Academic literature on the topic 'Intepretation of Art Song in Spanish'
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Journal articles on the topic "Intepretation of Art Song in Spanish"
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Nan, Maro Babakhanian. "La Canción Española: ¿como puede llegar a formar parte de la programacción en los auditorios del Mundo? Art song in spainsh: how can it achieve its place on the world stage?" Música Oral del Sur, no. 11 (December 12, 2021): 302–13. https://doi.org/10.5281/zenodo.4636550.
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Resumen: El presente artículo proporciona una valoración de la información disponible en este momento sobre la interpretación de las canciones artísticas de época romántica, post-romántica y contemporánea en español (poemas en castellano). La canción artística española sólo podrá llegar a formar parte del Repertorio estándar en los conservatorios, en otros programas para el estudio de la música y en la programación de recitales en auditorios en todas partes del mundo, cuando los demás artistas y profesores de música sepan de su existencia y de cómo interpretarla]. Se incluye una evaluación de las herramientas didácticas que tendrían que establecerse para asegurar que este amplísimo y variado repertorio se incluya en las asignaturas comunes de todos los músicos líricos (los cantantes, pianistas y directores). Abstract: What follows is an assessment of information currently available about the Interpretation of Romantic, Post Romantic and Contemporary Art Song in Spanish (poems set in Castellano). The Spanish Song can only become part of the Standard Repertoire in conservatories, music programs and the programming of recitals in auditoriums around the world when artists and teachers know of its existence and have information on “how to interpret” it. Included is an evaluation of what pedagogical tools need to be established in order to ensure that this vast and varied body of repertoire be included in what all lyric musicians (singers, pianists and conductors) study in their “core curriculum.”
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de la Rasilla del Moral, Ignacio. "The Swan Song of Universal Jurisdiction in Spain." International Criminal Law Review 9, no. 5 (2009): 777–808. http://dx.doi.org/10.1163/156753609x12507729201354.
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AbstractOn 29 April 2009 the Spanish National Court opened a cause against the "perpetrators, the instigators, the necessary collaborators and accomplices" of alleged tortures at the Guantanamo camp and other overseas detention facilities. Before examining how these and other causes currently opened in Spain under the principle of universal jurisdiction enshrined by Art. 23.4 of the Organic Law of the Judicial Branch (LOPJ) are likely to be affected by the legislative reform of that very provision approved by the Spanish Congress of Deputies on 25 June 2009, we will first examine the sinuous - and now dramatically indicative in retrospect - jurisprudential evolution of the treatment of the principle of universal justice by Spanish Courts since the Constitutional Court enshrined a doctrine of unconditional universal jurisdiction in its widely celebrated Guatemala Genocide case in June 2005. This is complemented by an overview of the cases that, jurisdictionally based on the principle of universal justice enshrined by Article 23 of the LOPJ, are still currently open (from e.g., Tibet to Rwanda or Gaza) before Spanish Courts. In addition, set against the background provided by the release of the four so-called "torture memos" by the Obama Administration in April 2009, there is a brief examination of the possibilities of jurisdictional prosecution of both the perpetrators and those who formulated the legal guidance authorizing the "enhanced interrogators techniques" in both the U.S. domestic law system and international legal jurisdictional settings, including at the ICJ level. Eventually, an examination of the hasty procedure through which the new relevant Spanish provision in this area has been adopted and the legal effects, with reference to cases currently opened before the Spanish courts, of the newly reformed article give place to a brief reflection on the prospects of international law in the age of an emerging new international judiciary in view of the structural deficit of mechanisms of participatory democracy on the domestic plane with relevance in the international realm as dramatically epitomized at this juncture by the Spanish legal system.
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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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Kiko, Mora. "Sounds of Spain in the Nineteenth Century USA: An Introduction." Música Oral del Sur, no. 12 (November 19, 2015): 333–62. https://doi.org/10.5281/zenodo.4636748.
