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Journal articles on the topic 'Folk music, Spanish'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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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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2

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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3

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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4

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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7

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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8

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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9

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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11

Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.

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Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.

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12

Yang, Lingli. "Moszkowski’s “Caprice Espagnol” Piano Playing Techniques Exploration." Journal of Education and Culture Studies 6, no. 4 (2022): p76. http://dx.doi.org/10.22158/jecs.v6n4p76.

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Moritz Moszkowski is a famous European renowned Polish composer, conductor, pianist and educator. His creation involves many aspects, among which the most numerous and the most well-known is the piano works, in these piano works is good for using Spanish folk music elements to create. In this paper through the Moszkowski piano “Spanish style” creative background, creative characteristics and playing techniques, make us to the writing background, creative characteristics and piano playing techniques have a certain grasp and more profound understanding, and the charm of the work to form a deeper

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Babanazarova, G.Y. Sultanov B.S. "A GLANCE AT BOTIR ZOKIROV'S CREATION." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 2, no. 12 (2022): 26–28. https://doi.org/10.5281/zenodo.7418369.

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Botir Karimovich Zokirov is a talented singer, translator, artist and actor who laid the foundation stone of Uzbek pop music un the 60 years of the XX century. His operas, arias, Uzbek folk songs, and foreign strokes were all over the world in their time and have not lost their significance to this day. In addition to national songs, the singer’s repertoire includes songs in Italian, French, Spanish, Russian, Greek, Iranian, Arabic and Hindi.

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Babanazarova, G.Y. Sultanov B.S. "A GLANCE AT BOTIR ZOKIROV'S CREATION." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY ECHNOLOGY 2, no. 12 (2022): 26–28. https://doi.org/10.5281/zenodo.7425963.

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Botir Karimovich Zokirov is a talented singer, translator, artist and actor who laid the foundation stone of Uzbek pop music un the 60 years of the XX century. His operas, arias, Uzbek folk songs, and foreign strokes were all over the world in their time and have not lost their significance to this day. In addition to national songs, the singer’s repertoire includes songs in Italian, French, Spanish, Russian, Greek, Iranian, Arabic and Hindi.

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15

MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu

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Kostohryz, Serhiі. "Ways of developing the repertoire for folk instruments in the works of the composers of Slobozhanshchyna." Aspects of Historical Musicology 33, no. 33 (2023): 173–90. http://dx.doi.org/10.34064/khnum2-33.10.

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Statement of the problem. The formation of the repertoire of folk instruments is a comprehensive and long-term process that began in Ukraine only in the 20th century. A significant part of the musical repertoire for folk instruments was written by the composers of Slobozhanshchyna, because namely this region became the centre of the folk instrumental art of Ukraine at the beginning of the 20th century. Therefore, the necessary arises to recreate the holistic picture of developing the music for folk instruments in the works of the composers of Slobozhanshchyna that has not yet attracted the att

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17

Aymamí Reñé, Eva. "Kissing the Cactus: Dancing Gender and Politics in Spain." Congress on Research in Dance Conference Proceedings 2012 (2012): 124–31. http://dx.doi.org/10.1017/cor.2012.16.

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In Bésame el Cactus (2004), Sol Picó, modern dancer and choreographer, simultaneously performs flamenco music and dance. Using her body, her shoes, castanets, and hands, she is integrating flamenco—as a cultural symbol of Spain—into a contemporary performance. In a Spain impacted by Franco's dictatorship (1939–1975), the peculiar ambiguous choice of using flamenco in a modern performance raises questions about the construction of national and gender identity, both during the dictatorship and now. Franco's regime promoted a centralized nationalism, and imposed it on the other cultures that were

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18

Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.

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The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts

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19

Josep Martí and Peter Collins. "Ethnomusicology, Folklore, and Social Relevance. By Josep Martí. Translated by Peter Collins." Ethnomusicology Translations, no. 15 (April 15, 2024): 1–20. http://dx.doi.org/10.14434/emt.no.15.37936.

