Relevant bibliographies by topics / Flamenco

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Flamenco'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 June 2025

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Journal articles on the topic "Flamenco"

1

Cid Lucas, Fernando. "Americanismos en las guajiras flamencas: arte entre dos continentes." Revista de Investigación sobre Flamenco "La Madrugá", no. 16 (December 27, 2019): 1–37. http://dx.doi.org/10.6018/flamenco.389401.

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En el presente artículo se analiza la presencia de americanismos insertos en las letras de algunas de las guajiras flamencas más conocidas en el repertorio pasado y actual del flamenco. Por otra parte, se comentarán algunos errores de pronunciación de dichos vocablos venidos desde el continente americano en los que han caído cantaores y cantaoras flamencos. In this article we will analyze the presence of several Americanisms inserted in the lyrics of some of the best known flamenco guajiras in the past and current repertoire of flamenco. In the same way, some solutions will be given to some errors of pronunciation of those words coming from the American continent made by flamenco singers.
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Paulo Selvi, Isabel Amparo. "El flamenco en la Valencia republicana." Revista de Investigación sobre Flamenco "La Madrugá", no. 16 (December 27, 2019): 57–81. http://dx.doi.org/10.6018/flamenco.373721.

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Valencia, a principios de 1930, era una ciudad llena de contrastes con una gran oferta cultural y de ocio. Hubo una colonia flamenca valenciana, una afición y un interés empresarial por los espectáculos flamencos. El flamenquismo arraigado en la urbe se sintió diferente al andaluz como arte y reivindicación social (aunque se dio el debate interno entre los estilos puros y los importados). La creación del Café Cantante Villa Rosa y la breve estancia en él de los hermanos Borrull (1931-1934) fue muy significativa. El objetivo es rescatar esa Valencia flamenca olvidada, descubrir la colonia flamenca valenciana y centrar el interés en el Café Cantante de los hermanos Borrull, y muy especialmente en Concha Borrull, su Capitana. Valencia, at the beginning of 1930, was a city full of contrasts with a great cultural and leisure offer. There was a Valencian flamenco colony, a business interest in flamenco shows. The flamenquismo rooted in the city felt different to the Andalusian flamenco as art and social claim (although there was the internal debate between pure and imported styles). The creation of Café Singer Villa Rosa and the brief stay there of the Borrull brothers (1931-1934) was very significant. The final objective is to rescue that forgotten Flamenco in Valencia, to discover the Valencian flamenco colony and to focus the interest in the Café of the Borrull brothers, and especially in Concha Borrull, its Captain.
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Arredondo Pérez, Herminia, and Francisco José García Gallardo. "Mujer y ambientes flamencos en Huelva: de los cafés cantantes a la Peña Flamenca Femenina." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 29–47. http://dx.doi.org/10.6018/flamenco.546581.

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In this article we present a vision of women in the flamenco scene in Huelva, stopping in several moments, contexts and scenarios of the city. Since the late nineteenth, time of expansion and commercialization of flamenco, the cafés cantantes and other shows, we locate their participation in the professional field in the role of dancers and singers. Until well into the twentieth century, in the flamenco entertainment and male gathering, the presence of women remains relegated and discredited, while in family and festive environments, such as the Pilgrimage of El Rocío, female experiences have been rich and daily, mainly around the interpretation of fandangos. In this context, thanks to the wide radio broadcasting, competitions and recordings, two female singers from Huelva reached a great projection starting in the sixties: Perlita de Huelva and la Niña de Huelva. However, women continue to be separated from the hermetic flamenco circles, reserved for men. Excluded from the peñas, they initiated a significant collective action in the eighties, the original creation of a Peña Flamenca Femenina, with which they opened a new real and symbolic space for women in society, an exceptional achievement in the flamenco world. En este artículo presentamos una visión de la mujer en el panorama flamenco de Huelva, deteniéndonos en varios momentos, contextos y escenarios de la ciudad. Desde finales del XIX, época de expansión y comercialización del flamenco, de los cafés cantantes y otros espectáculos, localizamos su participación en el ámbito profesional en el papel de artistas bailaoras y cantaoras. Hasta bien entrado el siglo XX, en los escenarios flamencos de entretenimiento y reunión masculina, la presencia de las mujeres permanece relegada y desacreditada, mientras que en ambientes familiares y festivos, como la Romería del Rocío, las vivencias femeninas han sido ricas y cotidianas, principalmente en torno a la interpretación de fandangos. En este contexto, gracias a la amplia difusión de la radio, concursos y grabaciones, dos cantaoras onubenses llegaron a alcanzar una gran proyección a partir de los sesenta: Perlita de Huelva y la Niña de Huelva. Sin embargo, las mujeres continuaron apartadas de los herméticos círculos flamencos, reservados para el hombre. Excluidas de las peñas, inician en los ochenta una significativa acción colectiva, la original creación de una Peña Flamenca Femenina, con la que abrieron un nuevo espacio real y simbólico a la mujer en la sociedad, logro excepcional en el mundo flamenco.
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Espino-Bravo, Chita. "Metaphors of Spanish Culture in Flamenco, Gender Roles and Gender Issues: Modern Metaphors to Understand Some Traditional Flamenco Movements and Steps." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 13–27. http://dx.doi.org/10.6018/flamenco.540321.

