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Flamenco in spanish culture
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The video featuring Paco de Lucia- Entre dos Aguas (1976), is an instrumental piece, with the guitar as the main focus. Paco de Lucia plays the guitar with a great deal emotion and intensity. The ensemble plays a variety of instruments which represents a traditional style of band arrangements. The bongo player is instrumental in keeping the beat and rhythm through the song. The flamenco music echoes a jazz influence. While listening to this performance, I could sit back, relax and enjoy the music!
The video featuring Gipsy Kings Bamboleo (Ygor de Sant'Anna) is a contemporary performance of flamenco music, that’s full of energy and very exciting. The performance features several guitar players who are singing, dancing and hand clapping.
“Santo Domingo” highlighted the stunning, fast-paced playing of Quintero, who rapped and fingered the strings of her guitar almost simultaneously, creating a clean and indiscernible rhythm between the two.
In this piece, two male musicians took turns during the performance to sing their parts. It starts off slow, as opposed to most of the music played that afternoon. During the middle of the piece, the guitarron continued strumming while Stacy Lopez, the vihuela player, made noises that sounded as if the vihuela itself was being struck. “Para Que Me Haces Llorar” soon came to a close; at least, it sounded like it was. As immediately as that song ended, the next piece started just as quickly and it had a song that had a familiar rhythm- and sure enough, it was the song “Stand by Me” but in Spanish. This part starts off with violins being plucked and with a calmer tone with a pace that builds up. Later on, all the musicians snapped their fingers as one of the singers were singing. After the singer finished his part, the violinists took over the microphones and made a deeper sound than what was heard out of the eight pieces
In a complete Mariachi group today there are as many as 6 to 8 violins, 2 trumpets, and a guitar, which are all standard European instruments. Then there is a high-itched, round-backed guitar called the vihuela, which when strummed in the traditional manner gives the mariachi its typical rhythmic vitality; a deep voiced guitar called the guitarr'o which serves as the bass of the ensemble; and a Mexican folk harp, which usually doubles the base line, but also ornaments the melody.
There were three techniques I heard at this performance which were back beat, rhythmic contrast, and break. Within “Unsquare Dance”, the bass, played by Carlos Henriquez, provides a steady back beat throughout most of the performance. The accompaniment of the
The details of intense experiences are often times not easily lost to others who acknowledge secondhand wonder when it is conveyed passionately. In other words, there are stimulating occurrences within even the most mundane lifetime that provide incredible sensory and a life changing incentive. Furthermore, this experience has the overwhelming power to convince others to pursue that event’s awe. An example of such an influential event is expertly playing an instrument and marching deliberately within The Pride of the Devils in front of a populous crowd. The primary reveal of The Pride’s strength is portrayed within the time-withstanding moments of the pregame exhibition as well as the enduring image of the half-time show. Because of the precise
Just from the title the melody of the song was very luring almost toxic enough to put me into a deep sleep, but at the same time sending a slight chill down my spine. In the beginning of the song, it was inviting with the beating of the percussion instruments though from where I was sitting it looks like there is two groups taking side of the percussion players fighting it out. Once the string instrument enter into the fray the song becomes a polyphonic texture with an allegro and moderato melody. It was very balanced and almost has a theme of many Egyptian theme music. The percussion instrument takes the lead in this song with the backing of the string building up the big finale of the song. However, in the beginning to the half of the middle it was playing it a smooth moderato pace having a quadruple meter beat. The rhythm is specular because it recoursed from the percussion instrumentalist from beginning to near the end. Creating a nice dramatic expressive quality into the song. In the second half of the song, it alternated between upbeat and downbeat creating an atmosphere of a battle between two opposing forces. The song ended in a big bang sending every single person wide-awake and almost I felt a slight adrenaline before I
The music in la danza del venado sets the mood for the story. The rhythm of the music coincides with the pace of the deer performer. The music slows as the deer starts to die, and speeds up when interacting with the hunters. The instruments used in la danza del venado music are percussions. Such as: the reed flute, percussions, rasps, gourds, rattles. In addition to the instruments. Chanting
Segovia asked Ponce to write works for the guitar. In response Ponce produced the four movements Sonata Mexicana and the setting of a Mexican folksong, La Valentina. Ponce?s and Segovia?s relationship became more than mutual professional connection, it developed into close personal friendship which allowed Segovia to impose his creative preferences on Ponce?s compositions (Segal 221). In one of his letter, Segovia gave specific instructions on what type of music he needed for each performing occasion. For instance, in Concierto del Sur Segovia suggested using rasgueado chords to accompany the development of second theme ,and these were indeed added by Ponce to the piece. Ponce accepted Segovia?s participation in the creative process but he still was able to make his own decisions (Segal 225). Under a close working relationship, Ponce viewed the guitar
Morales, Ed. The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond. Cambridge, Massachusetts: Da Capo, 2003. Print.