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This article raises the need for (Spanish) ethnomusicology to replace rigid nineteenth century approaches with renewed anthropological and sociological concepts and analytical tools, Through the notion of “social relevance,” the author responds to this need and advocates for the study of horizontal influence (dynamic, meaningful), rather than vertical roots (ancestral, quasi-sacred) in a musical repertoire. “Social relevance” would be the academic opposite to “cultural paternity” (as ethnic ascription), prioritizing the importance that a song, instrument, or dance has for a community in a spec

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20

Shelemay, Kay Kaufman, Samuel G. Armistead, Joseph H. Silverman, and Israel J. Katz. "Folk Literature of the Sephardic Jews. Vol. 2: Judeo-Spanish Ballads from Oral Tradition. 1: Epic Ballads." Ethnomusicology 31, no. 2 (1987): 353. http://dx.doi.org/10.2307/851902.

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21

Balmatova, Tatiana M. "Russian Chastushka (Ditties) vs Spanish Flamenco Verses: the Experience of Typological Comparison." Studia Litterarum 8, no. 1 (2023): 348–63. http://dx.doi.org/10.22455/2500-4247-2023-8-1-348-363.

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The fate of folk genres can be completely different in different peoples and historical periods: some disappear without a trace in the manuscripts, others reach the later epochs on the pages of a small number of surviving books and others develop, go out into great stages and conquer entire countries. This is the destiny of flamenco which consists of three elements, that is music, poetry and dance and became the cultural practice of southern Spain during the 19th century. In that same century in Russia, the genre of chastushka was formed. Like the flamenco couplets, it flourished in the vulner

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22

LIFSHEY, ADAM. "The Borderlands Poetics of Bruce Springsteen." Journal of the Society for American Music 3, no. 2 (2009): 221–41. http://dx.doi.org/10.1017/s1752196309090142.

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How does the music of Bruce Springsteen interrogate prevailing constructs of the U.S.-Mexico border region? In his folk masterpiece The Ghost of Tom Joad (1995) and other works that feature Spanish-speaking protagonists, Springsteen implicitly reconceptualizes the Americas as an unbordered and fluid space. His performances enact Mexico and the United States as transamerican ideations rather than discrete nations. Although the booming academic field of border studies reframes static images of both Latin America and the United States in favor of malleable transnational paradigms, it still tends

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23

Sitnikova, Inna. "Reception of the musical beginning of Federico Garcia Lorca's drama "The Blood Wedding" in Russian translations." Филология: научные исследования, no. 2 (February 2025): 96–109. https://doi.org/10.7256/2454-0749.2025.2.73317.

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The subject of the study is the perception of the musical beginning of Federico Garcia Lorca's play "The Bloody Wedding" (1933) in Russian translations. The object of the study was the text of the original play in Spanish and two of its translations into Russian (A.V. Fevralsky, F. V. Kelin and N. R. Malinovskaya and A.M. Geleskula). The article examines the features of the poetics of the play, its musicality, and the features of flamenco style. The points of view of researchers regarding the musicality of an artistic work and the connection of Garcia Lorca's work with folk and classical music

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Pessarrodona, Aurèlia. "Viva, viva la Tirana." Journal of Musicology 39, no. 4 (2022): 469–539. http://dx.doi.org/10.1525/jm.2022.39.4.469.

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While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the

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Ramirez-Barradas, Herlinda. "El corrido del narcotráfico como descendiente del folclor popular hispano / The drug trafficking ballad and its link to the Spanish popular poetry." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 26 (July 25, 2017): 143–62. http://dx.doi.org/10.17398/1988-8430.26.143.

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Resumen: El artículo es una revisión de los corridos sobre el narcotráfico que en las últimas décadas han invadido el mercado nacional de México y algunas partes de Estados Unidos. En primer lugar se presenta dimensión sensacionalista de la poesía popular y, a partir de los estudios de Julio Caro Baroja. Después, se hacen conexiones entre el romance vulgar y los narcocorridos que, a pesar de los siglos que los separan, presentan una visión similar del delincuente común a quien el pueblo admira por sus despliegues de bravura y coraje. El rastreo permite concluir que el narcocorrido no surge com

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Filatova, Tetiana. "«Twelve Etudes» for guitar by Heitor Villa-Lobos: genre and style dimensions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 87–115. https://doi.org/10.31318/2522-4190.2024.140.318646.