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Resumen: Este artículo analiza la introducción de la música popular española en EEUU durante el siglo XIX, utilizando periódicos, revistas y partituras de las editoriales de la época como fuentes primarias, y atendiendo especialmente al área de Nueva York. El carácter historiográfico de esta investigación tiene la intención de servir como un trabajo preliminar que permita una posterior comprensión de las particularidades de la música española en su contacto con la cultura norteamericana. El artículo se centra fundamentalmente en la música popular española, que aquí se refiere no solamente a piezas anónimas de origen popular sino también a aquellas producidas y distribuidas por la industria musical para unaamplia audiencia. En este sentido se acentúan lo que considero las piedras angulares de la presencia de la música española en aquel país. En particular las sucesivas oleadas de bailarinas y bailaoras de escuela bolera y flamenca, la llegada de los guitarristas españoles durante la primera mitad del siglo XIX, la introducción de la canción de salón, de la ópera Carmen, de la zarzuela y del cante flamenco en los espectáculos escénicos y las actuaciones de The Spanish Students en el circuito del vodevil. Abstract: This paper analyzes the introduction of Spanish popular music in the USA during the nineteenth century, using newspapers, magazines and scores released by North American publishing houses of the era as primary sources, with special emphasis on the New York area. With this historiographical research, I aim to lay the groundwork for a later understanding of the particularities of Spanish music in its contact with North American culture. This paper focuses primarily on Spanish popular music, not only anonymous pieces of popular origin but also those produced and distributed for a wide audience by the music industry, highlighting what I consider to be the cornerstones of the Spanish presence in U.S. music and dance. In particular, the consecutive waves of dancers of the bolero (balletic) and flamenco schools, the arrival of Spanish guitarists during the first half of the nineteenth century, the introduction onto U.S. stages of Spanish art song, the opera Carmen, zarzuela (Spanish light opera) and cante flamenco (flamenco song), and the performances of Spanish guitar ensembles on the vaudeville circuit.
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Khoshsaligheh, Masood, Fatemeh Sarvghadi, and Salasiah Che Lah. "Song translation: Lyrics in context." International Journal of Translation and Interpreting Research 15, no. 2 (2023): 176–79. http://dx.doi.org/10.12807/ti.115202.2023.r01.
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There has been a growing academic interest in the study of song translation in the recent decade. Due to the interdisciplinary nature of such investigation, researching song translation has developed and stemmed from the concepts and notions of various disciplines such as literary studies, music studies, theatre studies, besides translation studies. As a result, the field of song translation seems to be “disparate” and “fragmented” (p. 23). This edited volume of essays in nearly 500 pages is a seminal collection that offers the overview of conceptual theories and the empirical research on song translation from many parts of the world, classifying the studies to systematically offer a clear state of the art as well as to reveal the gaps to be filled by future studies. The editors’ introductory chapter especially provides the theoretical and conceptual framework to study song translation, which is of unprecedented value. As for empirical studies, various chapters are presented under the three categories of Analyses of Popular Songs, Historical Approaches, and Multimodal and Didactic Approaches in English (11 articles) and in German (4 articles). The articles investigate the songs and the translations from the main languages, including English, German, French, Spanish, Italian, Greek, Swedish, Norwegian, Turkish, and Finnish.
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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 tradition. According to another view, urban folklore is a unique historical and cultural phenomenon with a unique process of development and patterns. Each example of a city song goes through a special way of creation and dissemination (folklore text-folk melody, author's text-folk melody, author's word-music, same song difference with rural-urban parallels, popularization of a song by a famous author, folk versions of words or with a change of theme, urban song with rural folklore texts, words with different melody content, themes, etc.). Urban romances have certain patterns that are noticeable everywhere. One of the unique representations of urban romance is famous fadu. Fadu is descended from medieval Pyrenean (Spanish-Portuguese) romances and Portuguese folk quartets. Portuguese and Armenian urban musical folklore is comparable with certain motive commonalities. The symbols of the Armenian-Portuguese romances are also comparable. With certain transformations everyday romances continue to remain in the realm of modern urban music culture.
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Kofman, A. F. "Latin American Folklore: Roots, Genres, Uniqueness." Cuadernos Iberoamericanos 11, no. 3 (2023): 164–83. http://dx.doi.org/10.46272/2409-3416-2023-11-3-164-183.
