Academic literature on the topic 'Methods (Flamenco)'

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 particular performer. Any phenomenon that is subject to the action of a set of these specific canons acquires formal, stylistic, genre qualities that indicate the cultural and artistic environment from which they originate. Flamenco is developing dynamically and actively absorbing the experience of other musical cultures. Any phenomena that fall into the gravitational field of the flamenco canons acquire the specific traits inherent in this culture. This assimilation of alien elements is defined by the concept of aflamencado (“one that acquires the characteristic features of flamenco”). Theoretical background. Contemporary views toward flamenco culture are very different: the discrepancies are noticeable among flamenco fans, performers and scientists. The paper of Marta Wieczorec “Flamenco: Contemporary Research Dilemmas” (2018) considers disputes about the scientific issue of flamenco. She pays attention to the debatable side in science comprehension of this ethnic phenomena and its place in Spanish culture. This article also looks at the antagonism between traditional and contemporary, or, “pure” and commercial branches of flamenco. William Washbaugh in his book “Flamenco music and national identity in Spain” (2012) considers as a ambitious project the tendency to rethink Spanish national identity under the influence of the spread of flamenco music culture, its various forms. Among many contemporary musicians, he also calls Miriam Méndez. The purpose of this paper is to identify the basic strategies of aflamencado in piano art of the XX century (the ways of interaction flamenco and piano performance art of this period). Such study requires the use of musicological and performing analytical methods of scientific research, among them the methods of genre and style analysis, historical and comparative approach that are applied on this paper. The genre theory by E. Nazaykinskiy (1982) is used in this study. This theory defines genres as historically established types and kinds of musical creation, which divides according to number of criteria: by purpose (public, common, artistic function); by conditions and facilities of performing; by content and ways of creation. Aflamencado characterization using the theory of T. Cherednichenko (2002) about typologique of musical practices allowed considering different methods of adapting the flamenco ethnic elements to the academic traditions and to determine the degree of transformation of the constituent elements of the synthesis. Research results. Piano art began to embrace flamenco culture in the late XIX century. The pioneer along this path was maestro F. Pedrell and his students. One of them, І. Albenis, composed the cycles for piano “Spanish Music” No. 1 (1886), No. 2 (1889) and “Iberia” (1906–1908), where the piano pieces are enriched with the characteristic flamenco sound. The piano texture includes some elements of guitar technique: the “razguiado”, which involves repeated chords, the “punteado” – accenting performance of each sound. Melody line of Albenis’s piano works correlates with flamenco due to its generous embellishments, melismatics and hangs in detentions, which are also a projection of flamenco vocal art. The metro-rhythmic sphere of the Spanish opus by I. Albenis is often based on the typical flamenco-“compass” associated with changeable the dual and triple pulsations. Tonal and harmonic reliance on Lydian and Phrygian modes and the use of the so-called “Andalusian cadence” (t-VII-VI-D) complements the palette of flamenco expressive means of expression. These aflamencado examples have some contradictions. The nature of the pianoforte is extremely elitist and aristocratic. The “wild” and arbitrary art of Spanish Roma from the poorest regions of Andalusia, when it falls into the sound pianistic “wrapper”, is transformed significantly and acquires an academic taste. Authentic art with its oral tradition of imitation is engraved in the musical text, such fixation sends flamenco to “foreign” territory, creating grounds to believe that the cycles “Spanish suite” and “Iberia” are examples of “composer expansion” on the flamenco territory. In this example, the principles of aflamencado have a specific vector directed into the sphere of “opus- music”, and a set of tools and techniques that allow to attract the characteristic features of folk practice, with its oral and collective nature (according to T. Cherednichenko’s typology of musical practices), to creation of original, individual, non-canonical composer work. In such interaction the resources of one cultural layer allow to reach of new artistic content in other. In this sense, aflamencado acts as a means of simulating a particular object of reality in the individual perception of the author. Aflamencado in the works of contemporary composer, arranger and pianist Miriam Méndez is oriented in the opposite direction. She called her first album “Bach por Flamenco” (2005). The intertextuality of this musical experiment provides radically new content to the work that has long been canonized. J. S. Bach’s Fugue is transformed into a target. The rigid, immutable confines of the genre are being tested by the ever-changing, flamenco element. The timbre, the properties of the tools used, the built-in “cante” – all serve to update the original. The pianist, who, along with other musicians, created this genre mix, was guided, mainly, by the idea of flamenco. Conclusions. Thus, in the contemporary piano art, the aflamencado phenomenon reveals a dual nature that depends on the basic level of interaction between cultures. In one case, composer creativity engages a flamenco resource to implement authorial creative strategies. Otherwise, the composer’s work is being “prepared” for the purpose of immersing it in the primordial folk element. As a result, two fundamentally different models of pianism are formed – the academic and its flamenco variety adapted to the musical-linguistic canons. This version of piano performance in listening circles was called “flamenco-pianism”. The hybrid nature of this phenomenon now needs in further investigation.

