Revista de Investigacion sobre Flamenco-La Madruga最新文献

{"title":"Morente-Lorca, Lorca-Morente","authors":"Marco Antonio de la Ossa Martínez","doi":"10.6018/flamenco.465891","DOIUrl":"https://doi.org/10.6018/flamenco.465891","url":null,"abstract":"In this paper we will focus on Morente-Lorca, the explicit recording that Enrique dedicated in 1998 to Fuente Vaqueros on the centenary of his birth. Produced by La Barbería del Sur under the artistic direction of the cantaor and arranged in two sections by Giorgi Petkov and Giorgi Krassimirov, it was structured in 14 tracks. In a good number of them, Morente started from different poems and fragments of Lorca dramas (So after five years, Doña Rosita la soltera, Yerma, Poeta en Nueva York, Poema del cante jondo and Diwán del Tamarit) that were put to music by Juan Manuel Cañizares, Juan Carlos Romero and by himself (he also took letters from San Juan de la Cruz and Francisco García Lorca). \u0000Among them, “Campanas por el poeta” stands out, a song recorded live by the engineer José Ángel Ruiz in the Plaza de la Catedral in Barcelona at the 1998 Mercè Festival. In addition to the live performance, they also added the sound of the bells of the city of Granada collected from the Plaza de San Nicolás del Albaicín at 5 in the morning. They also picked up other echoes of the dawn atmosphere of the city of the Alhambra.\u0000 En este artículo nos centraremos en Morente-Lorca, la explícita grabación que el del Albaicín dedicó en 1998 al de Fuente Vaqueros en el centenario de su nacimiento. Producida por La Barbería del Sur bajo la dirección artística del cantaor y con arreglos en dos secciones de Giorgi Petkov y Giorgi Krassimirov, se estructuró en catorce cortes. En varios de ellos, Enrique partió de distintos poemas y fragmentos de dramas lorquianos (Así que pasen cinco años, Doña Rosita la soltera, Yerma, Poeta en Nueva York, Poema del cante jondo y Diwán del Tamarit) que fueron puestos en música por Juan Manuel Cañizares, Juan Carlos Romero y por él mismo (también tomó letras de san Juan de la Cruz y Francisco García Lorca).Entre ellos, sobresale “Campanas por el poeta”, tema grabado en vivo por el ingeniero José Ángel Ruiz en la plaza de la Catedral de Barcelona en las Fiestas de la Mercè de 1998. Además de la interpretación en vivo, también añadieron el sonido de las campanas de la ciudad de Granada recogido desde la plaza de san Nicolás del Albaicín a las cinco de la mañana. Del mismo modo, tomaron otros ecos del ambiente del amanecer de la ciudad de la Alhambra.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80805299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Copla, flamenco y cine","authors":"Benito Martínez del Baño","doi":"10.6018/flamenco.485251","DOIUrl":"https://doi.org/10.6018/flamenco.485251","url":null,"abstract":"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.\u0000 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.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75078543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mujeres premiadas en concursos de letras flamencas","authors":"Domingo Giménez Cánovas","doi":"10.6018/flamenco.496841","DOIUrl":"https://doi.org/10.6018/flamenco.496841","url":null,"abstract":"This paper analyzes the participation of women in flamenco literary competitions, the awards and mentions achieved, as well as the evolution of female participation in these events.\u0000 En el presente trabajo se analiza la participación de mujeres en concursos de letras flamencas, los premios y menciones conseguidos así como la evolución de la participación femenina en dichos eventos.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80235956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Body","authors":"William Washabaugh","doi":"10.4324/9781003085416-5","DOIUrl":"https://doi.org/10.4324/9781003085416-5","url":null,"abstract":"","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"713 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76906857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Gypsies","authors":"William Washabaugh","doi":"10.5040/9781474208680.0022","DOIUrl":"https://doi.org/10.5040/9781474208680.0022","url":null,"abstract":"","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89686954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El concepto de toque flamenco","authors":"Norberto Torres Cortés","doi":"10.6018/flamenco.460711","DOIUrl":"https://doi.org/10.6018/flamenco.460711","url":null,"abstract":"Este artículo contiene el primer capítulo de la tesis doctoral que defendimos en 2009 (Torres, 2009). No ha sido publicado hasta ahora y, a pesar del tiempo transcurrido y de algunos aspectos parciales ampliamente desarrollados desde su redacción, así como una bibliografía consultada hasta este año 2009, pensamos que sigue vigente al reunir elementos filológicos, culturales y musicales que permiten una mayor comprensión y perspectiva del concepto “toque flamenco”. Hemos articulado estos tres elementos en torno a dos ejes: por una parte, el concepto de “toque flamenco” (que es igual a preguntarse qué entendemos por guitarra flamenca); por otra parte, cuáles son los rasgos significativos y apropiados de esta modalidad guitarrística.\u0000 This article contains the first chapter of the doctoral thesis that we defended in 2009 (Torres, 2009). It has not been published until now and, despite the time that has elapsed and some partial aspects widely developed since its writing, as well as a bibliography consulted until 2009, we think that it can continue to be valid by offering philological, cultural and musical elements that allow a greater understanding and perspective of the concept of “toque flamenco”. We have articulated these three elements around two axes: the concept of “toque flamenco” (which is the same as wondering what we mean by flamenco guitar); and what are the significant and appropriate features of this guitar modality.