
5. ^ En El Salvador la agrupación Alma Flamenca es considerada la máxima representante y pionera de este movimiento musical. Mendoza, Gabriela (2011), "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52,
6. ^ El flamenco es declarado Patrimonio Cultural Inmaterial de la Humanidad por la Unesco, Yahoo Noticias, 16 de noviembre de 2010, consultado el mismo día.
7. ^ RAE:flama
8. ^ RAE:-enco
9. ^
10. ^
11. ^
12. ^
Sources
* ÁLVAREZ CABALLERO, Ángel: El cante flamenco, Alianza Editorial, Madrid, Second edition, 1998. ISBN 84-206-9682-X (First edition: 1994)
* ÁLVAREZ CABALLERO, Ángel: La Discografía ideal del cante flamenco, Planeta, Barcelona, 1995. ISBN 84-08-01602-4
* BANZI, JULIA LYNN (Ph.D.): "Flamenco Guitar Innovation and the Circumscription of Tradition" 2007, 382 pages; AAT 328581, DAI-A 68/10, University of California, Santa Barbara.
* COELHO, Víctor Anand (Editor): "Flamenco Guitar: History, Style, and Context", in The Cambridge Companion to the Guitar, Cambridge University Press, 2003, pp. 13–32.
* MAIRENA, Antonio & MOLINA, Ricardo: Mundo y formas del cante flamenco, Librería Al-Ándalus, Third Edition, 1979 (First Edition: Revista de Occidente, 1963)
* MARTÍN SALAZAR, Jorge: Los cantes flamencos, Diputación Provincial de Granada, Granada, 1991 ISBN 84-7807-041-9
* MANUEL, Peter. "Flamenco in Focus: An Analysis of a Performance of Soleares." In Analytical Studies in World Music, edited by Michael Tenzer. New York: Oxford University Press, 2006, pp. 92–119.
* ORTIZ NUEVO, José Luis: Alegato contra la pureza, Libros PM, Barcelona, 1996. ISBN 84-88944-07-1
* RÍOS RUIZ, Ayer y hoy del cante flamenco, Ediciones ISTMO, Tres Cantos (Madrid), 1997, ISBN 84-7090-311-X
* ROSSY, Hipólito: Teoría del Cante Jondo, CREDSA, Barcelona, 1998. ISBN 84-7056-354-8 (First edition: 1966)
* CABA LANDA, Pedro y Carlos CABA LANDA, Carlos. Andalucía, su comunismo y su cante jondo. 1ª Ed Editorial Atlántico 1933 . 3ª Edición, Editorial Renacimiento 2008. ISBN 978-84-8472-348-6
Historical flamenco recordings
* Flamencologia (Planet Records)
* Grabaciones Históricas; Centro de Documentación Musical de Andalucía (1)
External links
Wikimedia Commons has media related to: Flamenco
* The Flamenco Metronome
* World Class Flamenco
* Online Flamenco Guitar Lessons by Adam del Monte
* José Greco Foundation for Spanish Dance
* FlamencoBeat Radio on FLAMENCO.CA ♯♭ 24-hour Authentic Flamenco Music Online by Pirouz de Caspio
* Flamenco Forum
* Flamenco has been proposed for Intangible Cultural Heritage of Humanity by UNESCO vote for it!
* Hot Flamenco in Havana By Irina Echarry, Havana Times June 9, 2009
* Flamenco - Its Origin and evolution
* La Tana, singer discover by Paco de Lucía, singing a soleá in Barcelona
* Flamenco dance at the Open Directory Project
* Flamenco music at the Open Directory Project
* Flamenco dancing photos at Fiesta Day in Tampa
* Almacenes del Pilar
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Categories:
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