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.
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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.
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.
In the modern era Andalusian music continues to thrive, there have been efforts to preserve the tradition, as well as the traditional melodies, rhythms, and instruments, ensuring that this cultural heritage is passed down to future generations. Not only has this music been preserved in it original form, this music has been transformed into elements of Jazz, Fusion, and world music where it will be preserved forever in the music world.
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, in Spain as elsewhere, the different styles of commercial popular music are dominant.
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.
Siguiriyas are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani (Calé) in origin. Siguiriyas are normally played in the key of A Phrygian with each measure consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here:
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.
Maurice Ohana was a French composer. Ohana's output includes choral works, string quartets, suites for ten-string guitar, a Tiento for six-string guitar, and operas.
Cante jondo is a vocal style in flamenco, an unspoiled form of Andalusian folk music. The name means "deep song" in Spanish, with hondo ("deep") spelled with J as a form of eye dialect, because traditional Andalusian pronunciation has retained an aspirated H lost in other forms of Spanish.
Iberia is a suite for piano composed between 1905 and 1909 by the Spanish composer Isaac Albéniz. It is composed of four books of three pieces each; a complete performance lasts about 90 minutes.
Malagueñas is one of the traditional styles of Andalusian music (flamenco), derived from earlier types of fandango from the area of Málaga, classified among the Cantes de Levante. Originally a folk-song type, it became a flamenco style in the 19th century. It is not normally used for dance, as it is generally interpreted with no regular rhythmic pattern, as a "cante libre". It has a very rich melody with virtuous flourishes and use of microtones. Its guitar accompaniment is normally played in open position first inversion giving E for the tonic, which can be transposed by using a capo.
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.
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."
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.
Blas Infante Pérez de Vargas was an Andalusian socialist politician, Georgist, writer, historian and musicologist. He is considered the "father of Andalusia" by Andalusian nationalists.
Gualberto García Pérez is a Spanish musician regarded as a pioneer of the flamenco fusion, also called Andalusian rock.
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.
^ 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
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