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Dissertations / Theses on the topic 'Flamencos'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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1

Poggio, Eleonora. "Extranjeros protestantes en la Nueva España : Una comunidad de flamencos, neerlandeses y alemanes (1597-1601)." Licentiate thesis, National Autonomous University of Mexico, Mexico, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99224.

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2

González, Villar Franco. "Variabilidad poblacional de los flamencos en el altiplano chileno relacionada con las precipitaciones y la temperatura." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/132917.

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Memoria para optar al Título Profesional de Médico Veterinario<br>Se estudió efecto que tiene la variación de temperatura y precipitación en la abundancia poblacional de tres especies de flamencos: Phoenicoparrus jamesi, Phoenicoparrus andinus, Phoenicopterus chilensis. Estudios que se realizaron en el salar de Surire, salar de Huasco, salar de Pujsa y salar de Atacama, a fin de identificar el efecto que tendrían los cambios climáticos en dichos salares. Los métodos empleados consistieron en análisis de series de tiempo mediante modelos ARIMA, para evaluar la distribución y estimación de la po
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3

Giraud, Hélène. "Recherches sur le contenu culturel de la poésie traditionnelle et populaire andalouse : le fandango, le tango et autres chants flamencos." Paris 4, 1986. http://www.theses.fr/1986PA040165.

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Ce travail de recherche vise surtout a démontrer l'aspect traditionnel de la poésie populaire andalouse. Pour ce faire, les procédés d'expression favoris sont répertoriés dans un premier temps. Ensuite, on étudiera davantage la question de fond, les influences probables de tel ou tel mouvement littéraire pour finalement déboucher sur le problème de l'intertextualité dans la poésie dite traditionnelle et populaire et la poésie nationale, plus savante. A ce stade de la recherche, il a été démontré que la poésie des chants flamencos et partant la poésie populaire ne forme pas un genre secondaire
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4

Giraud, Hélène. "Recherches sur le contenu culturel de la poésie traditionnelle et populaire andalouse le fandango, le tango et autres chants flamencos." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598033z.

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5

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 considera
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6

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 pourtan
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7

López, Contreras Gabriela Isabel. "Estimación de la capacidad de carga animal en el sector bosque de Tambillo de la Reserva Nacional Los Flamencos, Comuna de San Pedro de Atacama, Región de Antofagasta." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/153106.

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Memoria para optar al título profesional de Ingeniera en Recursos Naturales Renovables<br>El área en estudio se localiza en la zona sur del sector Bosque de Tambillo de la Reserva Nacional Los Flamencos, se ubica entre las localidades de Toconao y San Pedro de Atacama, dentro de los límites del Salar de Atacama. Este se caracteriza por poseer una plantación de Prosopis tamarugo (Tamarugo), y por presentar ganado de camélidos, ovinos y caprinos en forma permanente, los cuales son custodiados por dos pastoras que habitan en el mismo sector, además hay una importante presencia de burros asilvestr
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8

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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9

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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10

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 re
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11

Jiménez, de Cisneros Puig Bernat. "Aproximación musicológia a las palmas flamencas a través de la fonografía y la praxis contemporánea." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669363.

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El presente estudio aborda las palmas flamencas a la vez como lenguaje musical y expresión cultural. Centrado en el análisis de su tecnología y repertorio, se aproxima también a los aspectos antropológicos y culturales del palmeo, contemplando el rol de las palmas en contextos flamencos espontáneos como los corros i corrillos, revelando su potencial psicológico y social como estímulo y cohesionador de la fiesta. Asimismo, se hace una aproximación al uso musical de las palmas en tradiciones musicales del Golfo Pérsico (Kuwait), del Atlas (Marruecos) y de las Sea Islands de Georgia (EUA), tratan
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12

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 mu
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13

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 mu
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14

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 cu
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15

Formentin, Cláudia Nandi. "Flamengo." reponame:Repositório Institucional da UNISUL, 2014. http://www.riuni.unisul.br/handle/12345/473.

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Made available in DSpace on 2016-11-30T14:52:51Z (GMT). No. of bitstreams: 2 109887_Claudia.pdf: 2726114 bytes, checksum: ce35db0a2820466b8f6ca4837014c64a (MD5) license.txt: 214 bytes, checksum: a5b8d016460874115603ed481bad9c47 (MD5) Previous issue date: 2014<br>Esta tese parte de uma pergunta que florescia cada vez que sua autora ouvia a expressão ?nação rubro-negra?, recorrente em veículos de comunicação ou mesmo anunciada pelos torcedores do Flamengo. Tais discursos sugerem certa aproximação aos discursos sobre nação. O objetivo geral deste trabalho é analisar como os enunciados que em
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16

Gasparini, Tania Cristina Ferreira. "A expressividade do discurso flamenco: um diálogo entre as Carmens de Mérimée, Saura e Godard." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2364.

