Search results
Results from the WOW.Com Content Network
Cante jondo (Spanish: [ˈkante ˈxondo]) is a vocal style in flamenco, an unspoiled form of Andalusian folk music. The name means "deep song" in Spanish, with hondo ("deep") spelled with J (Spanish pronunciation:) as a form of eye dialect, because traditional Andalusian pronunciation has retained an aspirated H lost in other forms of Spanish.
Following is a list of popular music songs which feature a chord progression commonly known as Andalusian cadences. Items in the list are sorted alphabetically by the band or artist 's name. Songs which are familiar to listeners through more than one version (by different artists) are mentioned by the earliest version known to contain ...
ALV (song) Ámame (song) Ámame una Vez Más; Amándote (Thalía song) Amándote (Anna Carina song) El Amante; Amantes (song) Amantes de una Noche; Amapola (song) Amar sin ser amada; Amargura; Amarillo (J Balvin song) Amarillo (Shakira song) Amarte a Ti; Amarte Es un Placer (song) Amazonas State Anthem; América, América (song) AMG (song ...
Chants d'Espagne, Op. 232, (Spanish: Cantos de España, English: Songs of Spain) is a suite of originally three, later five pieces for the piano by Isaac Albéniz. Prélude (later known as Asturias (Leyenda)), Orientale and Sous le palmier were published in 1892, and Córdoba and Seguidillas were added in the 1898 edition.
Its origins are uncertain but scholars see many influences in the cante flamenco including: The traditional song of the gitanos (Spanish Gypsies), the Perso-Arab Zyriab song form, the classical Andalusian orchestras of the Islamic Empire, the Jewish synagogue chants, Mozarabic forms such as zarchyas and zambra, Arabic zayal (the foundation for ...
For example, to determine that a song belongs to the palo called Bulerías, only the rhythm is taken into consideration, no matter its mode or stanza. Fandangos , on the other hand, include a variety of forms in 3 / 4 or 6 / 8 , but later it developed "free" forms (that is, with no determined rhythm).
Syllabic chants have mostly one note per syllable. Neumatic chants have a small number of notes, often just two or three, notes per syllable. Melismatic chants feature long, florid runs of notes, called melismas, on individual syllables. In both Visigothic/Mozarabic and Gregorian chant, there is a distinction between antiphonal and responsorial ...
The Spanish classical composer Manuel de Falla (1876–1946) was the principal organizer of the Concurso. [3] He sought to encourage and enhance the music of cante jondo (literally "deep song", referring to a key element of flamenco, as opposed to "cante chico", the "lighter" more accessible element), which he sensed had fallen into a period of decadence. [4]