Relevant bibliographies by topics / Folk music, Spanish

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

Academic literature on the topic 'Folk music, Spanish'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Folk music, Spanish"

1

White, Julian. "Catalan Folk Sources in ‘Soirées de Barcelone’." Tempo, no. 198 (October 1996): 11–22. http://dx.doi.org/10.1017/s0040298200005325.

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What might have happened to Roberto Gerhard had he not left Spain at the end of the Spanis Civil War will remain one of the great imponderables of his career. His voluntary exile to Britain released him from the role of ‘responsible artist of the Spanish Republic’ – and from the many activities (musicological, literary, pedagogical and administrative) which however vital to the cultural politics of Catalonia had inevitably limited his composing time. He came to view exile as a ‘blessing in disguise’ and eventually took up British citizenship.
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González-Varga, Marina, and María Jesús Pena-Castro. "Performing Gender in Late Spanish Folk Revival." Journal of World Popular Music 11, no. 1 (2024): 22–48. http://dx.doi.org/10.1558/jwpm.26150.

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This article focuses on modern musical practices from Art al Quadrat, A Banda da Loba and Nun Tamos Toes which relate in a variety of ways to the idea of tradition and folklore. These musical practices represent a part of the folk revival process, revitalizing a countercultural movement, which portrays a clash of ideologies and identities. Identities and ideologies related with feminism are acted out through performance aesthetics, its staging, and musical references. Adapting, renewing and introducing new gender models and innovative main characters as part of the musical discourse are some o
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Martín, María José. "Folk Music in Spanish Piano Music: How Teachers’ Knowledge of Folk Traditions Can Make Teaching More Effective and Enjoyable." International Journal of the Arts in Society: Annual Review 2, no. 3 (2007): 37–42. http://dx.doi.org/10.18848/1833-1866/cgp/v02i03/35391.

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Manuel, Peter. "From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics." Journal of the American Musicological Society 55, no. 2 (2002): 311–36. http://dx.doi.org/10.1525/jams.2002.55.2.311.

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Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular
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Nofre, Jordi. "‘Catalanism Only Will Win by the Force of Songs’, Revisited 100 Years After. The Role of Catalan(ist) Pop-Rock Music in Socially Sanitizing Working-Class Neighborhoods of Barcelona (1976–2000)." International Review of Social Research 2, no. 2 (2012): 1–20. http://dx.doi.org/10.1515/irsr-2012-0013.

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Abstract: During the last years of the Spanish fascist regime, two politically contrary music scenes emerged in Barcelona. While Catalanist folk music emerged for political freedom, Spanished rock’n’roll, punk, and heavy scenes emerged in the working-class suburbs of Barcelona, denouncing bad conditions of everyday urban life. The great success of this last music scene in Barcelona in the 1980s led to the then nationalist, conservative government of Catalonia to promote a new socially and politically sanitized music scene in response to such class-based contestation. This study aims to explore
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Refael, Shmuel. "The Judeo-Spanish Folk Songs in Israel: Sephardic Music and Literature between Survival and Revival." European Journal of Jewish Studies 9, no. 1 (2015): 38–51. http://dx.doi.org/10.1163/1872471x-12341271.

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The aim of this article is to examine the growing interest and involvement with Ladino folk songs in Israel in recent years. Its particular focus is on an overview of the stage performances, the rerecording of Ladino songs by a new generation of artists, and the inclusion of Sephardic music in the growing repertoire of Israeli folk music. The article presents a socio-cultural survey that attempts to answer the following questions: Is the growing involvement with Ladino folk songs in the realm of conservation—in other words, repetition—of the age-old Ladino cultural heritage, or are we witnessi
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HESS, CAROL A. "Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films." Journal of the Society for American Music 2, no. 3 (2008): 319–54. http://dx.doi.org/10.1017/s1752196308080103.

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AbstractAlthough literature inspired by the Spanish Civil War has been widely studied, music so inspired has received far less scholarly attention, and film music even less so. Musical ideologies of the 1930s, including the utopian thinking of many artists and intellectuals, emerge in some surprising ways when we consider two films of the era. Both The Spanish Earth (1937), an independent documentary, and Blockade (1938), produced in Hollywood, were intended to awaken Loyalist sympathies. The music for the former, consisting of recorded excerpts chosen by Marc Blitzstein and Virgil Thomson and
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Lee, Hyo-Eun. "Study of Spanish Folk Music Idiom and Pedagogical Advice in Granados' 《Danza Españolas》." Korean Society of Music Education Technology, no. 44 (July 16, 2020): 155–93. http://dx.doi.org/10.30832/jmes.2020.44.155.

