The Rail Band is a Malian band formed in 1970; it was later known as Super Rail Band , Bamako Rail Band or, most comprehensively and formally, Super Rail Band of the Buffet Hotel de la Gare, Bamako .
128-671: Rail Band's fame was built upon the mid-20th century craze for Latin — especially Cuban — jazz music which came out of Congo in the 1940s. The Rail Band was one of the first West African acts to combine this mature Afro-Latin sound with traditional instruments and styles. In their case, this was built upon the Mande Griot praise singer tradition, along with Bambara and other Malian and Guinean musical traditions. Their distinctive sound came from combining electric guitar and jazz horns with soaring Mandinka and Bamabara lyrical lines, African and western drums, and local instruments such as
256-616: A "great performer of "vihuela" and " viola ". On In 1764, Esteban Salas y Castro, became the new chapel master of the Santiago de Cuba Cathedral, and to fulfill his musical duties he counted with a small vocal-instrumental group that included two violins. In 1793, numerous colonists fleeing from the slave revolt in Saint Domingue arrived in Santiago de Cuba, and an orchestra consisting of a flute, oboe, clarinet, trumpet, three horns, three violins, viola, two violoncellos, and percussion
384-445: A central place. Also the recording company Nuevos Medios released many musicians under the label nuevo flamenco and this denomination has grouped musicians very different from each other like Rosario Flores , daughter of Lola Flores , or the renowned singer Malú , niece of Paco de Lucía and daughter of Pepe de Lucía, who despite sympathizing with flamenco and keeping it in her discography has continued with her personal style. However,
512-651: A change in its music and new rhythms are re-emerging together with new artists who are experimenting to cover a wider audience that wants to maintain the closeness that flamenco has transmitted for decades. The state of New Mexico, located in the southwest of the United States maintains a strong identity with Flamenco culture. The University of New Mexico located in Albuquerque offers a graduate degree program in Flamenco. Flamenco performances are widespread in
640-493: A choir of 200 singers plus a tumba francesa group from Santiago de Cuba . He produced another huge concert the following year, with new material. These shows probably dwarfed anything seen in the island before or since, and no doubt were unforgettable for those who attended. Between the end of the 19th century and the beginning of the 20th a number of composers excel within the Cuban music panorama. They cultivated genres such as
768-425: A creative impulse to flamenco that would mean its definitive break with Mairena's conservatism. When both artists undertook their solo careers, Camarón became a mythical cantaor for his art and personality, with a legion of followers, while Paco de Lucía reconfigured the entire musical world of flamenco, opening up to new influences, such as Brazilian music, Arabic and jazz and introducing new musical instruments such as
896-568: A crucible where flamenco art was configured. Locals learned the cantes, while reinterpreting the Andalusian folk songs in their own style, expanding the repertoire. Likewise, the taste of the public contributed to configure the flamenco genre, unifying its technique and its theme. Flamenquismo , defined by the Royal Spanish Academy as a "fondness for flamenco art and customs", is a conceptual catch-all where flamenco singing and
1024-403: A dance belongs to the Flamenco genre are the presence of a Flamenco mode (musical tonality), compas , and a Flamenco performer (Martinez, 2003). These three elements contribute to the authenticity of a Flamenco performance also known as flamencura (Martinez, 2003). There is also no such thing as a passive audience during Flamenco performances [ participatory music ]. The audience joins in
1152-461: A fondness for bullfighting, among other traditional Spanish elements, fit. These customs were strongly attacked by the generation of 98, all of its members being "anti-flamenco", with the exception of the Machado brothers, Manuel and Antonio. Being Sevillians and sons of the folklorist Demófilo Machado, the brothers had a more complex view of the matter. The greatest standard bearer of anti-flamenquism
1280-560: A later time to Belgium, but José established his permanent residence in Havana, where he acquired great recognition. Vandergutch offered numerous concerts as a soloist and accompanied by several orchestras, around the mid-19th century. He was a member of the Classical Music Association and also a Director of The "Asociación Musical de Socorro Mutuo de La Habana." Within the universe of the classical Cuban violin during
1408-564: A long time, and by the 20th century, elements of African belief, music, and dance were well integrated into popular and folk forms. Among internationally heralded composers of the "serious" genre can be counted the Baroque composer Esteban Salas y Castro (1725–1803), who spent much of his life teaching and writing music for the Church. He was followed in the Cathedral of Santiago de Cuba by
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#17327905660701536-415: A major 3rd degree ), in addition to the major and minor scales commonly used in modern Western music. The Phrygian mode occurs in palos such as soleá , most bulerías , siguiriyas , tangos and tientos . A typical chord sequence , usually called the " Andalusian cadence " may be viewed as in a modified Phrygian: in E the sequence is Am–G–F–E ( Manuel 2006 , 96). According to Manolo Sanlúcar E
1664-528: A member of the band for most of its history. The band, changing personnel many times, continues to perform around the world. In May 2020, Kanté died from chronic illness . According to the Timbuktu Renaissance initiative, Super Biton is one of "two bands in particular [that] have left an indelible mark on the Malian musical landscape", the other being Rail Band, both "pioneers of the fusion of
1792-494: A modern art form from the convergence of the urban subaltern groups, Gitano communities, and journeyman of Andalusia that formed the marginalized Flamenco artistic working class who established Flamenco as a singular art form, marked from the beginning by the Gitano brand. Andalusia was the origin and cradle of the early Flamenco cantaores and of the three or four dozen Gitano families who created and cultivated Flamenco. During
1920-550: A process of investigation and reevaluation of the Cuban music in general, discovering the outstanding work of Carlo Borbolla and promoting the compositions of Saumell, Cervantes, Caturla and Roldán. The "Grupo de Renovación Musical" included the following composers: Hilario González, Harold Gramatges , Julián Orbón , Juan Antonio Cámara, Serafín Pro, Virginia Fleites, Gisela Hernández , Enrique Aparicio Bellver, Argeliers León , Dolores Torres and Edgardo Martín. Other contemporary Cuban composers that were little or no related at all to