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Made available in DSpace on 2016-03-15T19:47:44Z (GMT). No. of bitstreams: 1 Tania Cristina Ferreira Gasparini.pdf: 414492 bytes, checksum: d96829e2b8b80ac2296f9a602f2d46c3 (MD5) Previous issue date: 2009-08-07<br>This research develops a dialogue between Prosper Mérimée s novella Carmen and two contemporary filmic adaptations, one by Jean-Luc Godard and the other by Carlos Saura. The purpose of this study is to analyze the main character (Carmen) by means of the dance and the red and black colors, which are the colors both of Flamenco and of Carmen as a character. Another aim is to present
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17

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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18

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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19

Morgenthaler, Linda. "Ästhetik des Flamenco und die Gitanos." St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02602464001/$FILE/02602464001.pdf.

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20

Donnier, Philippe. "Flamenco : relations temporelles et processus d'improvisation." Paris 10, 1996. http://www.theses.fr/1996PA100130.

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Premiere partie : terrain et elements theoriques. La description de l'itineraire musical de l'auteur et des principaux lieux ou l'on pratique le flamenco precedent l'expo prealables theoriques. Principes semiologiques, metaphore relativiste, espaces pluridimensionnels et theorie des catastrophes proposent autant de points de vue originaux adaptes a l'analyse des structures flexibles, complexes et ambigues propres au flamenco. Deuxieme partie : la guitare. Les principaux cycles rythmico-harmoniques de guitare (compas) sont construits par l'application successive d'operateurs formels a etats dis
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21

Martin, Tenley Elizabeth. "Transnational flamenco : transcultural exchange and the role of the individual in mediating English and Andalucian flamenco culture." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13481/.

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Flamenco, an art complex with its roots situated in Andalucía, is often assumed by outsiders to be a representative of a coherent national identity. This is a false assumption, both with regards to the realities of the art form and in terms of Spanish identity. My research suggests flamenco is a subculture appreciated by a minority of Andalucía-centric Spanish aficionados. Most outside of the scene reject it for reasons including identifying with another region, preferring popular music, or negatively associating flamenco with Franco and Gitanos. Significantly, as early as the nineteenth centu
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22

Libaneo, Daniela Leonardi. "Ensinando dança flamenca." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284182.

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Orientador: Antonieta Marilia de Oswald de Andrade<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-25T11:49:44Z (GMT). No. of bitstreams: 1 Libaneo_DanielaLeonardi_M.pdf: 9098658 bytes, checksum: d1e89b0fc81c6b4ede4f8a94182b5c5b (MD5) Previous issue date: 1999<br>Resumo: O presente trabalho tem como objetivo apresentar uma reflexão sobre o ensino da Dança flamenca na forma de narrativa de minha própria experiência pessoal e profissional, Visando um aprimoramento da prática e uma contribuição para o ensino desta e de out
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23

Krüger, Stefan. "Die Musikkultur Flamenco Darstellung, Analyse und Diskurs /." [S.l. : s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=967247101.

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24

Frayssinet, Savy Corinne. "Architectures du flamenco. De l'ethique a l'esthetique." Nice, 1994. http://www.theses.fr/1994NICE2034.

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La these doctorale intitulee : "architectures du flamenco. De l'ethique a l'esthetique. ", consiste en une etude de l'ethos et de l'esthetique flamencos. Le flamenco est une musique traditionnelle composee de formes musicales variees et composites, du fait de son elaboration progressive et continue depuis la fin du premier tiers du xixe siecle, date de son apparition dans la region de la basse andalousie. Sa nature musicale plurielle renvoie a une double pratique musicale, intime et publique, et a une double identite culturelle, gitane et andalouse, par l'origine ethique distincte des musicien
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25

Moura, Lino Daniel Evangelista. "Entre Carmens e Severinas: o flamenco transculturado." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27119.

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26

Hernández, Barberena Erika Leticia. "A dança flamenca : uma experiência de ensino-aprendizagem /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86921.

