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TheMusic of Andalusia encompasses a range of traditional and modern musical genres which originate in the region ofAndalusia in southernSpain. The most famous arecopla andflamenco, the latter being sometimes used as aportmanteau 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 assalsa,jazz orpop music.
Andalusia was probably the main route of transmission of a number of Near-Easternmusical instruments used inclassical music; therebec (ancestor ofviolin) from theMaghreb rebab, theguitar fromqitara andnaker fromnaqareh. Further terms fell into disuse in Europe;adufe fromal-duff,alboka fromal-buq,anafil fromal-nafir, exabeba fromal-shabbaba (flute), atabal (bass drum) fromal-tabl, atambal fromal-tinbal,[1]thebalaban,sonajas de azófar fromsunuj al-sufr, theconical borewind instruments,[2] thexelami from thesulami orfistula (flute ormusical pipe),[3]theshawm anddulzaina from thereed instrumentszamr andal-zurna,[4]thegaita from theRhaita,rackett fromiraqya oriraqiyya,[5]geige (German for a violin) fromghichak[6] and thetheorbo from thetarab.[7]
According to historical sources,William VIII, the father of William, brought to Poitiers hundreds ofMuslim 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 ofMoorish arts while fighting with theReconquista in Spain was also championed byRamón Menéndez Pidal in the early twentieth-century, but its origins go back to theCinquecento and Giammaria Barbieri (died 1575) andJuan 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
Andalusia is a modernautonomous community of Spain that is best known forflamenco, a form of music and dance, mostly performed byartists and ordinary people from Andalusia.
Improvised flamenco songs of ancient Andalusian origin are calledcante 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).
There are two forms of flamenco songs:cante jondo andcante 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 ofduende 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:
Theguitar 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 calledfalsetas.Ramón Montoya was the most influential early guitarist, known for having solidified the guitar as a solo instrument. His successors includedManolo Sanlúcar andPaco de Lucía.
The golden age of flamenco is said to be 1869 to 1910, later becoming more and more popularized internationally and influenced bySouth American music, especially thetango. Musicians from the golden age performed at bars calledcafé cantantes, such asCafé de Chinitas inMálaga, which was made famous by the poetry ofGarcía Lorca. Other musicians of the early 20th century includeManolo Caracol, who walked fromJerez to participate in acante jondo competition, which he won.
Though the golden age had long since passed, the 1950s saw flamenco achieving increased respectability in Spain.Hispavox, a Spanishrecord label, releasedAntología 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 inCordoba, 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 debutCon la Colaboracion Especial de Paco de Lucia inspired a new generation of performers that inventedNuevo 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 labelNuevos 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.
^ Haïm Zafrani (2002). Juifs d'Andalousie et du Maghreb . Maisonneuve & Larose. p. 228.ISBN 978-2-7068-1629-1.^ Rachid Aous; Mohammed Habib Samrakandi (2002). Musiques d'Algérie . 47. Presses Univ. du Mirail.ISBN 978-2-85816-657-2.^ 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.ISBN 978-0-521-47159-6.^ 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.ISBN 0-8467-0113-8.^ "Troubadour", Grove Dictionary of Music and Musicians, edited by Stanley Sadie, London: Macmillan Press
Other examples of music from Andalusia
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