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Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, [1] etc.) are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani in origin.
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.
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 ...
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]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
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).
In singing, a controlled swell (i.e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period) [2] mesto Mournful, sad meter or metre The pattern of a music piece's rhythm of strong and weak beats mezza voce Half voice (i.e. with subdued or moderated volume) mezzo
The Palencia Cathedral, where Cabezón probably received his music education from one García de Baeza. Antonio de Cabezón (30 March 1510 – 26 March 1566) was a Spanish Renaissance composer and organist. Blind from childhood, he quickly rose to prominence as a performer and was eventually employed by the royal family.