HOW TO ENTER THE FLAMENCO IN EDUCATION

30 Mar HOW TO ENTER THE FLAMENCO IN EDUCATION

IF WE WANT TO ENTER THE FLAMENCO in teaching, how are we going to do?

 

  • How anachronistic or so disruptive?
  • With the incorporation of all pedagogical and didactic principles?
  • With the tools offered by new technologies and methods used for music conservatories in the most modern in the world?
  • How can we help the Flemish its full potential?

 

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POSSIBILITIES 

  • The means to achieve a prosperous and healthy flamingo is committed to innovation and creativity.
  • We have a vibrant and rich musical art in diversity, brimming with creative energy and innovative ideas in the context of a land as large in size and simultaneously reduced to human scale Andalusia, together with the right to proper treatment in the requirements dissemination and promotion generate a cultural, university claim that results in economic welfare.
  • Flamenco music must be present in all frames of teaching, education, culture, public events and holidays involving the entire society
  • According to the current cultural dynamics, the local is reflected globally, and the local response to global demand.

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PROPOSAL TO ENTER THE FLAMENCO IN UNIVERSIDAD.-

 

1.- Meeting with all departments to plan a creative and interdisciplinary program, ie starting from the flamenco music, interact with all matters of education.

 

2.- Principles to articulate the teaching of this music:

 

2.1 Flamenco is a musical language that requires a good understanding studies and later artistic expression is through singing, guitar playing or dancing.

2.2 As music requires knowledge of musical keys that govern it.

2.3 To also be a speaking, we know all the linguistic rules that form.

2.4 All these teachings will be presented in a practical and participatory manner, it ie live music, palms touching, hearing the guitar and sing.

2.5.- For the empowerment of rhythm, fundamental aspect of flamenco, we find the theoretical foundations of the rhythm of Jaques-Dalcroze.

Apply rhythm exercises.

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 CONCLUSIONS

 

If using podcascts and vodcasts as teaching resources by teachers and involves the improvement in student motivation, the involvement of these in developing them as well as a plus in motivation, involves the development of a variety skills related to finding information, organizing it and how to communicate it to others, with the development of creativity and collaborative work, active learning, critical capacity …

And it is in this regard, the involvement of students in developing podcasts and vodcasts, which we believe should be oriented our teaching practice and this work is closely related to the development of basic skills listed in The official curricula:

 

  1. Competence in linguistic communication:
  • Preparation of written texts.
  • Reading, diction, intonation, articulation and interpretation during the recording of audio.
  • Understanding oral messages while listening to podcasts.
  • Understanding the iconic language when watching vodcasts.
  1. Mathematical competence:
  • Organization and sequencing of messages.
  • Handling of measures and time units.
  1. Competence in interaction with the physical world:
  • Correct use of the voice.
  • Postural and eye care at the computer.
  • Control sound volume and use through headphones in recording and listening.
  1. Social and civic competence:
  • Respect, acceptance of standards and collaboration within the working group.
  • Exposure without imposing own criteria to peers.
  • Acceptance of others’ opinions and constructive criticism.
  1. Competition personal initiative:
  • Submission of proposals to the working group.
  • Inquiry and seeking the necessary resources for the development of the planned work.

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  1. Cultural and artistic competence:
    • Development of sound and video files artistically valid: sound quality, care transitions, effects and music selection to facilitate understanding, creativity, …
    • Hearing and knowledge of different styles of music depending on what you want to convey.
  2. Digital competence:
  • Download and use podcasts and vodcasts in the computer and the player.
  • Use of video and audio players.
  • Search, evaluation and selection of information for developing podcasts and vodcasts,
  • Employment recorders / Audio and video editors.
  • Knowledge and use of various sound formats.
  • Knowledge and use of various video formats.
  • Basic use of blogs and websites.
    1. Competence of learning to learn:
  • Search, evaluation and selection of information for developing podcasts and vodcasts,
    • Organization of time and space to carry out work projects.
Asher Barrett
jasherbarrett@gmail.com


2019 PERFORMANCES

                 

Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

«Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem «Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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Email: barroslirola@gmail.com