2048-481: A purity that never existed in an art that was characterized by mixture and the personal innovation of its creators. Apart from this failure, with the Generation of '27 , whose most eminent members were Andalusians and therefore knew the genre first-hand, the recognition of flamenco by intellectuals began. At that time, there were already flamenco recordings related to Christmas, which can be divided into two groups:
2176-434: A scenic artistic genre; for this reason, they were concerned, since they believed that the massive triumph of flamenco would end its purest and deepest roots. To remedy this, they organized a cante jondo contest in which only amateurs could participate and in which festive cantes (such as cantiñas) were excluded, which Falla and Lorca did not consider jondos, but flamencos. The jury was chaired by Antonio Chacón, who at that time
2304-405: A second violin. Roldan's compositions included Overture on Cuban themes (1925), and two ballets: La Rebambaramba (1928) and El milagro de Anaquille (1929). There followed a series of Ritmicas and Poema negra (1930) and Tres toques (march, rites, dance) (1931). In Motivos de son (1934) he wrote eight pieces for voice and instruments based on the poet Nicolás Guillén 's set of poems with
2432-485: A vocal concert "accompanied at the fortepiano by a distinguished foreigner recently arrived" and in 1832, Juan Federico Edelmann (1795-1848), a renowned pianist, son of a famous Alsatian composer and pianist, arrived in Havana and gave a very successful concert at the Teatro Principal. Encouraged by the warm welcome, Edelmann decided to stay in Havana, and he was very soon promoted to an important position within
2560-499: A wedge of purity in her cante make her part of this select group of established artists. Other singers with their own style include Cancanilla de Marbella . In 2011 this style became known in India thanks to María del Mar Fernández , who acts in the video clip of the film You Live Once, entitled Señorita. The film was seen by more than 73 million viewers. In the 1980s a new generation of flamenco artists emerged who had been influenced by
2688-528: A western drum kit alongside Mande music using kora , balafon , ngoni , talking drums, Islamic-style , Mande hunter co-fraternity song, and griot praise-singing vocals. The Rail Band's lead singer in the 1970s was Salif Keita , who left the band to join the rival Super Ambassadeurs, and then follow a successful solo career in 1982. The group soon became a training ground for many of Mali's most popular performers, such as singer Mory Kanté and guitarist Kante Manfila. Guitarist Djelimady Tounkara has been
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#17327905660702816-478: A wide variety of genres in Latin America. Large numbers of enslaved Africans and European, mostly Spanish, immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included zapateo , fandango , paso doble and retambico . Later, northern European forms like minuet , gavotte , mazurka , contradanza , and the waltz appeared among urban whites. There
2944-476: A year prior to Borrow's account, there already existed a Gitano party in Madrid that was clearly identified as Flamenco. This equivalency between Gitano and Flamenco is also noted by Manuel Fernández y González , Demófilo , and the scholar Irving Brown who stated in 1938 that "Flamenco is simply another term for Gitano, with special connotations." The origins of the term lie in the sociological prejudice towards
3072-424: Is La Bella Cubana , a habanera. During the middle years of the 19th century, a young American musician Louis Moreau Gottschalk (1829–1869) came to Cuba. Gottschalk's father was a Jewish businessman from London, and his mother a white creole of French Catholic background. Gottschalk was brought up mostly by his black grandmother and nurse Sally, both from Saint-Domingue . He was a piano prodigy who had listened to
3200-453: Is actually synonymous with Cantador (professional singer) in reference to the group of Flemish singers brought by Spanish King Carlos I in 1516. Another hypothesis that is not widely accepted is the Arabist theory of Blas Infante , which presents in his book Orígenes de lo flamenco (Origins of flamenco) , Flamenco as a phonetic deformation of Arabic fellah-mengu (runaway laborer) or
3328-455: Is also mentioned in the Spanish conquest chronicles during the 16th century. A disciple of famous Spanish guitarist Dionisio Aguado, José Prudencio Mungol was the first Cuban guitarist trained in the Spanish guitar tradition. In 1893 he performed at a much acclaimed concert in Havana, after returning from Spain. Mungol actively participated in the musical life of Havana and was a professor at
3456-496: Is intended to provide electroacoustic music training to the composition students during the last years of their careers. After 1970, Cuban composers such as Leo Brouwer , Jesús Ortega, Carlos Fariñas and Sergio Vitier began also creating electroacoustic pieces; and in the 1980s a group of composers that included Edesio Alejandro , Fernando (Archi) Rodríguez Alpízar, Marietta Véulens, Mirtha de la Torre, Miguel Bonachea and Julio Roloff , started receiving instruction and working at
3584-460: Is known today or in one of its historical versions) has been present in Cuba since the discovery of the island by Spain. As early as the 16th century, a musician named Juan Ortiz, from the village of Trinidad, is mentioned by famous chronicler Bernal Díaz del Castillo as "gran tañedor de vihuela y viola" ("a great performer of the vihuela and the guitar"). Another "vihuelista", Alonso Morón from Bayamo,
3712-487: Is not the only successful case, the Granada-born Dellafuente , C. Tangana , MAKA , RVFV, Demarco Flamenco, Maria Àrnal and Marcel Bagés, El Niño de Elche, Sílvia Pérez Cruz ; Califato 3/4, Juanito Makandé, Soledad Morente, María José Llergo o Fuel Fandango are only a few of the new spanish musical scene that includes flamenco in their music. It seems that the Spanish music scene is experiencing
3840-548: Is undoubtedly entitled at any time". Gonzalo Roig (1890–1970) was a major force in the first half of the century. A composer and orchestral director, he qualified in piano, violin and composition theory. In 1922 he was one of the founders of the National Symphony Orchestra, which he conducted. In 1927 he was appointed Director of the Havana School of Music. As a composer he specialized in
3968-601: Is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage. The oldest record of flamenco music dates to 1774 in the book Las Cartas Marruecas (The Moroccan Letters) by José Cadalso . The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas , popular song books and song sheets, customs, studies of dances, and toques , perfection, newspapers, graphic documents in paintings and engravings. ... in continuous evolution together with rhythm,
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4096-487: The Calé Romani people of Jerez during the 19th century, originally as a fast, upbeat ending to soleares or alegrias . It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering, often accompanied by vigorous dancing and tapping. There are three fundamental elements which can help define whether or not something really is flameco: A flamenco mode -or musical tonality-;
