This article is about the music of Andalusia, Spain. For the style of music practiced in North Africa and the former al-Andalus, see Andalusi classical music.
You can help expand this article with text translated from the corresponding article in Spanish. (April 2019)Click [show] for important translation instructions.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Consider adding a topic to this template: there are already 5,068 articles in the main category, and specifying|topic= will aid in categorization.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Spanish Wikipedia article at [[:es:Música en Andalucía]]; see its history for attribution.
You should also add the template {{Translated|es|Música en Andalucía}} to the talk page.
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.
According to historical sources, William VIII, the father of William, brought to Poitiers hundreds of Muslim prisoners.[8] Trend[9] acknowledges that the troubadors derived their sense of form and the subject matter of their poetry from Andalusia. The hypothesis that the troubador tradition was created, more or less, by William after his experience of Moorish arts while fighting with the Reconquista in Spain was also championed by Ramón Menéndez Pidal in the early twentieth-century, but its origins go back to the Cinquecento and Giammaria Barbieri (died 1575) and Juan Andrés (died 1822). Meg Bogin, English translator of the female troubadors, also held this hypothesis.[10] Certainly "a body of song of comparable intensity, profanity and eroticism [existed] in Arabic from the second half of the 9th century onwards."[11]Grove Dictionary of Music and Musicians, edited
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 jondo and 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 South American music, especially the tango. Musicians from the golden age performed at bars called café cantantes, such as Café de Chinitas in Málaga, which was made famous by the poetry of García Lorca. Other musicians of the early 20th century include Manolo Caracol, who walked from 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, Antonio Mairena and similar artists kelped kickstart a flamenco revival as American and British rock began dominating the Spanish music scene. Emerging from this, Camarón de la Isla became one of the most popular and critically acclaimed performers of the century. His 1969 debut Con la Colaboracion Especial de Paco de Lucia inspired a new generation of performers that invented Nuevo Flamenco.
In the 1970s and 80s, salsa, blues, 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.
Flamenco 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, the term is 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.
In Spain, music has a long history. It has played an important role in the development of Western music, and has greatly influenced Latin American music. Spanish music is often associated with traditional styles such as flamenco and classical guitar. While these forms of music are common, there are many different traditional musical and dance styles across the regions. For example, music from the north-west regions is heavily reliant on bagpipes, the jota is widespread in the centre and north of the country, and flamenco originated in the south. Spanish music played a notable part in the early developments of western classical music, from the 15th through the early 17th century. The breadth of musical innovation can be seen in composers like Tomás Luis de Victoria, styles like the zarzuela of Spanish opera, the ballet of Manuel de Falla, and the classical guitar music of Francisco Tárrega. Nowadays commercial pop music dominates.
Moroccan music varies greatly between geographic regions and social groups. It is influenced by musical styles including Arab, Berber, Andalusi, Mediterranean, Saharan, West African, and others.
Arabic music is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also many linguistic dialects, with each country and region having their own traditional music.
Andalusi classical music, also called Andalusi music or Arab-Andalusian music, is a genre of music originally developed in al-Andalus by the Muslim population of the region and the Moors. It then spread and influenced many different styles across the Maghreb after the Expulsion of the Moriscos. It originated in the music of al-Andalus between the 9th and 15th centuries. Some of its poems derive from famous authors such as al-Mu'tamid ibn Abbad, Ibn Khafaja, al-Shushtari, and Ibn al-Khatib.
Andalusī nūbah, also transliterated nūba, nūbā, or nouba, or in its classical Arabic form, nawba, nawbah, or nōbah, is a music genre found in the North African Maghrib states of Morocco, Algeria, Tunisia, and Libya but, as the name indicates, it has its origins in Andalusi music. The name replaced the older use of sawt and originated from the musician waiting behind a curtain to be told it was his turn or nawbah by the sattar or curtain man.
Tondero is a dance and guitar rhythm from Peru that developed in the country's northern coastal region (Piura–Lambayeque).
