Origin of flamenco

23 Jun Origin of flamenco

Origin of flamenco

Discovering the origin of flamenco

Lullabies, parties, singing, field work, dances or ceremonies …

Will you come all this and more flamenco? Will there be accompanying instruments contributed to the creation of melodies that time were inserted in flamenco?

When searching for the possible  origin of flamenco must walk with caution as a musical phenomenon of such entity and variety that is rooted in the depths of our ancient culture, it can not be explained with aesthetic, sociological or historical simplifications. Flamenco is the result of the run along centuries of a musical aesthetic that permeated a long time sequence of varied origins and influences. However primitive flamenco sources have been explored and just have too much reasonable conjectures and great information gap is sometimes filled with more or less convincing theories. In our flamenco she was born and raised at the confluence of all those musicians with whom he has lived with and been influenced as much as in turn has given them throughout their training. According to experts there are musical elements left by other peoples who have influenced her pregnancy:

“The origin of flamenco was closely related with cafes singers.”

1. Tetrachords Hellenes and the Doric or Phrygian IM, transmitted by ancient peoples and Arabs, who came to cover the entire Mediterranean basin this particular musical mode.

2nd. Palms marked rhythms of African origin to the extent and development also influenced flamenco in its formation phase.

3rd. The Andalusian musical musical legacy that provides both structural and interpretive aspects such as plastics, ritual, spiritual, etc. large presence in the south of the peninsula.

4th. The contribution of the Roma people with ease and dedication to music and his playing singing and dancing.

5th. The contribution of Spanish, such as fandan- gos, seguidillas, jacks, Vito, ballads, tunes, peteneras, candle dances and musical Bul- ros substrate inherent to the various parts of the country music popular music.

6. The contribution of the Latin American folklore music and its cultural, economic and social relationship.

7. Sephardic, Jews and Spanish music in general subsequently expelled from the Peninsula, which also left an important musical dregs in it. Etc.

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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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