4224-464: The Farruca , for example, once a male dance, is now commonly performed by women too. There are many ways to categorize Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande ), while lighter, frivolous forms are called Cante Chico . Forms that do not fit either category are classed as Cante Intermedio ( Pohren 2005 , 68). These are
4352-569: The North American composer Federico Smith arrives in Havana . He embraced the Cuban nation as his own country and became one of the most accomplished musicians living and working in Cuba at that time. He remained in Cuba until his death, and made an important contribution to the Cuban musical patrimony. During the early 1970s, a group of musicians and composers, most of them graduated from
4480-518: The Romani people . The Indo-Pakistani scales of Flamenco were introduced to Andalusia by the Romani migrations from Northern India . These Roma migrants also brought bells, and an extensive repertoire of songs and dances. Upon arrival to Andalusia in the 15th century, they were exposed to the rich Arab-Andalusian music culture, itself a hybrid of Spanish music tradition going back to the 8th century with
4608-466: The Spanish War of Independence (1808–1812), a feeling of racial pride developed in the Spanish conscience, in opposition to the "gallified" "Afrancesados" - Spaniards who were influenced by French culture and the idea of the enlightenment. In this context, gitanos were seen as an ideal embodiment of Spanish culture and the emergence of the bullfighting schools of Ronda and Seville , the rise of
4736-633: The clarinet , violin and vihuela . There were few professional musicians at the time, and fewer still of their songs survive. One of the earliest is Ma Teodora , supposed to be related to a freed slave, Teodora Ginés of Santiago de Cuba, who was famous for her compositions. The piece is said to be similar to 16th-, 17th- and 18th-century Spanish popular songs and dances. Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Important among these are France (and its colonies in
4864-438: The compás -rhythm- and the performer. .. who should be a Flamenco! All three of these elements: tonality, compás , a flamenco performer and then something less easily identifiable- Flamencura - must be present together if we are to wend up with a piece of music which can be labelled 'flamenco'. By themselves, these elements won't turn a piece of music into flamenco. Three fundamental elements that help define whether or not
4992-586: The kora and the balafon . At their height of fame in the 1970s, the Rail Band played to sold-out venues and even stadia across West Africa, and launched solo careers for many of its members, including Salif Keita . The first incarnation of the Rail Band was founded in 1970, sponsored by the Ministry of Information and the railway administration. The Malian government had, since the '60s, been sponsoring cultural events and groups to promote national traditions,
5120-522: The "Groupo de Renovación Musical" were: Aurelio de la Vega , Joaquín Nin-Culmell , Alfredo Diez Nieto and Natalio Galán. Although, in Cuba, many composers have written both classical and popular creole types of music, the distinction became clearer after 1960, when (at least initially) the regime frowned on popular music and closed most of the night-club venues, whilst providing financial support for classical music rather than creole forms. From then on, most musicians have kept their careers on one side of
5248-468: The 1860s-70s this versatility was exemplified through its use to refer to a musical style and a certain aesthetic, manners, and way of life that were perceived to be Gitano. At that time, Flamenco was not a strict genre but a way of performing music in a Gitano-Andalusian style. There are hypotheses that point to the influence on flamenco of types of dance from the Indian subcontinent; the place of origin of
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5376-511: The 1990s. The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic percussion is an inherent part of African music, as the melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and a particular social setting. The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for
5504-405: The 19th century, there are two outstanding Masters that may be considered among the greatest violin virtuosos of all time; they are José White Lafitte y Claudio Brindis de Salas Garrido . Flamenco Flamenco ( Spanish pronunciation: [flaˈmeŋko] ) is an art form based on the various folkloric music traditions of southern Spain , developed within the gitano subculture of
5632-1223: The Albuquerque and Santa Fe communities, with the National institute of Flamenco sponsoring an annual festival, as well as a variety of professional flamenco performances offered at various locales. Emmy Grimm, known by her stage name La Emi is a professional Flamenco dancer and native to New Mexico who performs as well as teaches Flamenco in Santa Fe. She continues studying her art by traveling to Spain to work intensively with Carmela Greco and La Popi, as well as José Galván, Juana Amaya, Yolanda Heredia, Ivan Vargas Heredia, Torombo and Rocio Alcaide Ruiz. Palos (formerly known as cantes ) are flamenco styles, classified by criteria such as rhythmic pattern, mode , chord progression , stanzaic form and geographic origin. There are over 50 different palos , some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down:
5760-664: The Americas), and the United States . Cuban music has been immensely influential in other countries. It contributed not only to the development of jazz and salsa , but also to the Argentine tango , Ghanaian high-life , West African Afrobeat , Dominican Bachata and Merengue , Colombian Cumbia and Spanish Nuevo flamenco and to the Arabo-Cuban music ( Hanine Y Son Cubano ) developed by Michel Elefteriades in
5888-544: The Bandidos and Vaqueros led to a taste for Andalusian romantic culture which triumphed in the Madrid court. At this time there is evidence of disagreements due to the introduction of innovations in art. In 1881 Silverio Franconetti opened the first flamenco singer café in Seville. In Silverio's café the cantaores were in a very competitive environment, which allowed the emergence of the professional cantaor and served as
6016-687: The Cordovan poet Ricardo Molina and the Sevillian cantaor Antonio Mairena published Alalimón Mundo y Formas del Cante flamenco , which has become a must-have reference work. For a long time the Mairenistas postulates were considered practically unquestionable, until they found an answer in other authors who elaborated the "Andalusian thesis", which defended that flamenco was a genuinely Andalusian product, since it had been developed entirely in this region and because its styles basic ones derived from