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The art of Flamenco dance teaches Spanish culture through the dance steps and the metaphors they communicate. Some metaphors from the past are hard to understand, especially when referring to women’s role and social status, as women of the 21st century in Spain have democratic rights women from past centuries did not have. Expressing some of those metaphors through the movements of flamenco is very hard, unless you understand the patriarchal society of then. I will analyze some metaphors flamenco teachers use to explain concepts and gender roles from the past that are hard to understand by younger generations who live in a democratic Spain. By studying the meaning of what flamencas perform on stage, and the role of musicians on stage, we find gender issues and tensions between the female and male artist. Writers like Pardo Bazán, Carmen de Burgos, or Lorca perceived flamenco differently in the past, and their views helped recognize flamenco as a refined art. El arte del baile flamenco enseña la cultura española a través de los pasos de baile y las metáforas que comunican. Algunas metáforas del pasado son difíciles de entender, especialmente cuando se refieren al rol y estatus social de la mujer, ya que las mujeres del siglo XXI en España tienen derechos democráticos que las mujeres de siglos pasados no tuvieron. Expresar algunas de esas metáforas a través de los movimientos del flamenco es muy difícil, a no ser que entiendas la sociedad patriarcal de entonces. Analizaré algunas metáforas que usan los maestros flamencos para explicar conceptos y roles de género del pasado que son difíciles de entender para las generaciones más jóvenes que viven en una España democrática. Al estudiar el significado de lo que las flamencas interpretan en el escenario y el papel de los músicos en el escenario, encontramos problemas de género y tensiones entre el artista femenino y masculino. Escritores como Pardo Bazán, Carmen de Burgos o Lorca percibieron el flamenco de otra manera en el pasado, y sus puntos de vista ayudaron a reconocer el flamenco como un arte refinado.
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Balmatova, Tatiana Mikhailovna. "Crime and Punishment in coplas of cante flamenco." Человек и культура, no. 4 (April 2021): 168–81. http://dx.doi.org/10.25136/2409-8744.2021.4.33420.

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The XXI century, marked by numerous achievements in various fields, became the time of systematic arrangement of not only cante flamenco, but the law enforcement agencies and procedures in Spain as well. These phenomena, which at first glance have no common ground, appear to be inextricably entwined, since in the folklore of Southern Spain are often mentioned the committed crimes and the imposed punishments. The object of this research is the coplas of cante flamencto that contain information about crimes against ethnic groups, prison conditions, family visits procedure, death penalty, correctional labor, physical punishment and other aspects of being in the penitentiary institutions of that time and interaction with the judicial and legal system. The subject of this research is the law enforcement and penitentiary practices in Spain of the XIX centuries. The texts of cante flamenco have not been translated into the Russian language; only some of them drew the attention of domestic researchers, which defines the relevance of conducting interdisciplinary research dedicated to the historical records on the judiciary, prisons and law enforcement practice in Spain of the XIX century, which were contained in coplas of cante flamenco. The goal of this article lies in determination of peculiarities of delivering information related to crimes and punishments in coplas of cante flamencto, and its correspondence to the historical realities of that time. The research is based on the cante flamento colletcions of A. Machado-Alvarez and M. Balmaceda published in 1881. It is established that the lyrics of flamenco songs accurately reflect the difficulties and flaws in various aspects of functionality of the judicial and legal system and penitentiary institutions during their integration into the state system.
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Bäcker, Rolf. "El modo dórico en el flamenco: La teoría musical al servicio de la ideología." Súmula: Revista de Teoría y Análisis Musical 1, no. 2 (2023): 141–58. http://dx.doi.org/10.59180/29525993.a3900618.