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The relevance of the article is to consider the cycle "Twelve etudes" for solo guitar by Heitor Villa-Lobos from the standpoint of the interaction of authentic Brazilian and academic European (baroque, romantic, modernist) genre-style models of creativity. World recognition and constant stage demand of the cycle is provided by a complex of essential advantages — the modern vocabulary of the composer, enriched with rhythm and intonation authentic elements of Brazilian culture, combined with virtuosity, the presence of the latest original techniques, high artistic qualities of the music and its

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Ferreiro, Carballo David. "Conrado del campo y la definición de una nueva identidad lírica española: El final de don Álvaro (1910-1911) y La tragedia del beso (1911-1915)." Revista de Musicología 43, no. 2 (2020): 843–51. https://doi.org/10.2307/26975155.

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<strong>Español:</strong> Esta tesis trata sobre Conrado del Campo (1878-1953), un compositor madrileño clave en la música española de la primera mitad del siglo XX, cuyo trabajo ha sido en gran parte olvidado por estudiosos e intérpretes. Una de las razones de su olvido es su orientación estética, que se alejaba del nacionalismo promovido por compositores como Pedrell, Falla o Salazar, adoptando en su lugar una influencia germana que, tras la Primera Guerra Mundial, fue relegada y criticada en España. Por este motivo, Del Campo y otros c

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Fernández, de la Cuesta Ismael. "PROTOHISTORIA DE LAS CANCIONES ANDINAS PARA BAILAR: DE LAS DANZAS HISPANORROMANAS A LOS BAILES HISPANO-MEDIEVALES." Academia. Boletín de la Real Academia de Bellas Artes de San Fernando 126 (June 7, 2024): 25–48. https://doi.org/10.5281/zenodo.14283525.

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En el panorama de la historia de la música y de la literatura existe una laguna notable con respecto a la danza y el baile, muy específicamente en el mundo hispanoamericano. La música y el arte de la danza están ligados al tiempo, al contrario de las artes plásticas que son productos vinculados al espacio. Tienen como propiedad extraordinaria que no existen sino en los actos efímeros, absolutamente creativos, del intérprete. Estos quedan fijos y permanecen estables únicamente en la memoria y en el registro de la tradición oral. Sin

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Filatova, Tetiana. "Abel Carlevaro’s guitar works in the context of Uruguayan musical culture." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 137 (October 30, 2023): 121–35. http://dx.doi.org/10.31318/2522-4190.2023.137.294672.

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The relevance of the article is to consider Uruguayan guitar music as an important component of the modern South American repertoire. On the example of the works of famous composer and performer Abel Carlevaro connections with the folklore traditions of the country, Afro-Uruguayan genres and styles have been revealed. Main objective of the study is to reveal the influence of Abel Carlevaro's guitar work on the development of national performing traditions and the repertoire of Uruguayan music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and

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Melnyk, Viktoriia. "Federico Garcia Lorca’s «Canciones Españolas Antiguas»: dialogue of the poet with Flamenco tradition." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 198–211. http://dx.doi.org/10.31318/2522-4190.2023.136.276575.

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The relevance of the study The author’s interaction in his creative work with folklore is one of the main ways of shaping national composers’ musical school. Spanish music culture is not an exception. There was discovering the uniqueness of flamenco culture through the searching of musical personal identity during the end of the XIX–first decades of the XX century. Original rhythms, modes and harmony specialty were inspiring for composers who searched the code of musical national composers’ school. Federico Garcia Lorca was one of them. His work «Canciones Españolas Antiguas» became not only r

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Melnik, V. Yu. "Aflamencado practice in the contemporary piano perfoming." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 266–80. http://dx.doi.org/10.34064/khnum1-56.17.