6144-414: The Cuban musical activity from the end of the 19th century and the beginning of the 20th century. In 1896, the composer included in his zarzuela "El Brujo" the first Cuban guajira which has been historically documented. About this piece, composer Eduardo Sánchez de Fuentes said: "The honest critique of a not very far day will bestow the author of the immortal guajira of "El Brujo" the honor to which he
6272-559: The Havana Municipal Conservatory, Isaac Nicola (1916 – 1997) continued his training in Paris with Emilio Pujol, a disciple of Francisco Tárrega. He also studied the vihuela with Pujol and researched about the guitar's history and literature. After the Cuban revolution in 1959, Isaac Nicola and other professors such as Marta Cuervo , Clara (Cuqui) Nicola , Marianela Bonet and Leopoldina Núñez were integrated to
6400-895: The Havana Municipal Conservatory, the National School of Arts, and the Instituto Superior de Arte. Others, such as Manuel Barrueco , a concertist of international renown, developed their careers outside the country. Among many other guitarists related to the Cuban Guitar School are Carlos Molina , Sergio Vitier, Flores Chaviano , Efraín Amador Piñero , Armando Rodriguez Ruidiaz, Martín Pedreira , Lester Carrodeguas, Mario Daly, José Angel Pérez Puentes and Teresa Madiedo. A younger group includes guitarists Rey Guerra, Aldo Rodríguez Delgado, Pedro Cañas, Leyda Lombard, Ernesto Tamayo , Miguel Bonachea , Joaquín Clerch and Yalil Guerra . After its arrival in Cuba at
6528-581: The Hubert de Blanck conservatory. Severino López was born in Matanzas. He studied guitar in Cuba with Juan Martín Sabio and Pascual Roch, and in Spain with renowned Catalan guitarist Miguel Llobet. Severino López is considered the initiator in Cuba of the guitar school founded by Francisco Tárrega in Spain. Clara Romero (1888-1951), founder of the modern Cuban School of Guitar, studied in Spain with Nicolás Prats and in Cuba with Félix Guerrero. She inaugurated
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#17327905660706656-635: The ICAP Electroacoustic Studio. A list of Cuban composers that have utilized elecotroacoustics technology include Argeliers León , Juan Piñera , Roberto Valera , José Loyola , Ileana Pérez Velázquez and José Angel Pérez Puentes. Most Cuban composers that established their residence outside Cuba have worked with electroacoustic technology. These include composers Aurelio de la Vega, Armando Tranquilino, Tania León , Orlando Jacinto García , Armando Rodriguez Ruidiaz, Ailem Carvajal Gómez and Irina Escalante Chernova. The guitar (as it
6784-623: The ICAP Workshop changed its name to Laboratorio Nacional de Música Electroacústica (LNME) and its main objective was to support and promote the work of Cuban electroacoustic composers and sound artists. Some years later, another electroacoustic music studio was created at the Instituto Superior de Arte (ISA). The Estudio de Música Electroacústica y por Computadoras (EMEC), currently named Estudio Carlos Fariñas de Arte Musical (Carlos Fariñas Studio of Musical Electroacoustic Art),
6912-651: The National School of Arts and the Havana Conservatory, gathered around an organization recently created by the government as the junior section of UNEAC ( National Union of Writers and Artists of Cuba ), the Brigada Hermanos Saíz. Some of its member were composers Juan Piñera (nephew of the renowned Cuban writer Virgilio Piñera), Flores Chaviano , Armando Rodriguez Ruidiaz, Danilo Avilés , Magaly Ruiz , Efraín Amador Piñero and José Loyola . Other contemporary composers less involved with
7040-499: The Peruvian cajon, the transverse flute, etc. Other leading performers in this process of formal flamenco renewal were Juan Peña El Lebrijano , who married flamenco with Andalusian music, and Enrique Morente , who throughout his long artistic career has oscillated between the purism of his first recordings and the crossbreeding with rock, or Remedios Amaya from Triana , cultivator of a unique style of tangos from Extremadura, and
7168-706: The Rail Band was among those programs. The band performed as the house band at the Buffet Bar of the Station Hotel in Bamako , from which it takes its name. Beginning as a Latin Jazz band in the style of Congolese Soukous , it soon began integrating local Manding musical styles and traditions, with vocals in the Bambara language . From early on the band featured electric guitar, electric organ, saxophone, horns, and
7296-586: The Roma who were seen as ruffians and cocky troublemakers by the Spaniards and were thus associated with the 18th century German colonists of the Sierra Morena who formed groups of urban Bohemians that lived outside the law and were seen as idle and lazy. Other less successful hypotheses include those of Felipe Pedrell and Carlos Alemendros who state that while the term Flamenco is Spanish for Flemish, it
7424-652: The Santa Cecilia Philharmonic Society. In 1836, he opened a music store and publishing company. One of the most prestigious Cuban musicians, Ernesto Lecuona (1895-1963), began studying piano with his sister Ernestina and continued with Peyrellade , Saavedra, Nin and Hubert de Blanck. A child prodigy, Lecuona gave a concert, at just five, at the Círculo Hispano. When he graduated from the National Conservatory, he
7552-528: The academic methodology of musicology to it and served as the basis for subsequent studies on this genre. As a result, in 1956 the National Contest of Cante Jondo de Córdoba was organized and in 1958 the first flamencology chair was founded in Jerez de la Frontera, the oldest academic institution dedicated to the study, research, conservation, promotion and defense of the flamenco art. Likewise, in 1963
7680-466: The bata de cola with evening dresses. Her facet in the "Fandangos de Huelva" and in the Alegrías was recognized internationally for her perfect voice tessitura in these genres. She used to be accompanied in her concerts by guitarists Enrique de Melchor and Tomatito , not only at the national level but in countries like Colombia, Venezuela and Puerto Rico. The musical representative José Antonio Pulpón
7808-781: The best known palos ( Anon. 2019 ; Anon. 2012 ): The alegrías are thought to derive from the Aragonese jota, which took root in Cadiz during the Peninsular war and the establishment of the Cortes de Cadiz. That is why its classic lyrics contain so many references to the Virgen del Pilar, the Ebro River and Navarra. Enrique Butrón is considered to have formalized the current flamenco style of alegrías and Ignacio Espeleta who introduced
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#17327905660707936-422: The cante ( Manuel 2006 , 98). In some palos, these falsetas are played with a specific structure too; for example, the typical sevillanas is played in an AAB pattern, where A and B are the same falseta with only a slight difference in the ending ( Martin 2002 , 48). Flamenco uses the flamenco mode (which can also be described as the modern Phrygian mode ( modo frigio ), or a harmonic version of that scale with