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Entre los elementos musicales más característicos del flamenco se encuentra el modo frigio, máximo responsable a nivel auditivo del carácter exótico que se suele atribuir al género. Este modo, en algunas publicaciones puntuales, pero muy influyentes desde la segunda mitad del siglo XX, fue re-bautizado como “modo dórico” o “modo dórico flamenco”. El presente articulo pretende arrojar luz sobre las referencias de esta re-interpretación en fuentes de la Antigüedad clásica, donde se encuentran las raíces de la relación entre la estructura musical y el uso terminológico. Mediante un análisis de carácter semiótico se esbozará un conjunto de denotaciones y connotaciones que reflejan dicotomías fundamentales en la construcción de identidades occidentales y orientales. Estas dicotomías se encuentran también en la creación de un imaginario español y, por extensión, del flamenco desde la segunda mitad del siglo XVIII. Desde las primeras consideraciones del flamenco por parte de la intelectualidad española a finales del siglo XIX, se aprecia una voluntad de relativizar sus asociaciones incómodas y enfatizar sus aspectos tradicionales, artísticos y especialmente históricos. Éstas, a su vez, servían de fundamento para que una parte de la flamencología realizase la descrita re-interpretación del modo frigio como dórico. Finalmente se situará la re-interpretación en su contexto ideológico de la segunda mitad del siglo XX, con respecto tanto a la estética flamenca como al trasfondo histórico-político.
 Palabras clave: flamenco, frigio, dórico, semiótica, ideología
 AbstractThe Phrygian mode appears amongst flamenco’s most characteristic musical elements, responsible for the exotic character often attributed to the genre. This mode was re-named “Dorian mode” or “Dorian flamenco mode” in some of the most influential publications since the second half of the 20th century. The present article pretends to shed some light on the references of this re-interpretation in the classical Antiquity, where the roots of the link between musical structure and terminology can be found. By means of a semiotical analysis, a sketch of a group of connotations and denotations will be made which reflect fundamental dichotomies for the construction of Western and Eastern identities. These dichotomies can also be found in the creation of a Spanish and, by extension, flamenco imagery since the second half of the 18th century. Beginning at flamenco’s first mention by Spanish intellectuals at the end of the 19th century, a will to play down embarrassing associations and emphasize traditional, artistic and especially historical aspects can be observed. These, in turn, served a part of modern flamencology as a basis for the above described re-interpretation of the Phrygian mode as Dorian. Finally, the resulting discourse is explained in the ideological context of the second half of the 20th century, with respect to flamenco aesthetics as well as the historical-political background.
 Keywords: flamenco, Phrygian, Dorian, semiotics, ideology
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Millán Vázquez de la Torre, Mª Genoveva, Salud Millán Lara, and Juan Manuel Arjona Fuentes. "Análisis del flamenco como recurso turístico en Andalucía." Cuadernos de Turismo, no. 38 (November 21, 2016): 301. http://dx.doi.org/10.6018/turismo.38.1461.

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<p>El flamenco es un arte que nace en Andalucía resultado de una fusión de culturas que<br />convivieron durante siglos en esta tierra. La fuerza del flamenco hace que se haya convertido<br />en marca de identificación de Andalucía y de España, lo que se traduce en una demanda<br />exterior y una afluencia de turistas conocedores del flamenco o con curiosidad por el mismo.<br />El turismo cultural del flamenco, tiene una importante repercusión económica sobre el<br />sector del espectáculo, de la formación, hostelería y otras industrias asociadas, como la de<br />complementos flamencos. El flamenco como marca debe tener un apoyo público y privado<br />andaluz que potencie su desarrollo y favorezca la afluencia de turismo cultural.</p>
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Gallardo Saborido, Emilio J. "Narrativas de ida y vuelta: flamenco, tauromaquia, literatura y diálogos transatlánticos." Cultura, Lenguaje y Representación 24 (November 2, 2020): 75–88. http://dx.doi.org/10.6035/clr.2020.24.4.

