MGG article Maliese lucky / Marius Schneider, abstract
I. Origins and History
Flamenco is the collective term for a style of singing (cante), the guitar playing (toque) and dance ("baile"), which originated in Andalusia, especially in the milieu of the Gypsies of southern Spain.
about the origin of the word "Flamenco", scientists are uncertain: Felipe Pedrell believed in his "Cancionero musical popular español" (Vol.2 Valls / Barcelona 1917), that the Flamenco was the time of Charles V (1500-1558) by the Flemish (English for "flamenco") introduced. For García Barrioso ("La música en Marruecos musulmana Hispanic, Larache 1941) is the Arabic word" fellah mangu "which means, in Morocco, peasant songs, the root of the English word" Flamenco ". Both theories do not consider however that the term as a term for Gypsy Flamenco (flamenco) and also for their music until very late, appears to 1841st García Matos sees the origin of the word "flamenco" in the term "flaman" the Gypsy language, which, Pure clearly visible, cheeky "means. see the Gypsies ("gypsies") of Andalusia as the sole creator of the flamenco inspired, however, also Matos, although they played a major role in its history. The music of the Gypsies is usually no original creation, but a modification of the music of their host nation. Although demonstrably 15th
the Gypsies in Spain since have lived for centuries in Spain, flamenco is only since the 18th Century documents. Flamenco is limited in his first period, ie until about 1850, the private context of the Gitanos. From the mid 19 Century, popularized flamenco and more professional. 1842 in Seville "Café Cantante" is the first opened. Soon other stages in Andalusia were opened. On these small stages featured gypsies and "payos" (non-Gypsy) dar. their art in the following decades in the flamenco research, based on the apostrophizing cultural zenith in Spain in the 16th and 17 century and called "Edad de oro" of flamenco.
With the "Concurso del Cante Jondo" (Granada, 1922) wanted to Manuel de Falla and Federico García Lorca Flamenco relive. In the 1950s witnessed the flamenco aesthetic renewal through the "Primero concurso nacional de arte flamenco de Cordoba" (since 1956) and by the establishment of the Research Institute "Cátedra de flamencología in Jerez de la Frontera (1957). The highly acclaimed personalities
of flamenco were often not only a musician and / or dancers, but also creators of their own songs. It was mostly people from the lower social strata of the people who came by her unusual talent for fame.
II forms
is generally separated the "Cante flamenco" in "Cante grande" (great song) and "cante chico" (less vocal). More recently, a third category, the "Cante intermedio" (middle voice) has emerged. Cante is the medio a mixed form, in the Andalusian Folklore has taken root. The cante grande is synonymous with the "cante hondo", considered to be an older and pure form of flamenco. Cante hondo in the gypsy origin and plaintive expression are characteristic. In these songs, death, despair, misery, guilt, atonement, curse or heartache be addressed.
The following broad classification of flamenco is based on the scheme of Crivillé i Bargalló J. (1983) to:
first Free songs "a palo seco," without instrumental accompaniment: Tona, Martinete, Debla, carcelera, Cantos de Trilla and Saeta.
The Saeta occupies a special position since it only at the ceremony the Deposition and is sung in the night Good Friday procession. The word "Saeta" means "sing a Saeta" "Arrow" and the Andalusian expression for is "diparar una Saeta" "shoot an arrow".
second Free songs with guitar Seguiriyas gitanas, Cabales, Caña, Solea, Polo, Alegrías or Bulerías or Mirabás, Soleares or Soleariyas, Tientos.
third Metric defined songs with guitar or Seguidillas Sevillanas, Tangos, Farruca, Peteneras, Vito, Olé, Jaleo, Boleras, Panaderos, Rocieras, Zambra.
4th Fandangos
a.) set metric: Fandangos, Verdiales, Rondeñas
b.) metric-free: Fandangos personales, Malagueñas, Gran Adina, including
5th "Cante de Levante '(chants of the East): Tarantas, Cartageneras
6th Other styles like "Cante de ida y vuelta de ': Guajira, Colombian, including
III. Elements and characteristics
The design and discover the beauty of flamenco Cante depend on the Audruckskraft and special voice training of the singer ("cantor") from. A rough, hoarse voice ("rajao"), guttural sounds and a specific vibrato mark this vocal technique. The rhythmic figures and tonal structures, which micro-intervals have to be strong due to the dramatic declamation.
The seals are usually made of four-line stanzas ("coplas") of 8 syllables. Other features include distinctive melisma and quick changes of melodic recitative and declamation, free and bound rhythm.
An extremely expressive ornamentation and the urge to dramatize are other features of this singing style. The Cante flamenco often begins with a plaintive syllable "Ay," which is sung as a sigh, and with the phrase "salida" (presentation) refers. The subsequent song proceeds in a very free or recitative formulas. In general, a piece never repeated exactly the same form.
The guitar has a rhythmic and percussive function, and also provides the harmonic foundation. With "rasgueado" designated playing technique is characteristic: fast arpegic chord attacks, which will hit the nail back all the fingers through the strings. With rapid juxtaposition creates a sense of driving. In addition to the major-minor tonality seems the tonal structure of flamenco in an I-mode to root. Typically this is the Andalusian-Phrygian cadence, a quart of relegation with a final half-step: AgFe.
Most pieces are preceded by a short prelude ("tiento"). During the breaks, the singer lodges or dancer, improvises a guitar player an interlude, which is referred to as "pink" or "falseta.
The most common measures, which are found in flamenco the three-, four-, or twelve bars, what caused polyrhythmic figures. Due to the different accents and metrical shifts can the species differ from one another. Important to get the design of the rhythm of clapping hands ("palmas"), the snap of the fingers ("pitos") and the "footwork" of the dancer added. The base technology is highly developed by the impact of the shoe sole ("planta"), the toe ("Punta") and paragraph (Tacón ") of diverse dancers can produce graded tones. The large, circular arm movements ("brazeos"), which, in small circular movements of the wrists to continue ("muñecas"), are another important feature. Additional accessories such as the castanets, fan, or a shawl with long fringes ("shawl") will be necessary for the expression of dance.
A typical element of the flamenco style, the audience, the "aficionados". They are an important component of a successful festival ("juerga"). You think of that is the important Aufgabe der "jaleos" Händeklatschen und der des Zwischenrufe "olé", das durch die sie auf deren Darbietung Darstellenden anfeuern und sie reagieren und kommentieren.
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