8064-498: The characteristic "tiriti, tran, tran...". Some of the best known interpreters of alegrías are Enrique el Mellizo, Chato de la Isla, Pinini, Pericón de Cádiz, Aurelio Sellés, La Perla de Cádiz, Chano Lobato and El Folli. One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (Literally "a tap of
8192-467: The contradanza Ojos criollos (Danse cubaine) (1859) and a version of María de la O , which refers to a Cuban mulatto singer. These numbers made use of typical Cuban rhythmic patterns. At one of his farewell concerts he played his Adiós a Cuba to huge applause and shouts of 'bravo!' Unfortunately, his score for the work has not survived. In February 1860 Gottschalk produced a huge work La nuit des tropiques in Havana. The work used about 250 musicians and
8320-593: The country thanks to scholarships granted by the government, like Sergio Fernández Barroso (also known as Sergio Barroso ), that received a post-graduate degree from the Superior Academy of Music in Prague, and Roberto Valera , who studied with Witold Rudziński and Andrzej Dobrowolski in Poland. Three other composers belong to this group: Calixto Alvarez , Carlos Malcolm and Héctor Angulo . In 1962,
8448-504: The creation of electroacoustic musical compositions. In 1970, Juan Blanco began to work as a music advisor for the Department of Propaganda of ICAP (Insituto Cubano de Amistad con Los Pueblos). In this capacity, he created electroacoustic music for all the audiovisual materials produced by ICAP. After nine years working without restitution, Blanco finally obtained financing to set up an Electroacoustic Studio to be used for his work. He
8576-427: The discussion between the difference of flamenco and new flamenco in Spain has just gained strength during since 2019 due to the success of new flamenco attracting the taste of the youngest Spanish fans but also in the international musical scene emphasizing the problem of how should we call this new musical genre mixed with flamenco. One of these artist who has reinvented flamenco is Rosalía , an indisputable name on
8704-614: The drum was banned. In addition, there are other percussion instruments in use for African-origin religious ceremonies. Chinese immigrants contributed the corneta china (Chinese cornet), a Chinese reed instrument still played in the comparsas , or carnival groups, of Santiago de Cuba . The great instrumental contribution of the Spanish was their guitar , but even more important was the tradition of European musical notation and techniques of musical composition . Hernando de la Parra's archives give some of our earliest available information on Cuban music. He reported instruments including
8832-432: The drums, of which, there were originally about fifty different types; today only the bongos , congas and batá drums are regularly seen (the timbales are descended from kettle drums in Spanish military bands). Also important are the claves , two short hardwood batons, and the cajón , a wooden box, originally made from crates. Claves are still used often, and wooden boxes ( cajones ) were widely used during periods when
8960-504: The end of the 18th and beginning of the 19th century, a number of factors led to rise in Spain of a phenomenon known as "Costumbrismo Andaluz" or "Andalusian Mannerism". In 1783 Carlos III promulgated a pragmatics that regulated the social situation of the Gitanos . This was a momentous event in the history of Spanish gitanos who, after centuries of marginalization and persecution, saw their legal situation improve substantially. After
9088-482: The end of the 18th century, the pianoforte (commonly called piano) rapidly became one of the favorite instruments among the Cuban population. Along with the humble guitar, the piano accompanied the popular Cuban "guarachas" and "contradanzas" (derived from the European Country Dances) at salons and ballrooms in Havana and all over the country. As early as in 1804, a concert program in Havana announced
9216-523: The establishment of Al-Andalus , which brought in traditions and music from the Arabian peninsula , Northern Africa and Sephardic features. Some of the instruments associated with Flamenco and Spanish folklore in different regions today, are the wooden castanets and tambourines , both believed to originate during the Al Andalus period. This centuries-long period of cultural intermingling, formed
9344-530: The fact that many of the interpreters of this new music are also renowned cantaores, in the case of José Mercé , El Cigala , and others, has led to labeling everything they perform as flamenco, although the genre of their songs differs quite a bit from the classic flamenco. This has generated very different feelings, both for and against. Other contemporary artists of that moment were O'Funkillo and Ojos de Brujo , Arcángel, Miguel Poveda , Mayte Martín , Marina Heredia, Estrella Morente or Manuel Lombo, etc. But
9472-412: The first Antología del Cante Flamenco, a sound recording that was a great shock to its time, dominated by orchestrated cante and, consequently, mystified. In 1955, the Argentine intellectual Anselmo González Climent published an essay called "Flamencología", whose title he baptized the "set of knowledge, techniques, etc., on flamenco singing and dancing." This book dignified the study of flamenco by applying
9600-482: The first half of the 20th Century. They both played a part in Afrocubanismo : the movement in black-themed Cuban culture with origins in the 1920s, and extensively analysed by Fernando Ortiz . Roldan, born in Paris to a Cuban mulatta and a Spanish father, came to Cuba in 1919 and became the concert-master (first-chair violin) of the new Orquesta Sinfónica de La Habana in 1922. There he met Caturla, at sixteen
9728-596: The folklore of Andalusia. They also maintained that the Andalusian Gitanos had contributed decisively to their formation, highlighting the exceptional nature of flamenco among gypsy music and dances from other parts of Spain and Europe. The unification of the Gitanos and Andalusian thesis has ended up being the most accepted today. In short, between the 1950s and 1970s, flamenco went from being a mere show to also becoming an object of study. Flamenco became one of
9856-487: The foot") and bulerías . This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas . Alegrías has a rhythm consisting of 12 beats. It is similar to Soleares . Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12] . Alegrías originated in Cádiz . Alegrías belongs to
9984-537: The greatest Cuban pianist/composers of the 20th century was Ernesto Lecuona (1895–1963). Lecuona composed over six hundred pieces, mostly in the Cuban vein, and was a pianist of exceptional quality. He was a prolific composer of songs and music for stage and film. His works consisted of zarzuela , Afro-Cuban and Cuban rhythms, suites and many songs that became Latin standards. They include Siboney , Malagueña and The Breeze And I ( Andalucía ). In 1942 his great hit Always in my heart ( Siempre en mi Corazon )