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Esta contribución se acerca a las relaciones entre narrativa y flamenco en sendas novelas escritas por autores latinoamericanos en el primer tercio del siglo XX (Santa, 1903, del mexicano Federico Gamboa, y El embrujo de Sevilla, 1922, del uruguayo Carlos Reyles). De este modo, se atiende al uso del flamenco como marcador de la identidad andaluza y como recurso propiciador del diálogo transatlántico entre España y América Latina. Específicamente, en el caso de Gamboa se prioriza la reflexión sobre las relaciones entre masculinidad andaluza y flamenco; mientras que en el de Reyles se profundiza en las conexiones entre flamenco y religión. En fin, ambos textos se insertan y dialogan con una dilatada tradición literaria que recurre a Andalucía como cornucopia creativa, como acicate de la imaginación, al tiempo que patentizan el contemporáneo trasiego cultural entre España y América Latina, que ha tenido como puente de unión el flamenco y los flamencos.
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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.
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Llorent-Bedmar, Vicente, and Macarena Cortés-Vázquez. "INFLUENCIA ISLÁMICO-ANDALUZA EN LA CONSTRUCCIÓN DEL FLAMENCO COMO GÉNERO MUSICAL." Conhecimento & Diversidade 15, no. 39 (2023): 190–212. http://dx.doi.org/10.18316/rcd.v15i39.11169.

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El flamenco es considerado el estilo musical que más identifica al pueblo español. Surge como fruto del mestizaje cultural que se produjo cuando musulmanes, judíos, gitanos y cristianos convivieron durante siglos en Al-Ándalus, dando lugar al estilo musical que hoy conocemos como género flamenco. Esta investigación tiene como objetivo detectar la presencia de la cultura islámica en la música flamenca desde la perspectiva de la cultura mediterránea. Se ha utilizado una metodología eminentemente cualitativa y se ha efectuado una revisión sistemática de la literatura. A tal efecto se ha empleado la metodología PRISMA. Entre los resultados, encontramos numerosas letras populares del género flamenco que aluden al pueblo islámico y relatan su memoria histórica. Las entonaciones musicales del flamenco guardan en su música el tono oriental y comparten con el islam melodías similares a manifestaciones del pueblo musulmán. Las pinturas antiguas nos han permitido hallar semejanzas entre el posicionamiento corporal de la bailarina de danza del vientre y la bailaora de flamenco. Concluimos afirmando que las influencias islámicas son especialmente relevantes en el origen y posterior consolidación del flamenco como género musical.
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Dissertations / Theses on the topic "Flamenco"

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Hernández, Barberena Erika Leticia [UNESP]. "A dança flamenca: uma experiência de ensino-aprendizagem." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86921.

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Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-09-04Bitstream added on 2014-06-13T20:49:05Z : No. of bitstreams: 1 hernandezbarberena_el_me_ia.pdf: 1941105 bytes, checksum: e8c91984180c13f43a7c050c7af57a3e (MD5)<br>Universidade Estadual Paulista (UNESP)<br>Esta pesquisa analisa uma experiência de ensino e aprendizagem da dança flamenca desenvolvida em uma academia em São Paulo, junto a duas turmas e abarcando um total de doze participantes. Utilizando os conceitos de experiência, experiência estética e vivencia estética, foram considerados os recursos que possibilitam um aumento da qualidade do ensinoaprendizagem desta dança. A dança flamenca é uma arte originada pela miscigenação de culturas ciganas que se fixaram em Andaluzia, sul da Espanha, de onde surgiram seu toque, bailado, ritmo e canto. A expressão corporal ou El duende, aquele sentimento que se expressa mediante o flamenco, é necessário para uma interpretação que se conecte com o público. Nesta dissertação, realizo ainda uma reflexão sobre o significado e a importância do conceito de duende para quem interpreta/dança o flamenco. Os procedimentos de pesquisa foram: análise de material bibliográfico sobre história e características do flamenco; descrição sobre os processos de aulas e entrevistas escritas sobre os sentidos produzidos pelos participantes a respeito de suas experiências com a dança flamenca. Os aprendizados com esta pesquisa são essencialmente: maior compreensão sobre o conceito de duende, a valorização da reflexão sobre o movimento durante a aula, para conseguir o desenvolvimento e expressão do duende; assim como a criação de dois elementos para o ensino do flamenco - a utilização do espelho-lousa e a criação de um roteiro coreográfico para vivenciar com os alunos.<br>La presente investigación analiza la experiencia de enseñanza y aprendizaje de danza flamenca desarrollada en una academia de danza en São Paulo y en la cual participaron dos grupos, totalizando doce alumnos. Mediante el uso de los conceptos de experiencia, experiencia estética y vivencia estética, se consideraron los recursos que posibilitan un aumento en la calidad de enseñanza-aprendizaje de esta danza. La danza flamenca es un arte originado por la combinación de diversas culturas llevadas a Andalucía -sur de España- por los gitanos, de donde surgió el toque, baile y cante. La expresión corporal o El duende, aquel sentimiento que se expresa mediante el flamenco, es necesaria para una interpretación que llegue al público. Esta investigación entraña una reflexión sobre el significado y la importancia del duende para quien interpreta/baila flamenco. Los procedimientos de investigación fueron: análisis del material bibliográfico sobre la historia y características del flamenco; descripción sobre los procesos en las clases y las entrevistas escritas sobre los sentidos producidos por los participantes con respecto a sus experiencias con la danza flamenca. Los aprendizajes con esta investigación son, esencialmente, el hallazgo de dos herramientas para la enseñanza del flamenco (utilización del espejo como pizarrón y creación de una guía coreográfica escrita para entregar a los alumnos), el esclarecimiento y análisis del concepto duende, así como la valorización de la racionalización del movimiento por parte de los alumnos durante la clase, para conseguir desarrollar y expresar el duende.
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Körberg, Johanna. "Takkronan Flamenco." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2726.