The detection of emotions is fundamental in many areas related to health and well-being. This paper presents the identification of the level of arousal in older people by monitoring their electrodermal activity (EDA) through a commercial device. The objective was to recognize arousal changes to create future therapies that help them to improve their mood, contributing to reduce possible situations of depression and anxiety. To this end, some elderly people in the region of Murcia were exposed to listening to various musical genres (flamenco, Spanish folklore, Cuban genre and rock/jazz) that they heard in their youth. Using methods based on the process of deconvolution of the EDA signal, two different studies were carried out. The first, of a purely statistical nature, was based on the search for statistically significant differences for a series of temporal, morphological, statistical and frequency features of the processed signals. It was found that Flamenco and Spanish Folklore presented the highest number of statistically significant parameters. In the second study, a wide range of classifiers was used to analyze the possible correlations between the detection of the EDA-based arousal level compared to the participants’ responses to the level of arousal subjectively felt. In this case, it was obtained that the best classifiers are support vector machines, with 87% accuracy for flamenco and 83.1% for Spanish Folklore, followed by K-nearest neighbors with 81.4% and 81.5% for Flamenco and Spanish Folklore again. These results reinforce the notion of familiarity with a musical genre on emotional induction.

Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

AbstractIntroduction. This paper tries to elucidate the possible differences in time distribution in a classical dance (CLD) class, depending on whether it is taught using recorded music (CD) or live music played by the piano teacher accompanying the dance (PD).Material and methods. In this work, different temporal categories have been compared according to the style of dance of 89 female students divided into two groups: classical-contemporary dance and Spanish-flamenco dance, with CD or PD.Results. Higher values were obtained in most of the categories in the classical-contemporary group than in the Spanish-flamenco group, and the differences were maintained according to the musical resource used, with better results when using live music.Conclusions. PD in CLD classes can result in more profitable sessions for both students and teachers due to more cost-effective use of time during classes.

The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.

ABSTRACTThis research explores the modification and implementation of a Detached-Eddy Simulation (DES) in a high-order compressible solver and its application to automotive aerodynamics. This was conducted on a 20° SAE Reference Notchback Model with a Reynolds number of 2.23 × 105. This DES algorithm implemented within FLAMENCO, which is finite-volume research code operating over multi-block meshes, was used for all the simulations. The primary objectives were to capture unsteady flow features, separated coherent structures and also relax the meshing requirements to improve accessibility to turbulence-resolving methods for realistic configurations. This also aims to better understand the separated flow physics, especially around the base surfaces of the car. Simulations for three mesh refinement levels were compared to wind-tunnel measurements. Even on relatively coarse meshes (~7 m cells) for DES, time-averaged Cp was obtained with maximum errors of <8%.

Melody categorization refers to the task of grouping a set of melodies into categories of similar items that originate from the same melodic contour. From a computational perspective, automatic melody categorization is of crucial importance for the automatic organization of databases, as well as for large-scale musicological studies—in particular, in the context of folk music and non-Western music traditions. We investigate methods starting from the raw audio file. For each recording contained in a collection, we extract a pitch sequence representing the main melodic line. We then estimate pairwise similarities and evaluate the discriminative power of the resulting similarity matrix with respect to ground-truth annotations. We propose novel evaluation methodologies, compare melody representations, and explore the potential of our approach in the context of two applications: interstyle and intrastyle categorization of flamenco music and tune-family recognition of folk-song recordings.

Romania assists at the present time to an increase of production crops for ornamental plants and as a consequence an increased demand of planting material. Thus, improvements of the current multiplication methods are sought after. Lisianthus russelianus Hook. (Eustoma grandiflorum Grise.) is a relatively new floral crop to the international market, known for beautiful flowers of various colors and for having a long vase life. This study focused on the development of an efficient protocol for rapid regeneration of this species following known basic and applied aspects of lisianthus biotechnology but exploring new potentials. In the course of experiments conducted, for in vitro multiplication there were used nodal segments (1.5 cm) with axillary buds from three F1 hybrids ‘Echo Lavender’, ‘Flamenco White’, ‘Mirage Pastel Pink’ that were inoculated on MS basal medium supplemented with 0.50 mg 1-1 TDZ, 1.0 mg 1-1 BAP and 0.50 mg 1-1 AIA. The results show that the medium with BAP was most effective for obtaining the highest shoots number compared to medium containing TDZ. For rooting induction, two different concentrations of auxin IBA 0.5 mg 1-1 and 1.5 mg 1-1 were used simultaneously on MS basal medium. The highest roots number occurred when using 1.5 mg 1-1 IBA. Both the number of shoots and rooting regeneration were dependent on the cultivar. The highest shoots number was achieved for ’Mirage Pastel Pink’ hybrid (6.91) on the medium containing 1.0 mg 1-1 BAP and 0.50 mg 1-1 IAA.

The literature review is presented concerned with the preparation methods and with the signature features of the carbide, nitride and boride transition engineering materials reinforced by means of flaments and fbrous crystals. The review concerns also the covalent bonding (SiC, Si3N4) and Al2O3compositions. The fber's and fbrous crystal's basic properties were investigated.Ill. 10. Ref. 154. Tab. 11.

Abstract Three-dimensional numerical simulations of turbulent mixing at a perturbed interface of a dense shell compressed by a spherically imploding shock wave are presented. This case is a simplified version of inertial confinement fusion implosion (ICF) where a small capsule containing nuclear material is compressed to extremely high pressure and temperature to achieve fusion burn. The current simulations were performed using a high-order spherical method and a semi-Lagrangian moving mesh algorithm implemented in our in-house code Flamenco. Results of narrowband and broadband initial perturbations are presented at different grid resolutions along with mix layer limits, molecular mixing, turbulent kinetic energy and bubble/spike heights. The initial multimode perturbations applied at the interface consist of a superposition of cosine waves and are determined according to a specified power spectrum and standard deviation. These are employed in a spherical segment, enabling the efficient computation of a wide range of low to relatively high mode-number perturbations. The overall grid convergence of the solution is analysed and the different findings from the integral quantities and bubble/spike amplitudes are indicated.