10112-436: The group of palos called Cantiñas and it is usually played in a lively rhythm (120–170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone. Bulerías a fast flamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows: [12] 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 or [12] 1 2 [3] 4 5 6 [7] [8] 9 [10] 11. It originated among
10240-611: The guitar department at the Havana Municipal Conservatory in 1931, where she also introduced the teachings of the Cuban folk guitar style. She created the Guitar Society of Cuba (Sociedad Guitarrística de Cuba) in 1940, and also the "Guitar" (Guitarra) magazine, with the purpose of promoting the Society's activities. She was the professor of many Cuban guitarists including her son Isaac Nicola and her daughter Clara (Cuqui) Nicola . After studying with his mother, Clara Romero, at
10368-533: The guitar with his father and after some time continued with Isaac Nicola . He taught himself harmony, counterpoint, musical forms and orchestration before completing his studies at the Juilliard School and the University of Hartford . Since the 1960s, several generations of guitar performers, professors and composers have been formed under the Cuban Guitar School at educational institutions such as
10496-427: The history of Cuban nationalist musical movements." In the hands of his successor, Ignacio Cervantes Kavanagh, the piano idiom related to the contradanza achieved even greater sophistication. Cervantes was called by Aaron Copland a "Cuban Chopin " because of his Chopinesque piano compositions. Cervantes' reputation today rests almost solely upon his famous forty-one Danzas Cubanas , which Carpentier said, "occupy
10624-567: The humiliations to which they were being subjected by the National Party: Bando Nacional : Corruco de Algeciras , Chaconcito , El Carbonerillo , El Chato De Las Ventas , Vallejito , Rita la Cantaora , Angelillo , Guerrita are some of them. In the postwar period and the first years of the Franco regime , the world of flamenco was viewed with suspicion, as the authorities were not clear that this genre contributed to
10752-635: The international music scene. "Pienso en tu mirá", "Di mi nombre" or the song that catapulted her to fame, "Malamente", are a combination of styles that includes a flamenco/south Spain traditional musical base. Rosalía has broken the limits of this musical genre by embracing other urban rhythms, but has also created a lot of controversy about which genre is she using. The Catalan artist has been awarded several Latin Grammy Awards and MTV Video Music Awards , which also, at just 30 years old, garners more than 40 million monthly listeners on Spotify . But it
10880-590: The invisible line or the other. After the Cuban Revolution in 1959, a new crop of classical musicians came onto the scene. The most important of these is guitarist Leo Brouwer , who have made significant contributions to the technique and repertoire of the modern classical guitar, and has been the director of the National Symphony Orchestra of Cuba . His directorship in the early 1970s of the "Grupo de Experimentacion Sonora del ICAIC"
11008-748: The last decades of the 20th century and the beginning of the 21st century a new generation of composers emerged into the Cuban classical music panorama. Most of them received a solid musical education provided by the official arts school system created by the Cuban government and graduated from the Instituto Superior de Arte (ISA). Some of those composers are Louis Franz Aguirre , Ileana Pérez Velázquez , Keila María Orozco, Viviana Ruiz, Fernando (Archi) Rodríguez Alpízar, Yalil Guerra , Eduardo Morales Caso , Ailem Carvajal Gómez , Irina Escalante Chernova and Evelin Ramón . All of them have emigrated and currently live and have worked in other countries. Juan Blanco
11136-400: The mid-century several were written as light-classical parlor pieces for piano. The first distinguished composer in this style was Manuel Saumell (1818–1870), who is sometimes accordingly hailed as the father of Cuban creole musical development. According to Helio Orovio, "After Saumell's visionary work, all that was left to do was to develop his innovations, all of which profoundly influenced
11264-603: The most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genres and musical styles around the globe, most notably in Latin America , the Caribbean , West Africa , and Europe . Examples include rhumba , Afro-Cuban jazz , salsa , soukous , many West African re-adaptations of Afro-Cuban music ( Orchestra Baobab , Africando ), Spanish fusion genres (notably with flamenco ), and
11392-472: The music and seen the dancing in Congo Square , New Orleans from childhood. His period in Cuba lasted from 1853 to 1862, with visits to Puerto Rico and Martinique squeezed in. He composed many creolized pieces, such as the habanera Bamboula, Op. 2 (Danse de negres) (1845), the title referring to a bass Afro-Caribbean drum; El cocoye (1853), a version of a rhythmic melody already present in Cuba;
11520-453: The mythical cantaor Camarón, Paco de Lucía, Morente, etc. These artists were interested in popular urban music, which in those years was renewing the Spanish music scene, it was the time of the Movida madrileña . Among them are " Pata Negra ", who fused flamenco with blues and rock, Ketama , of pop and Cuban inspiration and Ray Heredia, creator of his own musical universe where flamenco occupies
11648-411: The national conscience. However, the regime soon ended up adopting flamenco as one of the quintessential Spanish cultural manifestations. The singers who have survived the war go from stars to almost outcasts, singing for the young men in the private rooms of the brothels in the center of Seville where they have to adapt to the whims of aristocrats, soldiers and businessmen who have become rich. In short,
11776-449: The national music schools system, where a unified didactical method was implemented. This was a nucleus for the later development of a national Cuban Guitar School with which a new generation of guitarists and composers collaborated. Maybe the most important contribution to the modern Cuban guitar technique and repertoire comes from Leo Brouwer (born 1939). The grandson of Ernestina Lecuona, sister of Ernesto Lecuona, Brouwer began studying
11904-510: The oldest and most sober styles from the stage, in favor of lighter airs, such as cantiñas , los cantes de ida y vuelta and fandangos , of which many personal versions were created. The purist critics attacked this lightness of the cantes, as well as the use of falsete and the gaitero style. In the line of purism, the poet Federico García Lorca and the composer Manuel de Falla had the idea of concurso de cante jondo en Granada en 1922. Both artists conceived of flamenco as folklore, not as
12032-438: The organization were José María Vitier , Julio Roloff , and Jorge López Marín. After the Cuban Revolution (1959), many future Cuban composers emigrated at a very young age and developed most of their careers outside the country. Within this group are the composers Tania León , Orlando Jacinto García , Armando Tranquilino, Odaline de la Martinez , José Raul Bernardo, Jorge Martín (composer) and Raul Murciano. During