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Orientador: Luiza Helena da Silva Christov<br>Banca: Mário Fernando Bolognesi<br>Banca: Sayonara Sousa Pereira<br>Resumo: 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 Andaluz
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27

Harris, Christine. "An investigation of the content and process of learning Spanish flamenco music at the Flamenco Centre of South Australia /." Title page, contents and preface only, 1991. http://web4.library.adelaide.edu.au/theses/09MUB/09mubh313.pdf.

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28

Quast, Stefan. "Zur Sozialgeschichte des Flamenco und seinen gegenwärtigen Erscheinungsformen." Göttingen Cuvillier, 2002. http://d-nb.info/98894006X/04.

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29

Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.

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Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot-ic” passion.
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30

Holden, Carolyn. "Flamenco in South Africa: outsider in two places." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.

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Includes abstract.<br>Includes bibliographical references.<br>This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this
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31

Sardo, Fabio. "A utilização da improvisação como estratégia no ensino da guitarra flamenca." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-100426/.

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A presente pesquisa trata da utilização da improvisação como recurso didático para o ensino e aprendizagem da guitarra flamenca possibilitando ganhos qualitativos na técnica instrumental, na percepção e na interatividade nas aulas e apresentações coletivas. A proposta metodológica teve como suporte teórico proposições de Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso e Vinko Globokar na área de educação musical e práticas de improvisação e Pierre Schaeffer referente à escuta do objeto sonoro. Na pesquisa de campo, foram realizadas aulas experimentais com um grupo
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32

Nierer-Berg, Claudia. "Spanischer Tanz und Flamencotanz im Schulsport ästhetische Perspektiven und praktische Unterrichtsmodelle." München Arethousa, 2008. http://d-nb.info/999728873/04.

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33

Gomez, Michèle. "La copla flamenca et le theme de la violence." Toulouse 2, 1988. http://www.theses.fr/1988TOU20011.

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Le flamenco est un phenomene encore peu reconnu actuellement. L'image que l'on en a est incomplete sinon caricaturale. Cette etude veut contribuer a une meilleure comprehension du phenomene. Elle comporte: une presentation theorique de la copla; une introduction au theme de la violence suivie d'un examen du contexte historique et social de l'andalousie du dix neuvieme siecle, lieu et periode de developpement du phenomene; une selection et un classement d'un corpus de coplas relatives a la violence effectuees a partir de quatre anthologies s'echelonnant entre mille huit cent quatre vingt un et
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34

Heuert, Daniele Luciana Zill. "Corpo Del Puerto : gesto flamenco no espetáculo Las Cuatro Esquinas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172122.

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Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. S
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35

Rabien, Adela. "Das Bild der Frau in den Liedertexten des Flamenco /." Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang, 2010. http://d-nb.info/999054023/04.

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36

Bethencourt, Llobet Francisco Javier. "Rethinking tradition : towards an ethnomusicology of contemporary flamenco guitar." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1305.

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This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología. In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on t
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37

Twell, Mary Tudor. "The Influence of Flamenco on Selected Works of Picasso." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332484/.

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This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a
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38

Driggs, Victoria Katherine. "El Mal Querer: Merging Flamenco with a Postmodern Universe." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103618.

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This thesis examines how the postmodern fusion of flamenco and non-flamenco elements in Rosalía's sophomore album, El mal querer (2018), not only justifies the artist's place within the "Experimental Generations" of flamenco fusion artists but also distances her from the rest. The thesis builds off the work of Carlos Morales Gálvez by centering its analyses around three of the album's video chapters; "Malamente," "Pienso en tu mirá," and "De aquí no sales." Through an exploration of the aural and visual manifestations of flamenco within these three video chapters, this thesis will first reveal
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Goulet, Isabelle. "Learning to become dancing musicians : flamenco dancers going global." Thesis, Connect to online version, 2007. http://proquest.umi.com/pqdweb?did=1441191701&sid=4&Fmt=2&clientId=10306&RQT=309&VName=PQD.

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Rabien, Adela. "Das Bild der Frau in den Liedertexten des Flamenco." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/999054023/04.

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Canarim, Silvia de Rezende. "Israel Galván : poética em metamorfose." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/171387.

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O presente estudo busca compreender a poética do bailaor e coreógrafo espanhol Israel Galván (Sevilla, 1973) e sua importância nas transformações pelas quais a dança flamenca tem passado nas últimas décadas. A etnografia foi o método de pesquisa utilizado, tendo como instrumentos de coleta de dados a observação participante, entrevistas, análise de material audiovisual e fotográfico. A partir do exame desse material, e com ênfase na análise do vídeo de estreia do espetáculo ¡Mira! Los zapatos rojos, de 1998, identificam-se características presentes na citada obra, as quais foram desenvolvidas
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42

Le, Gall Vincent. "La Musique savante pour guitare flamenca de 1956 à nos jours." Rouen, 2005. http://www.theses.fr/2005ROUEL512.

