Relevant bibliographies by topics / Flamenco jazz

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Flamenco jazz'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Flamenco jazz"

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Pamies, Rodríguez Sergio. "La contribución indirecta de Chick Corea al nuevo flamenco a través de Paco de Lucía." Música Oral del Sur, no. 21 (December 30, 2024): 319–60. https://doi.org/10.5281/zenodo.14959078.

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Se puede apreciar una evolución en cuanto al empleo de recursos rítmicos en las bulerías compuestas por el guitarrista flamenco Paco de Lucía tras el encuentro con el pianista de jazz norteamericano Chick Corea. Además de esta evolución rítmica, De Lucía consigue introducir la práctica de la improvisación entre las generaciones posteriores de flamencos. Algunas de estas contribuciones indirectas de Corea al movimiento que se ha descrito como nuevo flamenco pueden explicarse como malinterpretaciones creativas. Las transcripci
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Manuel, Peter. "Flamenco Jazz: An Analytical Study." Journal of Jazz Studies 11, no. 2 (2018): 29–77. http://dx.doi.org/10.14713/jjs.v11i2.113.

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José, Manuel Gamboa. "La musicalización de la sonanta." Música Oral del Sur, no. 5 (March 13, 2002): 153–66. https://doi.org/10.5281/zenodo.4629617.

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Frente a la visión extendida desde el pasado decimonónico, por viajeros románticos y plumillas, de que el guitarrista flamenco era un rudimentario rascador de tripas, con mucho arte popular pero ajeno por completo al lenguaje y ámbito filarmónicos, aparecen cada día nuevos documentos que confirman la relación e intercambio de conocimientos entre los artistas flamencos y los llamados clásicos. Los rascatripas encerrados en su microuniverso no representaban al gremio artístico, que estaba en relaciones con otros colegas de las seis c
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Bashmakova, Natalia, and Liliya Bakalinska. "„HOMMAGE A PACO” BY FRANK ANGELIS IN THE CONTEXT OF CONTEMPORARY TRENDS OF ACCORDIONAL ART." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 102–10. http://dx.doi.org/10.33287/222009.

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The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subjec
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Munoz-Garcia, Rebeca, and Constanza Tobio-Soler. "Gender and jazz research in Spain." Jazz Research Journal 16, no. 2 (2024): 107–28. http://dx.doi.org/10.1558/jazz.26638.

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During the last two decades, the little jazz research that has been conducted in Spain has focused on examining both flamenco jazz, as the most important contribution of Spanish culture to jazz, and sociocultural meanings of jazz development, mainly from a political and historical perspective. This period has also coincided with a significant development in jazz studies outside of the United States, and a key juncture for gender and feminist studies in Spain that concurred with the emergence of fourth-wave feminism. Spanish gender research in music has traditionally focused on written music, p
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Casas-Mas, Amalia, Juan Ignacio Pozo, and Ignacio Montero. "The influence of music learning cultures on the construction of teaching-learning conceptions." British Journal of Music Education 31, no. 3 (2014): 319–42. http://dx.doi.org/10.1017/s0265051714000096.

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Current research in music education tends to put the emphasis on learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal and informal settings: Classical, Jazz and Flamenco, respectively. We observed the conceptions of learning, teaching and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting out on their professio
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KUCHERENKO, Anastasia L., and Nina A. KONOPLEVA. "The problem of musicality and musical styles of flamenco." Service plus 18, no. 2 (2024): 50–58. https://doi.org/10.5281/zenodo.12177127.

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This article is devoted to the problem of musicality and musical abilities, emphasizing personal perception and interpretation of music. These categories are viewed in the context of the personal-activity approach. It is stated that musical abilities are manifested in three varieties: listening to music, performing it and composing. It is emphasized that musicality of a person is expressed in the following abilities: the ability to feel music emotionally by ear, the ability to recognize the pitch of a sound, the ability to remember and reproduce melodies, as well as to create new ones. The aut
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Zagalaz, Juan. "The Jazz–Flamenco Connection: Chick Corea and Paco de Lucía Between 1976 and 1982." Journal of Jazz Studies 8, no. 1 (2012): 33. http://dx.doi.org/10.14713/jjs.v8i1.23.

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The close collaboration between Chick Corea and Paco de Lucía shows a clear example of the connection between jazz and flamenco. The release of Corea’s <em>My Spanish Heart </em>(1976), an explicit approach to the Latin and Spanish musical spheres, and the recordings of Paco de Lucía with jazz saxophonist Pedro Iturralde in the late 60’s led Paco and Chick to discover one another. This article offers an analytical perspective of the early years of this collaboration by reviewing Corea’s records <em>My Spanish Heart </em>and <em>Touchstone </em>(1982)<em&g
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Bartolomé-Tomás, Almudena, Roberto Sánchez-Reolid, Alicia Fernández-Sotos, José Miguel Latorre, and Antonio Fernández-Caballero. "Arousal Detection in Elderly People from Electrodermal Activity Using Musical Stimuli." Sensors 20, no. 17 (2020): 4788. http://dx.doi.org/10.3390/s20174788.

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The detection of emotions is fundamental in many areas related to health and well-being. This paper presents the identification of the level of arousal in older people by monitoring their electrodermal activity (EDA) through a commercial device. The objective was to recognize arousal changes to create future therapies that help them to improve their mood, contributing to reduce possible situations of depression and anxiety. To this end, some elderly people in the region of Murcia were exposed to listening to various musical genres (flamenco, Spanish folklore, Cuban genre and rock/jazz) that th
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Mustika, Reksi, Supriando Supriando, and Murniati Murniati. "Interpretasi Solis Gitar dalam Pertunjukan Repertoar Asturias, Joget Hitam Manis, dan Tears of an Angel." Bercadik: Jurnal Pengkajian dan Penciptaan Seni 7, no. 1 (2023): 63. https://doi.org/10.26887/bcdk.v7i1.4767.