12160-446: The performance by clapping their hands and even sometimes singing along (Totton, 2003). A typical flamenco recital with voice and guitar accompaniment comprises a series of pieces (not exactly "songs") in different palos. Each song is a set of verses (called copla , tercio , or letras ), punctuated by guitar interludes ( falsetas ). The guitarist also provides a short introduction setting the tonality, compás (see below) and tempo of
12288-536: The period of the flamenco opera was a time open to creativity and that definitely made up most of the flamenco repertoire. It was the Golden Age of this genre, with figures such as Antonio Chacón , Manuel Vallejo Manuel Vallejo [ es ; fr ] , Manuel Torre , La Niña de los Peines , Pepe Marchena and Manolo Caracol . Starting in the 1950s, abundant anthropological and musicological studies on flamenco began to be published. In 1954 Hispavox published
12416-570: The place that the Norwegian Dances of Grieg or the Slavic Dances of Dvořák occupy in the music of their respective countries". Cervantes' never-finished opera, Maledetto , is forgotten. In the 1840s, the habanera emerged as a languid vocal song using the contradanza rhythm. (Non-Cubans sometimes called Cuban contradanzas "habaneras.") The habanera went on to become popular in Spain and elsewhere. The Cuban contradanza/Danza
12544-657: The poetic stanzas, and the ambiance." On 16 November 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity . Historically, the term Flamenco was used to identify the Romani people ( Gitanos ) of Spain. The English traveller George Borrow who travelled through Spain during the 1830s stated that the Gitanos were also called Flemish (in Spanish, 'flamenco') due to German and Flemish being erroneously considered synonymous. According to flamencologist Cristina Cruces-Roldán,
12672-510: The political transition progressed, the demands were deflated as flamenco inserted itself within the flows of globalized art. At the same time, this art was institutionalized until it reached the point that the Junta de Andalucía was attributed in 2007 "exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination". In the 1970s, there were airs of social and political change in Spain, and Spanish society
12800-443: The popular song and the concert lied , dance music, the zarzuela and the vernacular theatre, as well as symphonic music. Among others, we should mention Hubert de Blanck (1856-1932); José Mauri (1856-1937); Manuel Mauri (1857-1939); José Marín Varona ; Eduardo Sánchez de Fuentes (1874-1944); Jorge Anckermann (1877-1941); Luis Casas Romero (1882-1950) and Mario Valdés Costa (1898-1930). The work of José Marín Varona links
12928-534: The priest Juan París (1759–1845). París was an exceptionally industrious man and an important composer. He encouraged continuous and diverse musical events. Aside from rural music and Afro-Cuban folk music, the most popular kind of urban Creole dance music in the 19th century was the contradanza, which commenced as a local form of the English country dance and the derivative French contredanse and Spanish contradanza. While many contradanzas were written for dance, from
13056-463: The purpose of improving and literally renovating the quality of the Cuban musical environment. During its existence from 1942 to 1948, the group organized numerous concerts at the Havana Lyceum in order to present their avant-garde compositions to the general public and fostered within its members the development of many future conductors, art critics, performers and professors. They also started
13184-466: The region of Andalusia , and also having historical presence in Extremadura and Murcia . In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization . However, its style
13312-470: The repression of the regime when university students came into contact with this art in the recitals that were held, for example, at the Colegio Mayor de San Juan Evangelista: "flamenco amateurs and professionals got involved with performances of a manifestly political nature. It was a kind of flamenco protest charged with protest, which meant censorship and repression for the flamenco activists ". As
13440-422: The roots of Flamenco song and dance genres. It is believed that the flamenco genre emerged at the end of the 18th century in cities and agrarian towns of Baja Andalusia, highlighting Jerez de la Frontera as the first written vestige of this art, although there is practically no data related to those dates and the manifestations of this time are more typical of the bolero school than of flamenco. It appeared as
13568-417: The same title. His last composition was two Piezas infantiles for piano (1937). Roldan died young, at 38, of a disfiguring facial cancer (he had been an inveterate smoker). After his student days, Caturla lived all his life in the small central town of Remedios, where he became a lawyer to support his growing family. His Tres danzas cubanas for symphony orchestra was first performed in Spain in 1929. Bembe
13696-429: The symbols of Spanish national identity during the Franco regime , since the regime knew how to appropriate a folklore traditionally associated with Andalusia to promote national unity and attract tourism, constituting what was called national-flamenquismo. Hence, flamenco had long been seen as a reactionary or retrograde element. In the mid-60s and until the transition, cantaores who opposed the regime began to appear with
13824-422: The time. Between 1920 and 1955, flamenco shows began to be held in bullrings and theaters, under the name "flamenco opera". This denomination was an economic strategy of the promoters, since opera only paid 3% while variety shows paid 10%. At this time, flamenco shows spread throughout Spain and the main cities of the world. The great social and commercial success achieved by flamenco at this time eliminated some of
13952-756: The traditional flamenco carol and flamenco songs that adapt their lyrics to the Christmas theme. These cantes have been maintained to this day, the Zambomba Jerezana being spatially representative, declared an Asset of Intangible Cultural Interest by the Junta de Andalucía in December 2015. During the Spanish Civil War , a large number of singers were exiled or died defending the Republic and
14080-421: The traditional sounds and rhythms of Ségou and modern genres. Cuban music The music of Cuba , including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in
14208-452: The use of protest lyrics. These include: José Menese and lyricist Francisco Moreno Galván, Enrique Morente , Manuel Gerena, El Lebrijano , El Cabrero , Lole y Manuel , el Piki or Luis Marín, among many others. In contrast to this conservatism with which it was associated during the Franco regime, flamenco suffered the influence of the wave of activism that also shook the university against
14336-406: The world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century. Since the 19th-century Cuban music has been hugely popular and influential throughout the world. It has been perhaps