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Introduction. Flamenco is a cultural phenomenon that dates back to the 5–6th centuries. This artistic practice organically unites plastic, gesture, singing, word, instrumental play. It is difficult to determine the hierarchical relationships between these components. Each of them has its own “vocabulary”, its own laws of constructing the artistic whole, that is, its canons. In a wide artistic field, canons consider a set of certain rules, based on which creative activity is carried out, and the originality of its result is ensured by the specificity of their improvisational transformation by a

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Romashchuk, Inna M. "DANCE IN THE OPERAS OF M. M. IPPOLITOV-IVANOV: THE TEXT AND ITS INTERPRETATION." Arts education and science 1, no. 34 (2023): 89–95. http://dx.doi.org/10.36871/hon.202301089.

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The phenomenon of the "lifeworld" (E. Husserl) in its national branches and cultural realities is revealed in the operas of M. M. Ippolitov-Ivanov largely due to the extended mass scenes. A special place here is occupied by dance episodes and scenes in which characteristic elements of different folk traditions, both those previously experienced in Russian music (oriental, Spanish themes) and those introduced by Ippolitov-Ivanov in accordance with the conditions of plot realities (Norwegian theme), are presented in a sharp and expressive way. It has always been important for the composer to emp

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Kryhin, Oleksandr. "Segovia’s concert heritage as the basis of forming the guitar performing traditions of the XX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 17–28. http://dx.doi.org/10.34064/khnum1-50.02.

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Background. The academic guitar art, which announced itself at the beginning of the XXI century as one of the dominant and sought-after forms of the concert music making, in recent decades has become the subject of scientific reflection. However, due to a later start time of its evolvement, it turned out to be less explored than other concert genres. The birth of the academic guitar art in the early twentieth century associated with the name of A. Segovia, together with whose creativity it stepped beyond the limits of the Spanish national culture and came to the world level. Creativity of the

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Filatova, Tetiana. "Concerto for guitar and orchestra by Heitor Villa-Lobos: genre and style projections." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 130–48. https://doi.org/10.31318/2522-4190.2025.142.327887.

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The relevance of the article is to consider Guitar Concerto by Heitor Villa-Lobos is considered from the standpoint of the interaction of authentic Brazilian genres with the specifics of the individual composer’s style. The article takes into account historiographical information, as well as editorial and performing aspects of comparative analytics by contemporary researchers. Main objective of the study is to identify genre sources of thematicism, linguistic features of Brazilian origin in the Guitar Concerto by Heitor Villa-Lobos in combination with individual and stylistic means of their mo

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YUZYUK, Nataliya. "WITH UKRAINE IN HIS HEART. IN MEMORY OF PEOPLE’S ARTIST OF UKRAINE, PROFESSOR BOHDAN BAZYLYKUT (TO THE 85TH BIRTHDAY ANNIVERSARY)." Bulletin of the Lviv University. Series of Arts Studies 218, no. 24 (2023): 95–108. http://dx.doi.org/10.30970/vas.24.2023.95-108.

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The future opera singer Bohdan Basylykut, People’s Artist of Ukraine, professor was born and raised in 1938 in the Ternopil region, in a family of simple laborers. He passed away after a long illness in 2020 in the city of Lviv. B. Basylykut sang in the school choir, mastered musical literacy on his own and learned to play the trumpet. At first, the future artist chose the profession of a school teacher. Although in 1955, he entered the philological faculty of the Lviv State Pedagogical Institute for two specialties at once: “teacher of Ukrainian language and literature” and “teacher of music

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Попова_Бонналь, Т. "POÉSIE DE LA GUERRE MODERNE : TENDANCES DE DÉVELOPPEMENT À LA LUMIÈRE DU GENRE POETIQUE ET DE LA SPÉCIFICITÉ THÉMATIQUE." Journal “Ukrainian sense”, no. 1 (December 2, 2023): 30–44. http://dx.doi.org/10.15421/462304.

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Background. From the first day of the war, on February 24, 2022, Ukrainian poetry gained a new impetus for development. The actualization of this type of creativity isdriven, on the one hand, by the experience of the tragic moment because such poetry often emerges in the immediate aftermath of war events, and on the other hand, by the expected therapeutic effect of poetic words. Social media platforms played a significant role in the dissemination of amateur and professional poets' verses, providing people with moral support and the opportunity to uplift one another. It is worth conducting a c

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Lee Six, Abigail. "The last of the vamp(ire)s: Two Spanish stories at a semantic fork in the road." Horror Studies 10, no. 2 (2019): 173–88. http://dx.doi.org/10.1386/host_00003_1.