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Pertunjukan solis gitar ini menggabungkan tiga repertoar dari era dan genre yang berbeda, yaitu "Asturias" karya Isaac Albéniz, "Joget Hitam Manis," dan "Tears of an Angel" karya Marty Friedman. Masing-masing repertoar dipilih untuk menggambarkan beragam teknik dan gaya permainan gitar, mulai dari klasik hingga rock instrumental. "Asturias" disajikan dalam format solo gitar dengan menonjolkan teknik arpeggio, rasgueado, dan harmonized yang khas dari musik flamenco Spanyol. Repertoar kedua, "Joget Hitam Manis," adalah lagu Melayu yang diaransemen ulang dengan nuansa jazz, dimainkan dalam format
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Dissertations / Theses on the topic "Flamenco jazz"

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Pamies, Sergio 1983. "The Controversial Identity of Flamenco Jazz: A New Historical and Analytical Approach." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849724/.

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There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this fiel
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Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.

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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so,
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Martínez, Casañ David. "Desde el estudio de la taranta, cantiña y bulería de Camarón de la Isla hasta su reinterpretación como propuesta práctica." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90622.

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Abstract "Desde el estudio de la taranta, cantiña y bulería de Camarón de la Isla hasta su reinterpretación como propuesta práctica". Our present work is based on the study of the musical language of flamenco. The need for this kind of investigation becomes obvious if we look at the fact that, despite being declared a World Heritage by UNESCO in 2010, unlike other urban music forms, flamenco does not yet have a unified theory. The evolutionary process flamenco has undergone in the past 50 years, has integrated different cultures incorporating new musical instruments and harmonic concepts far
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Books on the topic "Flamenco jazz"

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Alexis, Canal, and Aguado Kiko, eds. El jazz habla español: 63 entrevistas con musicos de jazz, blues, world, tango-jazz, latin-jazz, flamenco-jazz. EDUCatt, 2011.

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Martínez, José María García. Del fox-trot al jazz flamenco: El jazz en España, 1919-1996. Alianza, 1996.

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Herrero, Germán. De Jerez a Nueva Orleans: Análisis comparativo del flamenco y del jazz. Don Quijote, 1991.

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Javier, Rabassó Fco, ed. Federico García Lorca entre el flamenco, el jazz y el afrocubanismo: Granada, Nueva York, La Habana. Ediciones Libertarias, 1998.

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Jazz, flamenco, tango: Las orillas de un ancho río. Editorial Catriel, 1994.

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Hess, Carol A. Manuel de Falla's El amor brujo. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197622865.001.0001.

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Abstract El amor brujo (Love, the Magician) is a theater work by the Spanish classical composer Manuel de Falla that showcases flamenco, the music of the Spanish Gitanos (gypsies). When it premiered in Spain, in 1915, it proved controversial: some Spanish critics applauded Falla for celebrating the music of a marginalized culture while others attacked his mixing of classical and popular idioms. El amor brujo has long intrigued arrangers and artists, however. It has been repeatedly reshaped, rearranged, and repackaged, either by Falla himself or by artists ranging from the concert pianist Artur
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Bonadio, Enrico, and Chen Wei Zhu, eds. Music Borrowing and Copyright Law. Hart Publishing, 2023. http://dx.doi.org/10.5040/9781509949410.

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This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices. Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk
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Book chapters on the topic "Flamenco jazz"

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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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Fraser, Benjamin. "Sketches of Flamenco." In Beyond Sketches of Spain. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197549285.003.0002.

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Abstract Chapter 1 contextualizes and critiques the expectation of mid-century international jazz listeners that jazz from Spain was synonymous with flamenco jazz. It includes an analysis of the cover art, liner notes, and music of the album Sketches of Spain, by Miles Davis and Gil Evans, and incorporates scholarly work by Juan Zagalaz and Iván Iglesias. It delves into Tete Montoliu’s beginnings in jazz and his high-profile performance and uncredited recording with vibraphonist Lionel Hampton in the 1950s. It includes a close reading of the cover art, liner notes, and music of Hampton’s Jazz
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Hess, Carol A. "El amor brujo." In Manuel de Falla's El amor brujo. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197622865.003.0001.

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Abstract El amor brujo (Love, the Sorcerer), is a theater work by the Spanish composer Manuel de Falla. It showcases flamenco, the music of the Gitanos (gypsies), Spain’s underclass. Since its premiere in Madrid in 1915, it has been repeatedly reshaped, rearranged, and repackaged, either by Falla himself or by others. Jazz and pop arrangements, along with El amor brujo’s presence in various films, challenge our conception of classical music as unchanging or transcendent. This chapter prepares these issues by surveying flamenco’s basic musical ingredients and its status as the music of Spain’s
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González, María José Martínez, and María del Valle de Moya Martínez. "Transversalidad de la improvisación en el Flamenco y el Jazz." In Sinfonías del Cambio: Música y Arte en la Transformación Social. Dykinson, 2023. https://doi.org/10.2307/jj.11102933.6.

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Giddins, Gary. "Three by Three (Tim Hagans / Dave Douglas / Roy Hargrove)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0032.

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Abstract Jazz trios built around wind instruments don’t quite scan. Exceptions from Sidney Bechet to Sonny Rollins to Leo Smith notwithstanding, the rules of jazz deportment dictate that a saxophonist is not fully dressed without a complement of three; nor is a trumpet star complete without a full rhythm team or a front-line partner. Such customs spring from the assumption that a brass player’s chops cannot withstand a solo regimen unsupported by at least one other improviser, and from the fear that reprieve-choruses will be taken up by bassist or drummer. However emphatic the conception, the
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