Jorge Montilla (b. 1970) stands as a major Venezuelan clarinet performer, arranger and composer of the twenty-first century. His arrangements and compositions for the solo Eb clarinet, solo bass clarinet, Eb with piano, and clarinet duets, trios and quartets are been played all over the globe. These compositions and arrangements are extraordinary well written for the clarinet. Montilla knows the strengths of each different clarinet, bass, Eb and soprano. Most of his pieces show his roots in Venezuelan folk music, giving him an enormous advantage to write for the clarinet family. His repertoire for these instruments consists of solo work for Eb and bass clarinet, duets for two Bbs, trio for bass clarinet and two soprano clarinets, trio for Eb, Bb Soprano and Bass clarinet, clarinet quartet “Four for Four,” and arrangements of Latin American composers such as Beatriz Lockarht and Astor Piazzolla.
The instruments used for this song is of a standard rock band; lead vocalist, electric guitar, bass guitar and drum kit. The genre for this song is determined by the steady and yet simplistic instruments used in this version. An interesting note is that the chorus is in the genre of rock but the verses combine the genres tango and reggae. This could be because merging these three different styles of music attracted the attention of youth more with rock being rebellious at that time and tango and reggae having a heavy beat for that time period. ...
The melody is consistent with the song. The string instruments are prominent whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del movimiento.
Flamenco (may refer to ‘Flamingo’ - bird or the ‘Flanders’ region) originated (much later than Kathak) in 18th century Southern Spain-Andalucía . It was mostly performed by the Andalucía society that comprised Gitano (Gypsies). However, unlike Kathak, Flamenco dancers were from diverse professional backgrounds and the dance was not necessarily confined to a small group of people. Unlike Kathak, Flamenco dance lacked prestige because the Gitanos were discriminated and prosecuted because of their ethnicity. Flamenco mostly dealt with themes of hope/struggle/will power/bonding/patriotism - a representation of the general life of the gypsies. The early form of Flamenco solely consisted of verbal communication of stories carrying the mentioned themes.
Flamenco is an individualistic folk art, a genuine Southern art form, which was mainly originated by Andalusian gypsies. It exists in 3 forms: El cante, song, el baile, dance and guitarrra, guitar playing. Its roots also are with Arabs, Spanish Jews and socially outcasted Christians. The flamenco essence is song, which is usually accompanied by guitar and improvised dance. Complex rhythmic patterns and sophisticated footwork differs from other European dance forms.
This is a critical acclaim encyclopedic production in which reflects on as well as celebrates the history of the roots of rhythm the popular sounds we call Latin music, to the tribal celebrations in African jungles and the wild carnivals which focuses on array artists such as Gloria Estefan, Tito Puente, Dizzy Gillespie, Desi Arnaz, Celia Cruz, Ruben Blades, Isaac Oviedo, King Sunny Ade also the rare archival footage features Dizzy Gillespie's 1948 number "Manteca," bandleader Xavier Cugat's "Gypsy Mambo," and a cartoon clip of Donald Duck doing "Tico Tech