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Flamenco (Spanish pronunciation: [flaˈmeŋko]) is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia.
His previous book, La Trepadora, had been well received. [4] During his stay, he gathered many details of the local idiom, scenery, and daily life, and was inspired by the real people he encountered; Doña Bárbara herself is derived at least in part from the local landowner Doña Pancha. [ 4 ]
The extent to which the discipline is practiced varies on the growth of general knowledge of the Flamenco arts. Since the beginning, it has been the purpose of Flamencologists to diffuse the art both locally and abroad, and with the diffusion of the art later come the methods of documenting and researching the art thus putting Flamencology into practice.
flamenco dance; other (non-flamenco) types are referred to as 'danza' baile de mantón a dance with a shawl balanceo y vaivén swaying of the body and hips. Balanceo is gentle; vaiven is violent bamberas song form for swings bata de cola dress with a train (literally: "gown [of/with] a tail") bonito "pretty"; in other words, not good flamenco ...
Duende or tener duende ("to have duende") is a Spanish term for a heightened state of emotion, expression and authenticity, often connected with flamenco. [1] Originating from folkloric Andalusian vocal music (canto jondo) [2] and first theorized and enhanced by Andalusian poet Federico García Lorca, [1] the term derives from "dueño de casa" (master of the house), which similarly inspired ...
It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering. The name bulerías comes from the Spanish word burlar, meaning "to mock" or bullería, "racket, shouting, din". It is the style which permits the greatest freedom for improvisation, the metre playing a crucial role in this.
The Soleares, Alegrias and other palos could be explained as one measure of 6/8 time and one measure of 3/4 time, although changes of harmony tend to accent the third and tenth beat, avoiding the Western Classical idea of downbeat, and therefore further obscure the unfamiliar listener's ability to sense the beginning and middle of the cycle.
Sargent's painting Capri (1878) depicts Rosina Ferrara dancing the tarantella, and anticipates the flamenco of El Jaleo. [6] Crystal Bridges Museum of American Art. Almost 12 feet (3.7 m) wide, El Jaleo is broadly painted in a nearly monochromatic palette, but for spots of red at the right and an orange at left, which is reminiscent of the lemons Édouard Manet inserted into several of his ...
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