Jota (music)

The jota (pronounced

The steps have an appearance not unlike that of the waltz, though in the case of the jota, there is much more variation. Furthermore, the lyrics tend to be written in eight-syllable quartets, with assonance in the first and third verses.

Etymology

The medieval word "xiota" (pronounced [ˈʃota] or [ˈʃɔta]), derives from

External videos
Jota de Guara, Aragonese jota exhibition (Huesca, 2018)

The Aragonese jota is the best-known expression of Aragonese folklore. It dates as far back as the 18th century, and reached the pinnacle of its splendor in the 19th century. Due to the complexities of the dance steps and manner of singing, the jota has evolved. Since the end of the 19th century, heavily choreographed versions have often been made for

As noted earlier, the jota of Castile tends to be accompanied by guitars, bandurrias, lutes, dulzaina and drums. As the music plays, the dancers dance with hands atop their heads, accompanied at times by castanets. The jota of Castile has a more sober, less airy feel to it, while the steps are quicker and sharper than what is seen in the Aragonese version. The songs accompanying the jota, which are known for their wry humor, typically deal with life, love, weddings, (often giving advice to the newlyweds) or religion.

Philippine jota

The Philippine jota was among the most popular dances during the Spanish colonial period in the

Some composers, both Spanish and non-Spanish, have made use of the jota in various works:

• Georges Bizet, French composer (1838–1875), composed the opera Carmen, which is set in Spain. The entr'acte to the fourth act (Aragonaise
  ) is a jota.
• Mikhail Glinka, Russian composer (1804–1857), after traveling through Spain, used a style derived from the jota in his work The Aragonese Jota.^[1]
• Louis Gottschalk, American composer and pianist (1829–1869), composed the piano work La Jota Aragonesa, Op.14.
• Franz Liszt, Hungarian pianist and composer (1811–1886), wrote a jota for piano.^[1] His Spanish Rhapsody for piano contains a Jota aragonese.
• Camille Saint-Saëns, French composer (1835–1921), composed an orchestral jota, as well as a virtuosic dance, "Introduction and Rondo Capriccioso", for violin and orchestra.^[1]
• Isaac Albéniz, Spanish composer (1860–1909), wrote a jota for piano.^[1]
• Maurice Ravel, French composer (1875-1937), used the jota as a model for "Chanson à boire", the final song in his cycle Don Quichotte à Dulcinée.
• Manuel de Falla, Spanish composer (1876–1946), includes a jota in his ballet The Three-Cornered Hat^[1] as well as in his "7 Canciones populares espanolas" (No. 4)
• Raoul Laparra, French composer (1876–1943), composed an opera entitled La jota.^[1]
• Frederick Loewe, American composer (1901–1988), uses a jota as the last (orchestral) part of "The Rain in Spain" from My Fair Lady.^[6]
• Alfred Reed, American composer (1921–2005), composed El Camino Real for concert band which begins with a jota.
• Pablo de Sarasate, Spanish composer (1844–1908), composed a Jota navarra as part of his Spanish Dances.
• Francisco Tarrega
  , Spanish composer (1852–1909), composed Gran Jota for classical guitar.
• Santiago de Murcia, Spanish composer (1673–1739), composed Jota.

Notes