Music of Andalusia

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The Music of Andalusia encompasses a range of traditional and modern musical genres which originate in the region of Andalusia in southern Spain. The most famous are copla and flamenco, the latter being sometimes used as a portmanteau term for various regional musical traditions within Andalusia. Today, Andalusia has a rich and thriving musical scene, which draws from its own musical traditions as well as from external influences such as salsa, jazz or pop music.

Historical influences on Andalusian music

Andalusia was probably the main route of transmission of a number of Near-Eastern

al-nafir, exabeba from al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal,[1]
the balaban, sonajas de azófar from sunuj al-sufr, the conical bore wind instruments,[2] the xelami from the sulami or fistula (flute or musical pipe),[3] the
reed instruments zamr and al-zurna,[4]
the gaita from the Rhaita, rackett from iraqya or iraqiyya,[5] geige (German for a violin) from ghichak[6] and the theorbo from the tarab.[7]

According to historical sources,

Grove Dictionary of Music and Musicians
, edited

artists and ordinary people from Andalusia
.

Improvised flamenco songs of ancient Andalusian origin are called cante jondo, and are characterized by a reduced tonal ambiance, a strict rhythm, baroque ornamentation and repetition of notes. Cante jondo is sung by a single singer (cantaor).

Structure

There are two forms of flamenco songs:

cante chico. Cante jondo are slower and usually feature sad lyrics about disappointed love or death, while cante chico are much quicker, more popular and dance-oriented. The concept of duende
is very important in flamenco. Loosely defined, duende is a spiritual or emotional bond between the performer and audience, created by the performer's intense concentration and passion.

There are multiple styles (palos) of flamenco, including:

The guitar is a vital instrument to flamenco; it marks the measure of a song, and is frequently used in expressive solos during which the guitarist will improvise short variations called falsetas. Ramón Montoya was the most influential early guitarist, known for having solidified the guitar as a solo instrument. His successors included Manolo Sanlúcar and Paco de Lucía.

History

The golden age of flamenco is said to be 1869 to 1910, later becoming more and more popularized internationally and influenced by

Jerez to participate in a cante jondo
competition, which he won.

Though the golden age had long since passed, the 1950s saw flamenco achieving increased respectability in Spain. Hispavox, a Spanish record label, released Antología del Cante Flamenco in 1956; the recording's collection of most all of the greatest flamenco singers was very popular. In 1956, the first national cante jondo competition was held in Cordoba, followed by a Chair of Flamencology being established at Jerez in 1958.

In the late 1950s and early 1960s,

Nuevo Flamenco
.

In the 1970s and 80s,

rumba and other influences were added to flamenco, along with music from India. Ketama's 1988 debut, Ketama, was especially influential. At the beginning of the 1990s, the Madrid label Nuevos Medios
became closely associated with the new flamenco fusion music, which came to be called nuevo flamenco.

See also

References

  1. ^ (Farmer 1978, p. 137)
  2. ^ (Farmer 1978, p. 140)
  3. ^ (Farmer 1978, pp. 140–1)
  4. ^ (Farmer 1978, p. 141)
  5. ^ (Farmer 1978, p. 142)
  6. ^ (Farmer 1978, p. 143)
  7. ^ (Farmer 1978, p. 144)
  8. ^ M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad).
  9. ^ J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause Reprint)
  10. .
  11. ^ "Troubadour"

^ Haïm Zafrani (2002). Juifs d'Andalousie et du Maghreb . Maisonneuve & Larose. p. 228.

. ^ Rachid Aous; Mohammed Habib Samrakandi (2002). Musiques d'Algérie . 47. Presses Univ. du Mirail. . ^ María Rosa Menocal; Raymond P. Scheindlin; Michael Anthony Sells (2000). The literature of Al-Andalus . title=Cambridge history of Arabic literature. 4 Arabic literature to the end of the Umayyad period (illustrated ed.). Cambridge University Press. pp. 72–73. . ^ Arab-Andalusian Music of Morocco during the Centuries / scientific publication of D. Eisenberg (Hispanic Journal of Philosophy 1988) ^ (Farmer 1978, p. 137) ^ (Farmer 1978, p. 140) ^ (Farmer 1978, pp. 140–1) ^ (Farmer 1978, p. 141) ^ (Farmer 1978, p. 142) ^ (Farmer 1978, p. 143) ^ (Farmer 1978, p. 144) ^ M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad). ^ J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause Reprint) ^ Bogin, Meg. The Women Troubadours. Scarborough: Paddington, 1976. . ^ "Troubadour", Grove Dictionary of Music and Musicians, edited by Stanley Sadie, London: Macmillan Press

External links

Other examples of music from Andalusia


Bibliography