Rumba flamenca, also known as flamenco rumba or simply rumba, is a palo (style) of flamenco music developed in Andalusia, Spain. It is known as one of the cantes de ida y vuelta, music which diverged in the new world, then returned to Spain in a new form. The genre originated in the 19th century in Andalusia, southern Spain, where Cuban music first reached the country.
A palo or cante is the name given in flamenco for the different traditional musical forms.
Tonás is a palo or type of flamenco songs. It belongs to the wider category of Cantes a palo seco, palos that are sung a cappella. Owing to this feature, they are considered by traditional flamencology to be the oldest surviving musical form of flamenco. This musical form originated in the Calé Romani subculture of Southern Spain. The first known flamenco singer, Tío Luis el de la Juliana, who lived in Jerez de la Frontera in the last third of the 18th century, was said to have excelled in this palo.
Polo is the name of a flamenco palo or musical form. There is only one known song in this palo, which is extremely similar to another palo called caña, and its guitar accompaniment, like the caña, shares its rhythm and motifs with soleá. Both the caña and polo share the same musical mode. The polo has usually been considered as a derivation of the caña. To complete the singing of the polo, singers usually sing a stanza in the palo of soleá, generally in the style called soleá apolá.
Antonio Cruz García, known as Antonio Mairena (1909–1983), was a Spanish musician, who tried to rescue a type of flamenco, which he considered to be pure or authentic. He rescued or recreated a high number of songs that had been almost lost, and also published several books and articles to divulge his views on flamenco and flamenco history. He considered himself as heir to the art of Manuel Torre, the most classic flamenco singer from Jerez, and also acknowledged the influence of other masters like Tomás Pavón or Joaquín el de la Paula.
Enrique Morente Cotelo, known as Enrique Morente, was a Spanish flamenco singer and a celebrated figure within the world of contemporary flamenco. After his orthodox beginnings, he plunged into experimentalism, writing new melodies for cante and jamming with musicians of all styles, without renouncing his roots in traditional flamenco singing, which he kept on cultivating despite criticism.
"It hasn't been easy. First came the accusations of corruption of the music, of treachery in his struggle to disfigure what was already perfectly coded. When some albums and some categorical evidence of his knowledge of the classical approach laid these malicious comments bare, then came the most twisted condemnations. That the pace of the compás waned, that he didn't really make you feel and that kind of thing."
Juana la Macarrona was a Spanish flamenco dancer (bailaora).
The cante flamenco, meaning "flamenco singing", is one of the three main components of flamenco, along with toque 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.
El Concurso del Cante Jondo 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.
The saeta is a revered form of Andalusian religious song, whose form and style have evolved over many centuries. Saetas evoke strong emotion and are sung most often during public processions. The saeta, an unaccompanied song, is also believed to stem from Jewish religious songs which are believed to date back to the 16th century.
Amina Alaoui is a Moroccan interpreter of Andalusian classical music. She sings in Arabic, Classic Persian, Haketia, Spanish, and Portuguese.
Rancapino is a Spanish Romani flamenco singer.
The Maghreb rebab or Maghrebi rebab is a bowed lute now played mainly in Northern Africa. It fits within the wider rebab traditions of the Arab world, but also branched into European musical tradition in Spain, Sicily, and the Holy Roman Empire. In the late Middle Ages, the European rebec developed from this instrument. The Maghreb rebab was described by a musicologist as the "predominant" rebab of North Africa, although the instrument was in decline with younger generations when that was published in 1984.
^ Haïm Zafrani (2002). Juifs d'Andalousie et du Maghreb . Maisonneuve & Larose. p.228. ISBN978-2-7068-1629-1. ^ Rachid Aous; Mohammed Habib Samrakandi (2002). Musiques d'Algérie . 47. Presses Univ. du Mirail. ISBN978-2-85816-657-2. ^ 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. ISBN978-0-521-47159-6. ^ 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. ISBN0-8467-0113-8. ^ "Troubadour", Grove Dictionary of Music and Musicians, edited by Stanley Sadie, London: Macmillan Press
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