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Mitt magisterarbete i inredningsarkitektur och möbeldesign på Konstfack handlar om rum, ljus och skugga. Som magisterarbete har jag formgett en takkrona. Mitt projekt har varit ett experiment med ljus och skuggspel och en utmaning att förena funktion, formgivning, material och teknik.<br>Master / InSpace 2009
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Moreno, Peracaula Xavier. "Nuevo flamenco : re-imaging flamenco in post-dictatorship Spain." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3231.

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This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. Even though this project is rooted in popular music studies it also attempts to think through the issues covered in relation to concepts and methodologies of other disciplines such as postcolonial studies, anthropology, and cultural theory. The aim is to create a dialogue between these disciplines and explore the ways they can bring a new focus and a set of analytical tools to bear on the material of study.
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LOBATO, JUAN ALEJANDRO. "CLASSICAL TO FLAMENCO CLARINET : HOW TO APPROACH FLAMENCO FROM A CLASSICAL PERSPECTIVE?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4176.

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About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future.<br><p>Inspelningen av konserten startar efter några minuter.</p>
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Lobato, Juan Alejandro. "Classical to flamenco clarinet : How to approach Flamenco from a classical perspective?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4185.

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About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future.<br><p>Inspelningen av konserten startar efter några minuter.</p>
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Paviot, Arnaud. "La guitare flamenca de 1920 à nos jours." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2033/document.

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Dans l’imaginaire comme dans la pratique, la guitare et le flamenco sont indissociables. Cette alliance dure depuis plus d’un siècle et demi. Depuis le creuset andalou, le flamenco s’est peu à peu formé. D’abord art festif des fêtes privées, il est sorti de ce cadre pour trouver d’autres lieux de représentation. Ce furent les cafés-cantantes, puis les concours, puis les opéras-flamencos. Il fût parfois l’objet de controverses et de débats entre les défenseurs de la modernité et ceux de la tradition. Le flamenco est une musique immédiatement identifiable pour un auditeur profane. Il est pourtant constitué d’un nombre important de formes et de familles de formes. L’objet de cette étude est de montrer les récurrences dans les formes - les palos- afin de pouvoir identifier la forme par l’analyse rythmique, littéraire et musicale, et en particulier en se basant sur le jeu de guitare<br>In imaginary as well than in practice, guitar and flamenco music are inseparable . This alliance last for more than a century and half. From the Andalusian melting pot, flamenco has little by little formed himself. At first festive art from private parties, he went out to find new places of representation. That was the cafés-cantantes, then the competitions, then the opéras-flamencos. He was sometimes the object of controversy and of debates between defenders of modernity and tradition. Flamenco is an immediately identifiable music for a profane auditor. But he is constituted of an important numbers or forms or of form family. This study object is to show recurrences in the forms – the palos – to be able to identify the form by rhythmical, literary and musical analysis, particularly basing itself on the guitar playing
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Margaça, Paulo André Ferreira. "Culturas na guitarra: flamenco." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/9390.