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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expre

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Adam, Kent. "Corral, Café, and Concert Hall: Enrique Granados's "El fandango de candil" and Manuel de Falla's "Danza de la molinera"." Música Oral del Sur, no. 12 (December 5, 2015): 604–17. https://doi.org/10.5281/zenodo.4638639.

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Resumen: Desde principios del siglo XVIII el Fandango ha sido reconocido a nivel internacional como “tropo” en la música clásica de Europa. Compositores españoles y residentes en España, como Domenico Scarlatti, Antonio Soler, o Luigi Boccherini, crearon una tradición del fandango como obra virtuosa para tecla o para conjunto de cámara, caracterizada por animadas variaciones, mientras que Mozart aludió a la danza en el tercer acto de su Nozze di Figaro. A principios del siglo XX, compositores españoles nacionalistas como Enriq

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Ramón, Soler Díaz. "El fandango en Málaga: del cante bailado al cante desgarrado The fandango in Malaga: from 'cante bailado' to 'cante desgarrado'." Música Oral del Sur, no. 12 (November 11, 2015): 199–216. https://doi.org/10.5281/zenodo.4636675.

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Resumen: El fandango en Málaga se manifiesta de muy diversas formas: como verdiales, interpretados por agrupaciones llamadas pandas, que incluyen cante y baile y están acompañadas de guitarras, panderos y platillos; como fandangos abandolaos, que se cantan solo con guitarra y ritmo ternario y desvinculados del baile; como malagueñas, derivadas de los anteriores pero sin ritmo; y como fandangos personales, estilos surgidos a partir de la década de 1920, en la llamada Ópera flamenca, y que son de gran aceptación por el gran público. Desde l

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Su, Xin. "Augmented Reality Applications of Spanish Folk Music Elements in 7 Spanish Ballads and Don Quixote to the Intended Lovers." Applied Mathematics and Nonlinear Sciences 9, no. 1 (2024). http://dx.doi.org/10.2478/amns-2024-2596.

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Abstract Spanish folk music is characterized primarily by folk song tunes, dance rhythms, and folk instrumental music. This paper combines the understanding of the artistic expression of “7 Spanish Folk Songs” and “Don Quixote to the Intended One” music works, proposes to start the sound envelope computation to perceive the music beat, and utilizes the dynamic planning algorithm for real-time tracking. Combined with the three-dimensional model of stereo-visual rendering, an interactive module for presenting Spanish folk music has been established. The selected dataset, the dynamic programming

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Jordan, Daniel. "Sección Femenina: Documenting and Performing Spanish Musical Folklore During the Early Franco Regime (1939–1953)." Music and Letters, November 22, 2019. http://dx.doi.org/10.1093/ml/gcz099.

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Abstract The Franco regime (1939–75) used Spanish musical traditions as a form of propaganda and cultural diplomacy during the first two decades of the dictatorship––a period that saw Spain transform itself from a supporter of Nazi Germany to a staunch ally of the Western Bloc. Based on archival work conducted in eight archives throughout Andalusia and Madrid, the rather monolithic view of how the Franco regime portrayed Spanish identity within the nation, the Protectorates in Morocco, and the United Kingdom is challenged. The Sección Femenina, the women’s section of the fascist Falange party,

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RODRÍGUEZ, EVA MOREDA. "Exile and Memory in Post-Franco Spain: Julián Orbón's Libro de cantares (1987)." Twentieth-Century Music, March 1, 2023, 1–20. http://dx.doi.org/10.1017/s1478572222000378.

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Abstract In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in individual and collective memory-building processes that matched to an extent but also diverged from similar processes that were then underway i

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Albacete-Maza, Juan, Antonio Fernández-Cano, and Zoraida Callejas. "Exploring folk songs to educate for resilience." On the Horizon: The International Journal of Learning Futures, June 13, 2023. http://dx.doi.org/10.1108/oth-10-2022-0064.