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79021209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Flamenco, trovo y cante de las minas","authors":"J. F. Ortega","doi":"10.6018/FLAMENCO.456331","DOIUrl":"https://doi.org/10.6018/FLAMENCO.456331","url":null,"abstract":"El mundo del trovo de la Sierra Minera de Cartagena-La Unión está íntimamente ligado al devenir de los cantes de las minas: se considera, de hecho, una de las fuentes nutricias del repertorio de letras del cante minero. En este artículo se traen a colación algunas de las más conocidas, así como otras creadas por troveros en su rol como poetas. Se recuerdan también algunas de las melodías de malagueña utilizadas en las veladas troveras, así como ciertos estilos flamencos ligados a nombres de troveros míticos como “Pedro el Morato” o “el Pajarito”.\u0000 The world of the “trovo” (sudden popular poetry) of the Sierra Minera de Cartagena-La Unión (Murcia-Spain) is intimately linked to the evolution of the “cantes de las minas” (mining song): it is considered, in fact, one of the nutritional sources of the repertoire of lyrics of the “cante minero” (mining folk singing). In this article some of the best known are brought up, as well as others created by “troveros” (poets who improvise their verses) in their role as poets. Some of the malagueña's melodies used in “veladas troveras” (poetic contests) are also remembered, as well as certain flamenco styles linked to the names of mythical names such as “Pedro el Morato” or “El Pajarito”.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90307738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"¿Es posible abordar el folklore musical de otras comunidades autónomas en el segundo ciclo de Educación Infantil?","authors":"Adrián Sánchez García, Lidia Álava Redal","doi":"10.6018/flamenco.460761","DOIUrl":"https://doi.org/10.6018/flamenco.460761","url":null,"abstract":"En este texto pretendemos comprobar la posibilidad de que el alumnado escolarizado en el segundo ciclo de Educación Infantil experimente, dentro del contexto escolar y en función de lo que permitan los diferentes currículos españoles, el folclore musical de otra comunidad autónoma. Para ello, analizamos la normativa vigente en este ciclo de cada comunidad autónoma en torno a la didáctica del folclore y nos centramos en la especial casuística del flamenco, declarado Patrimonio Cultural de la Humanidad de la UNESCO.\u0000 In this text, we hope to verify the chance that preschool students experience, within the school context, the musical folklore of other regions, always depending on what the Spanish syllabus allow us. In order to do this, we analyze the current law in this course of every region about folklore teaching and we focus on special casuistry of flamenco, declared to be World Cultural Heritage by UNESCO.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"465 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83020316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Letras premiadas y no mencionadas en las Crónicas del Festival Internacional del Cante de las Minas","authors":"Domingo Giménez Cánovas","doi":"10.6018/flamenco.450231","DOIUrl":"https://doi.org/10.6018/flamenco.450231","url":null,"abstract":"El Festival del Cante de las Minas de La Unión convocó concursos de letras de distintas modalidades entre 1971 y 2004. No hay una publicación específica dedicada a estos concursos, y la relación más detallada sobre ellos se puede encontrar en las Crónicas del Festival Internacional del Cante de las Minas, con cinco ediciones (la última en 2010). Las sucesivas ediciones contienen algunas lagunas en lo que se refiere a los premios de letras, con algunas de estas o de los autores ausentes o erróneas. En este trabajo se completa la información sobre los premios de letras que aparece errónea o incompleta.\u0000 The “Festival del Cante de las Minas” in La Unión included between 1971 and 2004 lyric contests of different modalities. There is no publication dedicated to these contests, and the most detailed relation is in the Crónicas del Festival Internacional del Cante de las Minas, with five editions (the last one in 2010). The successive editions contain some mistakes, with some of the lyrics or authors absent or wrong. In this work we complete the information that appears erroneous or incomplete.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"114 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83467519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aportaciones y enmiendas al artículo “Americanismos en las guajiras flamencas: arte entre dos continentes”","authors":"Fernando Cid Lucas","doi":"10.6018/flamenco.430451","DOIUrl":"https://doi.org/10.6018/flamenco.430451","url":null,"abstract":"En el presente trabajo se amplían y se enmiendan algunas de las informaciones recogidas en el artículo titulado: “Americanismos en las guajiras flamencas: arte entre dos continentes”. Con esto se pretende seguir profundizando en el uso de los vocablos llegados desde el continente americano hasta el flamenco y, a su vez, se apuesta por un mejor conocimiento de dichas palabras a la hora de su pronunciación y su recepción en los aficionados o en los estudiosos del flamenco.\u0000 This essay expands and revises previous research presented in “Americanisms in the guajiras flamencas: art between two continents” (“Americanismos en las guajiras flamencas: arte entre dos continents”). One of the final aims of this academic review is to offer a better understanding and a deeper explanation of the use of some terms borrowed from the Native American cultures by the 'flamenco' culture. Indeed, a detailed explanation of such terms and their pronunciation will help to shed some light on both amateur and the scholarly studies about flamenco.","PeriodicalId":55897,"journal":{"name":"Revista de Investigacion sobre Flamenco-La Madruga","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78884382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}