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Mestrado em Música para o Ensino Vocacional<br>O presente trabalho, integrado no âmbito do Mestrado em Música para o Ensino Vocacional da Universidade de Aveiro, pretende confrontar um grupo de alunos de guitarra clássica do ensino oficial com o Flamenco, cultura estranha ao universo em que se insere o repertório da guitarra clássica. Tal projecto não pretende substituir os conteúdos do ensino regular mas, simplesmente, incentivar o contacto dos estudantes de guitarra clássica com outro género musical, bem como avivar o interesse das instituições oficiais pela implementação de outras culturas musicais no percurso académico dos alunos. O documento de apoio ao trabalho é composto por: a) Apresentação histórica que engloba a etimologia da palavra Flamenco, as origens do Flamenco, a história do Flamenco e principais géneros e suas características; b) Compilação e demonstração de técnicas guitarrísticas flamencas (punteado, rasgueado, golpe, técnica do polegar, trémolo flamenco, alzapúa, entre outras); c) Descrição do modo como foram implementados todos os conteúdos programáticos durante o projecto educativo, e das estratégias adoptadas para ultrapassar as dificuldades dos alunos.<br>The following work integrated into the framework of the Master’s degree in Music for the Vocational Education, of the University of Aveiro, wants to confront a group of classical guitar students from the official teaching with Flamenco, strange culture to the world in which the classical guitar repertoire is inserted. This project does not intend to replace the contents of the general education, but simply to encourage the contact between classical guitar students and another genre, as well as revive the interest of the state institutions for the implementation of other musical cultures in the students’ course. The document to support the work consists of: a) Historical presentation that includes the etymology of the word Flamenco, the origins of Flamenco, Flamenco history and the main genres and their characteristics; b) Compilation and demonstration of Flamenco Guitar techniques (punteado, rasgueado, golpe, thumb technique, flamenco tremolo, alzapúa, among others), c) Description of how all the syllabuses have been implemented during the educational project and the adopted strategies to overcome students' difficulties.
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Nastri, Andrea. "The unforgotten passion of flamenco /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1537.html.

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Thesis (M.S.)--Central Connecticut State University, 1998.<br>Thesis advisor: Gloria Caliendo. [In partial fulfillment of the requirements for the degree of Master of Science for the Department of Modern Languages.]. Includes bibliographical references (leaves [57-58]).
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Chuse, Loren. "The cantaoras : music, gender, and identity in flamenco song /." New York : Routledge, 2003. http://www.loc.gov/catdir/enhancements/fy0647/2002190800-d.html.

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Rodríguez-Quiles, y. García José A. "¿Están los alemanes interesados por el flamenco? : una aproximación a la cultura flamenca en la República Federal." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3213/.

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Are the Germans interested in flamenco nowadays? If so they are, then how can a type of art that is so different from both German cultured and popular music be represented in the culture of that country? Possible answers to this and other questions on the still romantic image of flamenco held in Central Europe, will be provided by the analysis of the flamenco being offered at German universities, festivals, private dance schools, publishing houses and websites.
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Books on the topic "Flamenco"

1

Lafuente, Rafael. Los gitanos, el flamenco y los flamencos. Signatura Ediciones de Andalucía, 2005.

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Vargas, Manuel Ríos. El flamenco y los flamencos de Alcala. Virgilio Marquez, 1990.

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Schommer, Alberto. Flamenco. General, Caja de Granada, 1997.

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Olivo, Silvia Calado. Todo sobre flamenco =: All about flamenco. Ediciones Absalon, 2005.

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Caballero, Angel Alvarez. Gitanos, payos y flamencos, en los orígenes del flamenco. Editorial Cinterco, 1988.

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Lemogodeuc, Jean-Marie. Le Flamenco. Presses universitaires de France, 1994.

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Martin, Tenley. Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9.

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Panadés, Rosa Ma. Sentido flamenco. Focal, 1997.

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Stilton, Gerónimo. Académie flamenco. Albin Michel jeunesse, 2013.

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1917-1968, Molina Ricardo, ed. Cante flamenco. Taurus Ediciones, 1985.

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Book chapters on the topic "Flamenco"

1

Martin, Tenley. "Introduction." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_1.

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Martin, Tenley. "An Introduction to Flamenco and Globalisation." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_2.

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Martin, Tenley. "Sevilla: Local Scenes and Ex-Pat Communities." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_3.

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Martin, Tenley. "Madrid: The Consummate Professional Scene." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_4.

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Martin, Tenley. "Flamenca Britannica: One Foot in Andalucía." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_5.