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Purpose Covid-19 pandemic, war, climate emergency and other recent challenges are inflicting tremendous stress to youth. However, death and tragedy are nowadays considered taboo, as there is generally no standardized nor naturalized discussion on the subject, especially with young people. The current multi-crisis scenario is intensifying the need to incorporate an education on tragedy and resilience in our learning systems. In this context, it is necessary to find suitable teaching resources for this educational challenge that are attractive, entertaining and suitable for children and youth. A

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Shevchuk, Olga, and Ilona Legka. "Reception of Spanish Dance in the Productions of Modern Choreographers." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 27, 2025). https://doi.org/10.32461/2226-3209.1.2025.327979.

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The purpose of the article is to identify the features of stylised Spanish dance and outline its reception by modern choreographers using the example of flamenco. Research methodology. The method of theoretical and historical-cultural analysis was applied in order to clarify the features of the historical development of Spanish dance and the circumstances of its formation as a folk-stage one; typological and systemic analysis to conceptualise the technical features of flamenco dance choreography; the method of genre-style and art history analysis, which contributed to identifying the features

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Schammah Gesser, Silvina, Rebeca Raijman, Adriana Kemp, and Julia Reznik. ""Making it" in Israel? Latino Undocumented Migrant Workers in the Holy Land." EIAL - Estudios Interdisciplinarios de América Latina y el Caribe 11, no. 2 (2000). http://dx.doi.org/10.61490/eial.v11i2.1003.

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Every Saturday evening, hundreds of persons gather at a religious service in a Catholic church where a weekly mass is conducted in Spanish by a Franciscan priest. Many of the churchgoers actively participate, reading passages from the New Testament, singing in the choir, or playing instruments. Melodies of Latin American folk music are played intermittently, breaking the solemnity of the religious ritual. Two important aspects make this event unique: first, that it takes place in the old city of Jaffa, Israel, and second, it is especially organized by the church in order to attend to the needs

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Alba Conejo Mangas. "Juan Manuel Gaitán y Arteaga, the influenced musician [final]." Royal Conservatoire Research Portal, no. 1 (April 30, 2024). http://dx.doi.org/10.22501/koncon.2658087.

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Name: Alba Conejo Mangas. Main subject: Historical violin. Research supervisor: Wouter Verschuren. Title of the research: Juan Manuel Gaitán y Arteaga, the "influenced" musician. Research question: Is it possible to distinguish the influence of pre-flamenco in the villancicos of Juan Manuel Gaitán y Arteaga? Summary of results: During my research, I never imagined finding music from Lima or Guatemala composed by Juan Manuel Gaitán y Arteaga, a musician from Córdoba, Spain, in the XVIII century, who had never been in these places. This discovery presented an interesting challenge: to bring back

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Scarlatos, Chryssie. "Musical Borrowings in Songs about the Holocaust by the Jews of Greece." Menotyra 30, no. 4 (2023). http://dx.doi.org/10.6001/menotyra.2023.30.4.1.

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   This article deals with songs about the Holocaust. Most of these songs have remained almost unknown until today, and this article aims to bring them out and to highlight the fact that they serve as evidence to the sufferings of the Greek people during World War II. All songs were written in Greece, and the practice of contrafactum (borrowing melodies and changing the lyrics) was applied to all of them. The borrowed melodies originate from Western music (e.g., operas), Western and Greek popular songs of the time, and from Greek folk and urban folk music. The variety of musi

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Margolies, Daniel S., and J. A. Strub. "Music Community, Improvisation, and Social Technologies in COVID-Era Música Huasteca." Frontiers in Psychology 12 (May 31, 2021). http://dx.doi.org/10.3389/fpsyg.2021.648010.

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This article examines two interrelated aspects of Mexican regional music response to the coronavirus crisis in the música huasteca community: the growth of interactive huapango livestreams as a preexisting but newly significant space for informal community gathering and cultural participation at the onset of the coronavirus pandemic, and the composition of original verses by son huasteco performers addressing the pandemic. Both the livestreams and the newly created coronavirus disease (COVID) verses reflect critical improvisatory approaches to the pandemic in música huasteca. The interactive l

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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont

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