14464-467: The zarzuela, a musical theatre form, very popular up to World War II. In 1931 he co-founded a bufo company (comic theatre) at the Teatro Martí in Havana. He was the composer of the most well-known Cuban zarzuela, Cecilia Valdés , based on the famous 19th-century novel about a Cuban mulata. It was premiered in 1932. He founded various organizations and wrote frequently on musical topics. One of
14592-499: Was a decisive character in that fusion, as he urged the cantaor Agujetas to collaborate with the Sevillian Andalusian rock group " Pata Negra ", the most revolutionary couple since Antonio Chacón and Ramón Montoya , initiating a new path for flamenco. It also fostered the artistic union between the virtuoso guitarist from Algeciras Paco de Lucía and the long-standing singer from the island Camarón de la Isla , who gave
14720-402: Was already quite influenced by various musical styles from the rest of Europe and the United States. There were also numerous singers who had grown up listening to Antonio Mairena , Pepe Marchena and Manolo Caracol . The combination of both factors led to a revolutionary period called flamenco fusion. The singer Rocío Jurado internationalized flamenco at the beginning of the 70s, replacing
14848-537: Was also an immigration of Chinese indentured laborers later in the 19th century. Fernando Ortiz , the first great Cuban folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between enslaved Africans settled on large sugar plantations and Spaniards from different regions such as Andalusia and Canary Islands . The enslaved Africans and their descendants made many percussion instruments and preserved rhythms they had known in their homeland. The most important instruments were
14976-499: Was also an important influence on the Puerto Rican Danza, which went on to enjoy its own dynamic and distinctive career lasting through the 1930s. In Cuba, in the 1880s the contradanza/Danza gave birth to the danzón, which effectively superseded it in popularity. Laureano Fuentes (1825–1898) came from a family of musicians and wrote the first opera to be composed on the island, La Hija de Jefté (Jefte's daughter). This
15104-632: Was appointed as Director of the Studio, but under the condition that he should be the only one to use the facility. After a few months, and without asking for permission, he opened the Electroacoustic Studio to all composers interested in working with electroacoustic technology, thus creating the ICAP Electroacoustsic Music Workshop (TIME), where he himself provided training to all participants. In 1990,
15232-597: Was awarded the First Prize and the Gold Medal of his class by unanimous decision of the board. He is by far the Cuban composer of greatest international recognition and his contributions to the Cuban piano tradition are considered exceptional. Bowed stringed instruments have been present in Cuba since the 16th century. Musician Juan Ortiz from the Ville of Trinidad is mentioned by chronicler Bernal Díaz del Castillo as
15360-529: Was derived from the Arabic terms Felah-Mengus, which together mean "wandering peasant". The first use of the term Flamenco to refer to the music genre appears in a 1847 newspaper article of El Espectador where it was referred to as a "Gitano genre." In the early years of Flamenco, the term was versatile and was used to refer to a variety of concepts in the Gitano-Andalusian world. For example, in
15488-644: Was founded. During the transition from the 18th to the 19th centuries, the Havanese Ulpiano Estrada (1777–1847) offered violin lessons and conducted the Teatro Principal orchestra from 1817 to 1820. Apart from his activity as a violinist, Estrada kept a very active musical career as a conductor of numerous orchestras, bands and operas, and composing many contradanzas and other dance pieces, such as minuets and valses. José Vandergutch, Belgian violinist, arrived at Havana along with his father Juan and brother Francisco, also violinists. They returned at
15616-557: Was instrumental in the formation and consolidation of the Nueva trova movement. Other important composers from the early post-revolution period that began in 1959 were: Carlos Fariñas and Juan Blanco , a pioneer of "concrete" and "electroacoustic music" in Cuba. Closely following the early post-revolution generation, a group of young composers started to attract the attention of the public that attended classical music concerts. Most of them had obtained degrees in reputable Schools outside
15744-499: Was later lengthened and staged under the title Seila . His numerous works spanned all genres. Gaspar Villate (1851–1891) produced abundant and wide-ranging work, all centered on opera. José White (1836–1918), a mulatto of a Spanish father and an Afrocuban mother, was a composer and a violinist of international merit. He learned to play sixteen instruments, and lived, variously, in Cuba, Latin America, and Paris. His most famous work
15872-500: Was nominated for an Oscar for Best Song; it lost out to White Christmas . The Ernesto Lecuona Symphonic Orchestra performed the premiere of Lecuona's Black Rhapsody in the Cuban Liberation Day Concert at Carnegie Hall on 10 October 1943. Although their music is rarely played today, Amadeo Roldán (1900–1939) and Alejandro García Caturla (1906–1940) were Cuba's symphonic revolutionaries during
16000-403: Was premiered in Havana the same year. His Obertura cubana won first prize in a national contest in 1938. Caturla was murdered at 34 by a young gambler. Founded in 1942 under the guidance of José Ardévol (1911–1981), a Catalan composer established in Cuba since 1930, the "Grupo de Renovación Musical" served as a platform for a group of young composers to develop a proactive movement with
16128-462: Was the Madrid writer Eugenio Noel, who, in his youth, had been a militant casticista . Noel attributed to flamenco and bullfighting the origin of the ills of Spain which he saw as manifestations of the country's Oriental character which hindered economic and social development. These considerations caused an insurmountable rift to be established for decades between flamenco and most "intellectuals" of
16256-429: Was the first Cuban composer to create an electroacoustic piece in 1961. This first composition, titled "Musica Para Danza", was produced with just an oscillator and three common tape recorders. Access to the necessary technological resources to produce electroacoustic music was always very limited for anyone interested. For this reason, it was not until 1969 that another Cuban composer, Sergio Barroso , dedicated himself to
16384-451: Was the leading figure in cante. The winners were "El Tenazas", a retired professional cantaor from Morón de la Frontera, and Manuel Ortega, an eight-year-old boy from Seville who would go down in flamenco history as Manolo Caracol. The contest turned out to be a failure due to the scant echo it had and because Lorca and Falla did not know how to understand the professional character that flamenco already had at that time, striving in vain to seek
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