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Հայրիյան, Լուսինե. "Քաղաքային ռոմանսի բանահյուսական տեքստերը". Bulletin of Yerevan University B: Philology 15, № 3 (45) (2024): 67–78. https://doi.org/10.46991/bysu:b/2024.15.3.067.

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Armenian traditional music is accepted to be divided into three main branches: rural, urban folklore, and gusan-troubadour art. Urban musical folklore, in contrast to rural one, is mainly composed of literary or vernacular language. This field of folk music with its unique manifestations remains in the research focus of musicologists, ethnographers-philologists. The first systematic studies were carried out in the 20th century, producing opposite, contradictory conclusions. Some linguists and ethnographers still reject the idea of urban folklore, considering it a "distortion" of rural folklore
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García-Falgueras, Alicia, and Dick F. Swaab. "The Spanish Composer Manuel de Falla and His Eyes: The Musical Brain." Neuroscience Insights 16 (January 2021): 263310552110497. http://dx.doi.org/10.1177/26331055211049778.

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Manuel de Falla was a Spanish musician of the XIXth and XXth centuries who had international recognition likely due to his musical fusion talent. His knowledge about Spanish musical traditions gave to his early compositions a new and fresh intellectual interpretation for the typical Spanish folk music. However, in the middle of his musical career, he suffered a strange disease of his eyes named recurrent acute iridocyclitis. This eye flushing is caused by an inflammation of 2 structures of the anterior pole of the ocular globe, the iris, and the ciliary body. It is usually a symptom of another
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Dissertations / Theses on the topic "Folk music, Spanish"

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Redford, John Robert. "The application of Spanish folk music in the piano suite "Iberia" by Isaac Albeniz." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186710.

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Iberia, Albeniz' acknowledged masterpiece, was published during 1906-1909, the last three years of the composer's life. The suite, subtitled Twelve New Impressions, are picturesque, evocative descriptions of Spanish scenes and landscapes, although for the most part centered around Andalusia. Albeniz has made full use of the wealth of Spanish folk music in his compositional style, and the movements of Iberia represent a synthesis of the characteristic elements of Spanish folk music. These elements may be considered according to the following three main categories: (1) the rhythms of Spanish dan
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Rodriguez-Rios, Lizary. "Twentieth-century Spanish composers for the harp: A study of Spanish folk elements in selected solo harp works of Jesus Guridi, Gerardo Gombau and Victorino Echevarria." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/284326.

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The purpose of this document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic m
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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.

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Hsiao, I.-Miao, та 蕭伊妙. "I-Miao Hsiao Violin Recital with a supporting paper Spanish Folk Music Elements in Falla’s“Suite of Spanish Folksongs�胦or Violin and Piano". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/53610162889572878551.

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Lin, Yu-Ying, and 林郁穎. "The discussion about Spanish folk song themes, music analysis and the singing interpretation for Falla''s "Siete Canciones populares Espanolas"." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/50820242918862481954.

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Books on the topic "Folk music, Spanish"

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Alatorre, Margit Frenk. Symbolism in Old Spanish folk songs. Department of Hispanic Studies, Queen Mary and Westfield College, 1993.

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Agapito, Marazuela Albornos, ed. Cancionero de Castilla. Endymion, 1997.

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García, José Luis Navarro. Cantes y bailes de Granada. Editorial Arguval, 1993.

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Sperry, Gil. Mariachi for gringos: Unlocking the secrets of Mexico's macho music. Amigo del Mar Press, 2006.

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Noguera, Antoni. Memoria sobre los cantos, bailes y tocatas populares de la isla de Mallorca. Conservatori Superior de Música de les Illes Balears, 2005.

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Benítez, Adolfo E. Jiménez. El cancionero popular sefardí y la tradición hispánica. Ediciones Zoé, 1994.

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Vega, Pedro Malavet. Historia de la canción popular en Puerto Rico (1493-1898). P. Malavet Vega, 1992.

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Hernández, Antonio Avitia. Corridos de la capital. CONACULTA, Culturas populares, 2000.

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Vega, Pedro Malavet. Navidad que vuelve: La tradición y el cantar navideño en Puerto Rico. P. Malavet Vega, 1987.