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Latin American folklore is a heterogeneous phenomenon, encompassing different levels, which has been determined by the historical conditions of its formation, existence and evolution. The so-called folklore criollo, which dates back to the Spanish folk poetry brought by the Spaniards to America during the colonial period, is an important part of the Latin American folklore. The specific character of historical and socio-economic circumstances that influenced the formation of the folklore criollo, explain its relatively late formation, as well as the transformation and reinterpretation of the original Spanish popular poetic tradition. As a result of syncretisation, Creole folklore has incorporated various elements of the folk art of the indigenous peoples, including those of African origin. The main genres of Creole folklore are romance, décima (glossa) and copla, which have evolved since their birth in Spain and later in the New World, where they came with waves of Spanish immigrants. The specific conditions of life in the American colonies, in which such psychological qualities as courage, bravery, aggressive ness and violence became the norm of existence, determined the content, motifs and plot of folklore. At the same time, romantic poetry was «folklorised», it was adapted to the collective environment, its themes were simplified. Folk songs and romances were given a sentimental, artificially dramatic character of exaggerated suffering. Romantic songs have achieved great popularity, as they exist today in different Latin American countries in different forms or genres, namely the corrido, the song ranchera, the yaraví, the mulisa, among others. The example of the folklorisation of the romantic style was the tango song that was formed in Argentina and Uruguay as a massive amateur composition in the 1920s. Different genres of Creole folklore are present with their own specificity in all Latin American and Caribbean countries and deserve new studies taking into account new conditions of social and human development.
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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda, and Antonio Menor-Campos. "The Cultural Tourism and Flamenco." Journal of Social Sciences Research, no. 61 (January 5, 2020): 32–39. http://dx.doi.org/10.32861//jssr.61.32.39.
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Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.
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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda, and Antonio Menor-Campos. "The Cultural Tourism and Flamenco." Journal of Social Sciences Research, no. 61 (January 5, 2020): 32–39. http://dx.doi.org/10.32861/jssr.61.32.39.
Full textAbstract:
Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.
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ABDULSATTAR JABBAR, HABEEB. "LA CORRIENTE ROMANTICO Y LA LITERARTURA ESPANOLA." Al-Adab Journal 1, no. 127 (2018): 57–65. http://dx.doi.org/10.31973/aj.v1i127.201.
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 The romantic movement is regarded as rational and article movement which is appeared.
 The beginning of ninth century in spite of the start point was in the end of eighteenth century. This movement spreads in the fields of music, literature, drawing and carving. It is a movement which includes all these fields and refused the modern classical method. It is submitted to literary and comedy modes and change the champions of the ascendance in literary works and create an element of exaggeration in irrational describing in order to escape from reality. It used the imagination and reality at the same time.
 The paper is dividing to two chapters the first contain general over view of romantic doctrine in Europe and Spanish and its directions, social frames and characteristics of the types of art like novel and theater while the second chapter ideals with song poetry and we gave an example of the poet JOSE ISPERONTHEDA
Dissertations / Theses on the topic "Intepretation of Art Song in Spanish"
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Ortiz, Camille. "Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.
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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
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Monsalve, Mejia Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609097/.
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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
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Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.
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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.
Full textAbstract:
Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
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Rodrigues, Irailda Eneli Barros Silva. "THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKS." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/25.
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The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished.
This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.
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Campelo, André. "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/89.
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The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer to conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects ofBrazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies.
Books on the topic "Intepretation of Art Song in Spanish"
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Dickens, Charles. Sheng dan song ge =: The christmas carol. Wai yu jiao xue yu yan jiu chu ban she, 2007.
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Draayer, Suzanne Rhodes. Art Song Composers of Spain: An Encyclopedia. Scarecrow Press, Incorporated, 2009.
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Spanish Art Song in the Seventeenth Century (Recent Researches in the Music of Baroque). A-R Editions, 1986.
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Spillane, K. Art Song in Latin America: Selected Works by 20th Century (Vox Musicae No 1). Pendragon Press, 1998.
Find full textBook chapters on the topic "Intepretation of Art Song in Spanish"
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Draayer, Suzanne Rhodes. "Appendix: A Selected Guide to European Spanish Song." In Art Song Composers of Spain. Rowman & Littlefield Publishers, 2009. https://doi.org/10.5771/9780810867192-427.
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Draayer, Suzanne Rhodes. "Chapter 1. The Canción Lírica—Spanish Song Types." In Art Song Composers of Spain. Rowman & Littlefield Publishers, 2009. https://doi.org/10.5771/9780810867192-1.
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Draayer, Suzanne Rhodes. "Chapter 2. Indigenous Spanish Sound and the Canción Lírica." In Art Song Composers of Spain. Rowman & Littlefield Publishers, 2009. https://doi.org/10.5771/9780810867192-13.
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