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L'art du flamenco naît en Andalousie au XIXème siècle du métissage culturel brassé depuis des siècles. Le terme flamenco apparaît en 1841, désignant spécifiquement le chant andalou. Depuis 1850, ces chants transmis oralement dans le cadre familial se professionnalisent, étant alors accompagnés sur scène par la guitare. Cet instrument se développera, passant du rôle de soutien harmonique et rythmique au véritable jeu de soliste. 1956 marque la fin du courant de théâtralisation et le premier concours de Cordoue. La guitare devient l'élément dominant du flamenco. Elle s'enrichit grâce à des artis
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Bondesson, Jonathan. "Examensarbete Gitarr : Examenskonsert & Granaínas, stilanalys av en flamenco palo." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2070.

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Bachmann, Kirsten. "Flamenco(tanz) : zur Instrumentalisierung eines Mythos in der Franco-Ära /." Berlin : Logos-Verl, 2009. http://d-nb.info/995194211/04.

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Braga, Cristina Santaella 1978. "Ensino-aprendizagem da dança flamenca à luz da psicanálise." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284946.

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Orientador: Cássia Navas Alves de Castro<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T02:25:40Z (GMT). No. of bitstreams: 1 Braga_CristinaSantaella_M.pdf: 3881574 bytes, checksum: e1fa1c93cac99a576502f69575295f1c (MD5) Previous issue date: 2010<br>Resumo: Este trabalho visa entender o corpo que dança sob uma ótica psicanalítica à luz dos conceitos de representação psíquica corporal e de transferência no contexto de ensino-aprendizagem da dança flamenca. A construção da imagem corporal e as mudanças na posição subj
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Konášová, Dita. "Flamenco - osobnosti, soubory a výuková prezentace v textovém a obrazovém pojetí." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78833.

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Dioudonnat, Edwige. "Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques." Nice, 2001. http://www.theses.fr/2001NICE2004.

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Les danses traditionnelles kathak et flamenco sont souvent rapprochées. Par l'analyse croisée de leurs contextes et techniques, cette étude met en évidence leurs spécifités, similitudes et divergences. Dans la première partie sont donc abordés les aspects étymologique, historique, géograpique, culturel et social tandis que la seconde porte essentiellement sur les modes de transmission, l'usage du corps, les costumes, les figures chorégraphiques et les ornementations visuelles (formes géométriques) et sonores (frappes de pieds, notions rythmiques de tâl et compas) sous une forme spectaculaire e
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Bert, Alison. "The influence of Flamenco on the guitar works of Joaquin Turina." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185487.

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Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Hom
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Ordoñez-Flores, Eva. "La danse Flamenca : études de son rythme et de son esthétique." Paris 4, 2001. http://www.theses.fr/2001PA040062.

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L'ensemble de cette thèse s'articule de manière constante autour de préocupations d'ordre esthétique, historique,sociologique et anthropologique au travers d'une étude analytique. Elle établit un classement par familles rythmiques des pièces dansables du répertoire flamenco. Chaque famille comporte une étude de ses principes généraux d'un point de vue rythmique et chorégraphique. Chaque pièce du répertoire ou "palo" comporte une étude d'un point de vue musical et chorégraphique. L'étude musicale comprend la description du chant au travers des paramètres de ses couplets,les "coplas", et la desc
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Goriaux, Coline. "Un nouveau swing pour flamenco : Caractérisation du locus flamenco, un gène non codant régulateur des éléments transposables par ARN interférence dans les tissus reproducteurs de Drosophila melanogaster." Thesis, Clermont-Ferrand 1, 2014. http://www.theses.fr/2014CLF1MM16/document.

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Ces dernières années, de nombreuses études transcriptomiques à grande échelle ont clairement mis en évidence que la grande majorité du génome des eucaryotes est transcrite.Ce réseau complexe de transcrits inclus des petits ARN non codants qui interviennent généralement en tant que régulateurs transcriptionnels, post-transcriptionnels et/ou traductionnels de l’expression de certains ARNm cibles spécifiques. Ils sont classés selon leur origine biologique et leur mode d’action. Une catégorie de petits ARN non codants, les Piwi-interacting RNAs (piRNA), maintient l’intégrité du génome dans les tis
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