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Granados, Enrique. Six pieces on Spanish folksongs: For solo piano. Masters Music Publications, 1995.

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Book chapters on the topic "Folk music, Spanish"

1

Christoforidis, Michael. "Fabricating Spanish folk songs in Paris." In Manuel de Falla and Visions of Spanish Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315142135-5.

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Jordan, Daniel David. "Performing Spanish Femininity." In Coros y Danzas. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197586518.003.0002.

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Abstract This chapter begins with an introduction to the Sección Femenina, focusing on the years 1934–1953. In particular, it provides an overview of the Sección Femenina’s origins during the Second Republic, its role in the Nationalist Army during the Spanish Civil War, and the Sección Femenina’s education programs during the 1940s and early 1950s. It then introduces the Sección Femenina’s Department of Music, the annual National Competition of Folk Music, and the instructoras’ methods of documenting musical folklore. The second half of this chapter is dedicated to the Department of Music and
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Walden, Joshua S. "The Rural Miniature Based on Spanish Folk Music." In Sounding Authentic. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199334667.003.0004.

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Nava, Alejandro. "The Souls of Black Folk." In In Search of Soul. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293533.003.0006.

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This chapter explores some of the synergies between Spanish soul and black American traditions through Ralph Ellison's depiction of soul. In turning to Ellison, a contemporary of Lorca, this chapter falls in the thick of musical and cultural currents of soul. Like many black writers of the twentieth century, Ellison brought musical cadences and flows into the mighty river of American literature, injecting some of its stagnant waters with a fresh tributary of style. By adding his lyrical voice to American literature, he used his pen the way black musicians used their instruments, making it sing
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Gavagnin, Stefano. "Entre los Incas y el ‘Che’." In America: il racconto di un continente | América: el relato de un continente. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/015.

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The massive success of Latin American folk music in Europe during the 70s ran parallel to the contemporary Spanish-American literary boom. Especially, Andean music could suggest a kind of musical indigenismo, which actively contributed to the creation of a persistent Andean cultural imaginary on that side of the Ocean. This work aims at outlining, through a dialogue with the documents and the testimonies of the local reception, some specific characteristics of the diffusion of Andean music in Italy. This coincided with the diffusion of the New Chilean Song, after the military coup in 1973, gen
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"Seeking connections through a sea Mediterranean Sounds in Spanish Folk and Popular Music." In Mediterranean Mosaic. Routledge, 2013. http://dx.doi.org/10.4324/9781315023632-8.

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Jordan, Daniel David. "Mementos of al-Andalus in Colonial Morocco." In Coros y Danzas. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197586518.003.0004.

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Abstract After a summary of the Sección Femenina’s activities abroad, Chapter 3 turns its focus to the organization’s tours and educational programs within European-controlled Morocco. Between 1951 and 1953, the Sección Femenina’s troupes of Coros y Danzas (Choruses and Dances) performed for Muslim civilians and politicians throughout the Spanish Protectorate, French Protectorate, and the Tangier International Zone. Meanwhile, the Sección Femenina organized choirs of Muslims and Catholics in Tétouan, Tangier, Ceuta, and Melilla that juxtaposed Arabic folk songs with villancicos (religious caro
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Jordan, Daniel David. "Sorority in the Americas." In Coros y Danzas. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197586518.003.0006.

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Abstract This chapter reveals how the Sección Femenina used music to promote an Iberian-Latin American “hermandad” (brotherhood) within Cuba, the Dominican Republic, and Latin American communities within the United States during the 1950s. These diplomatic missions promoted political solidarity and highlighted the common historical, cultural, and linguistic characteristics of Spain and three of its former colonies. The women of the Sección Femenina carried out diplomacy through tours of the Coros y Danzas, educational exchange programs, and the establishment of local dance troupes trained by t
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Semmel, Bernard. "The Disinherited Races." In George Eliot and the Politics of National Inheritance. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195085679.003.0006.

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Abstract InMiddlemarch Eliot depicted the sixteenth-century Spanish Saint Theresa going to her martyrdom at the hands of the Moors with a heart “already beating to the national idea” (“Prelude”). For Eliot, as for many of the European writers of the nineteenth century, the national idea possessed a new significance. In Germany, Herder had written extensively on its im portance in the lives of the people, and Hegel had described the national spirit, the Volksgeist, as the guiding motif of historical development. Hegel had even argued that individuals wishing to realize themselves fully must ide
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