Is flamenco music more?

28 Ago Is flamenco music more?


Relatively recently, was frequent heard in flamenco circles, that flamenco was not music, but a feeling . And I say; Does the music in general, like any art, does not express feelings? If flamenco is expressed singing, playing guitar and dancing. Not another classical music as the yazz or any other? In my view the musical art of flamenco is very strongly marked by its aesthetic, a very peculiar way of singing, carrying voice tone heights very difficult to execute. The singing is more valued which makes breathing much holding. This peculiar way to get the flamenco, has given a label identifying it apart from other music.


What could have influenced the singing is done in this manner so peculiar and characteristic? Its ability to real and effective human and social feelings connection that goes beyond the purely aesthetic, but is worth a certain aesthetic capable of transmitting not only their music, but something else … And so has survived with its uniqueness and character and is related to the popular worldwide and are root primitive music, Afro-American, African or … In these cases the aesthetic is in the background, or as a tool for better transmission of emotions, emotions that They are only descriptive but implicative. That was precisely what fascinated the romantic … who saw him “truly human” way of saying that music.

Externalized flamenco music moods and do not forget the experiences of a people who sings and who gets their sensibilities to express their emotions.

But what factors and circumstances that have influenced flamenco and gestate, so? History and sociology bring us closer to finding the causes. The historical circumstances that Europe lived, after the French Revolution. The compromise of monarchical absolutism, as well express the Hurtado brothers, in his book “THE KEY OF MUSIC FLAMENCO”, caused the birth of a cultural movement called Romanticism, which a need to seek the most primitive part of the stems human being. So radical that way, but the shot to play, dance and sing, gives it a racial and archaic character that was appreciated by the early romantic travelers.

250px-Symphonia_Cantigas_Sta_María_160Flamenco is subliminal art.

Southern Europe, ie Spain and Andalusia was the territory extension containing these essences as palatable to some Central European intellectuals who saw in these distant countries, the free man, as desired. In music, there was the total art of the romantic ideal. Songs of the Andalusian people, its wild and rugged landscape invited to discover that ideal.

Grounds makes us conclude that much of the fascination of flamenco is due to its formal structure, ie the way to build the club and its powerful aesthetics as central to convey emotions that is sought.

Undoubtedly its semantic dimension, as expressed in his work Gerhard Steingress “Flamenco Postmodern” transports us to a set of realities that are very present in the Andalusian society, in a very subliminal way.

For me, flamenco is a musical art, strongly influenced by the aesthetics of Romantic music. For a romantic music it is inseparable from the feelings that seized to create a work.

For a flamenco equals, and would say, whenever a song or a dance or a touch is interpreted, their mood is reflected in its implementation.

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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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