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Martin, Tenley. "Connected by the Compás: An Analysis of Cultural Transmission and Links Between Spain and the UK." In Transnational Flamenco. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37199-9_6.

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Marangon, Barbara File. "Two Flamenco Dances." In Passion and Elegance. Routledge, 2024. http://dx.doi.org/10.4324/9781003366928-11.

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Figueroa-Dreher, Silvana K. "Flamenco und Free Jazz." In Improvisieren. Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-07575-0_4.

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Kinter, Achim. "Agilität, Flamenco und etwas Kleist." In Die präventive Funktion von Krisen. Frank & Timme GmbH, 2023. http://dx.doi.org/10.57088/978-3-7329-8948-5_4.

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Marangon, Barbara File. "Arrival of Flamenco in Spain." In Passion and Elegance. Routledge, 2024. http://dx.doi.org/10.4324/9781003366928-5.

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Conference papers on the topic "Flamenco"

1

Frontiera, Patricia L. "Flamenco + Geo." In Proceeding of the 2nd international workshop. ACM Press, 2008. http://dx.doi.org/10.1145/1460007.1460022.

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Elliott, Ame. "Flamenco image browser." In CHI '01 extended abstracts. ACM Press, 2001. http://dx.doi.org/10.1145/634067.634112.

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Elliott, Ame. "Flamenco image browser." In CHI '01 extended abstracts. ACM Press, 2001. http://dx.doi.org/10.1145/634110.634112.

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Fratila, Mariana. "FLAMENCO - TRADITION AND INNOVATION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.035.

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Doërr, Gwenaël. "Digital Flamenco with Video Pirates." In IH&MMSEC '24: ACM Workshop on Information Hiding and Multimedia Security. ACM, 2024. http://dx.doi.org/10.1145/3658664.3659663.

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Stüvel, Sybren. "Flamenco: The Simple Open Source Render Farm." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2023. http://dx.doi.org/10.1145/3588029.3599738.

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Liu, Chien-Hung, and Chuan-Kang Ting. "Fusing Flamenco and Argentine Tango by evolutionary composition." In 2017 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2017. http://dx.doi.org/10.1109/cec.2017.7969627.

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Khan, Omar Masood, Raed M. Shubair, and Qamar Ul Islam. "Second order flamenco fractal antenna for industrial scientific and medical applications." In 2017 International Conference on Electrical and Computing Technologies and Applications (ICECTA). IEEE, 2017. http://dx.doi.org/10.1109/icecta.2017.8252031.

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Khan, Omar Masood, Qamar Ul Islam, Raed M. Shubair, and Asimina Kiourti. "Novel multiband Flamenco fractal antenna for wearable WBAN off-body communication applications." In 2018 International Applied Computational Electromagnetics Society Symposium (ACES). IEEE, 2018. http://dx.doi.org/10.23919/ropaces.2018.8364250.

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Perales Molada, Rosa María, and Elena Moreno Fuentes. "EDUCATION AND HERITAGE: THE ROLE OF FLAMENCO IN PRIMARY EDUCATION LAWS IN SPAIN." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.0625.

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Reports on the topic "Flamenco"

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Ballart, Pere. A la manera de un pintor flamenco: una nota a los dietarios de Pere Rovira. Edicions de la Universitat de Lleida, 2019. http://dx.doi.org/10.21001/scriptura.2019.27.05.

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Fernández de Molina Ortés, Elena. La sufijación como recurso estilístico del flamenco: nuevos datos a partir de un corpus oral. Edicions i Publicacions de la Universitat de Lleida, 2024. http://dx.doi.org/10.21001/sintagma.2024.36.10.

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Anzillotti Zamorano, Marta. ECMI Minorities Blog. The Cultural Appropriation of Flamenco: Views of Gitanos from Jerez de la Frontera. European Centre for Minority Issues, 2023. http://dx.doi.org/10.53779/aapl9656.

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With discussions surrounding cultural appropriation ongoing in numerous spheres including music, fashion, and language, this blogpost explores the ever-changing nature of culture through the first-hand accounts of Gitanos from Jerez de la Frontera. The presence of the Gitano minority in Jerez has historically had – and continues to have – a significant impact on the city. This is especially true regarding flamenco, an artform encompassing centuries of history and culture. In this blogpost, the author uses interviews and a survey conducted for her MA thesis, as well as two case studies (namely that of Lola Flores and Rosalía), to explore the various ways of approaching and contextualizing theoretical understandings of cultural appropriation.
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