Most people who live outside of Spain identify flamenco as the musical genre that fully represents the people and culture of this country. This picture could not be more incorrect: Spain hosts an incredibly rich variety of musical traditions, musical instruments, and dance forms. The musical diversity of Spain is a product of the country’s complex history, and its cultural and geographical diversity. In recent years, nonetheless, a notable effort has been made by different cultural groups all around the country to emphasize divergent elements between the different musical genres. Many of these tendencies become the “sound banner” of trends such as “Celtism” or “Mediterranism” that have been used to justify cultural and even genetic differences in Spain.
The purpose of this class is not only to familiarize the students with the different musical genres of Spain and to encourage them to develop sensitivity to diversity of forms and functions, but also to encourage them to develop critical listening skills through the analysis of how genres are used as cultural identifiers. This will lead to a discussion about how music can function both as a keeper of tradition or as political and cultural propaganda associated with new nationalistic trends. (3 credits)
Attendance policy:
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
By the end of the course, students can:
Explain the difference between a cultural and a political nation and how this difference can be perceived in musical terms.
Analyze the concern for the preservation of music and traditions in the global modern world, and discuss the different ways in which this music can be made to last without losing its vitality and essential elements.
Identify and analyze the most significant Spanish musical genres, and identify the region where they come from and their historical developments.
Identify the poetic structures of the Spanish lyrical song and the romance (ballad).
Analyze and describe in musical and anthropological terms a flamenco piece and performance.
Identify the construction and folklorization of certain genres for identity purposes.
Recognize the difference between nationalistic music from the early twentieth century and from the early twenty-first century.
Method of presentation:
Reader: The course reader, composed of academic articles in Spanish appropriate to the subject matter, provides a central source of material, and a guide for the students throughout the whole course. Each section indicates the specific Required Readings. Additional materials will also be available on Moodle, the IES Abroad online learning platform.
Music: The students have daily access to a collection of CDs and DVDs available at the library, covering the best examples of the music heard on the course.
Essays and exams: Students will be required to complete 4 short papers and 1 exam based on different aspects of Spanish music covered in the course.
First paper (due session 5): Fieldwork: interview of grandparents or other family members following the premises of a fieldwork questionnaire and the norms for the compilation of oral material. The point of this paper is give the student the experience of collecting information and building a family cultural history in the same way folklorists do when researching folk culture.
Second paper (due session 10): A “road map” or description of the different parts that compose three different flamenco pieces: Type of introduction, type of palo (genre and rhythm), use of falsetas and cierres (improvised interludes and postludes), and analysis of the poetic forms used in each piece. The objective of this paper is to allow students to identify and analyze the genre in its performance context.
Midterm Paper (session 11): Students will go to a flamenco performance and record in a paper all elements of the practice applying concepts of exoticism, romanticism, nacionalism, and body expression studied in the class.
Musical Instrument Paper (session 16): Students will do an analysis of a documentary that showcases the txalaparta (Basque musical instrument) and explain how the instrument is portrayed and manipulated to answer nacionalistic interests.
Final Paper and Presentations (sessions 23-14): The final paper is designed to summarize the materials covered during the semester. It is composed of a series of questions on every aspect of Spanish music. Furthermore, the subject of how this music has and will continue to survive (either through fusion or folklorization) will be addressed by a final question.
LANGUAGE OF PRESENTATION: Spanish
Required work and form of assessment:
Participation (15%); first paper (15%); second paper (15%); mid-term paper (20%); fourth paper (15%); final exam (20%).
Papers: Typed five-page long essays. They should be submitted both electronically and in paper format to the instructor. Due dates are non-negotiable. Late submissions entail grade penalties.
Exam: Final exam in take-home format.
Taking notes in class: Students are advice to take good notes in class because the analytical work expected in the papers will be based on class discussions.
content:
Session 1: Introduction.
The political and commercial presentation of Flamenco as the “music of the Spanish people”
Discussion of the concepts of a political and cultural nation
Musical Diversity in Spain in connection to historical, political and geographical differences.
The idea of music as identity
Session 2: Basic tools for music analysis
Melody, harmony, rhythm, timbre (in the context of Spanish music)
Musical instruments as artifacts that identify a culture (the case of the “Spanish guitar, the rabel from Cantabria and the Galician bagpipe)
Objectives
To acquire analytical elements for musical analysis. Crivillé i Bargalló, Josep. “Algunas hipótesis sobre los orígenes del hecho musical,” in Historia de la música española. 15-24.
Listening: La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
Sessions 3 and 4:
Music in a historical perspective
Antecedents of traditional Spanish music
Music as a historical creation
The idea of folklore
The function of music in Spanish culture
Spanish song and dance
Objectives
Create a method of classification for traditional Spanish music
Understand the basic textual and musical structures of Spanish songs
Acquire historical perspectives on traditional Spanish music Martí, Josep. “La base ideacional,” in El folklorismo. Uso y abuso de la tradición. 37-71.
Listening:
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
Session 5:
Poetic elements of the Spanish song
El Romance Español (the Spanish ballad)
Objectives
Identify poetic forms in the romance
Appreciate narrative music in Spain
Explain the traditional Sephardic Ballad and its connection with Spanish culture
First Paper due in Session 5 Crivillé i Bargalló, Josep. “El repertorio tradicional español,” in Historia de la música española. 113-117.
Listening:
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
Cantares y romances sefardíes de Marruecos. KPD 10.889
Sessions 6-7:
Flamenco
El cante jondo
Different genres (palos and their rhythms)
Forms of accompaniment
Objectives
Recognize the most important musical forms of flamenco music
Learning to perform flamenco’s basic rhythms Lefranc, Pierre. “El problema de los orígenes,” in El cante jondo. 41-56.
Listening:
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 5. Ramón Montaya. LDX 274279
Grands cantaores du flamenco Vol. 5. Ramón Montaya. LDX 274279
Sessions 8-9:
Different singers and vocal production in flamenco
Art of the flamenco singer Camarón de la Isla
Objectives
A) Identify the concept of “duende”
B) Recognize the most important performers of flamenco music Washabaugh, William. Flamenco. Pasión, política y culturapopular. 17-30.
Listening:
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 18. Rafael Romero. LDX 2741027
Session 10:
The guitar players Paco de Lucía y “Tomatito”
Flamenco dancing and the genre of the Sevillanas
Objectives
Outline the development of flamenco instrumental music
Recognize the difference between flamenco dancing and sevillanas
Second Paper due in Session 10Listening:
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 5. Ramon Montoya. LDX 274279
Examples for Exam from youtube and cds from the library.
Sessions 11 – 13:
The music of Galicia, Asturias and Cantabria
Dance as identity
Objectives
Identify principal musical forms.
Identify origin and context of Galician and Asturias musical instruments (bagpipes, rabeles, panderetas)
Study the different types of traditional dance
The rabel and narrative songs
Midterm Exam to be taken home on session 11. Cerra Bada, Yolanda. Bailes y danzas tradicionales en Asturias: la tradición y el presente. 81-102.
Campos Calvo-Sotelo, Javier. Fiesta, Identidad y Contracultura. Contribuciones al estudio histórico de la gaita en Galicia. 208-234.
Moreno Fernández, Susana. “El Rabel y su Práctica Musical.” Cuadernos de Campoo 13 (1998): 31-38.
Listening:
La tradición musical en España Vol.5. Os ritmos bailables. WKPD 10.2014
La tradición musical en España Vol.1. La cornisa cantabrica. WKPD 10.900
La tradición musical en España Vol.1. Los últimos tañedores del rabel. WKPD 10.2005
Rabelistas de Olea (Cantabria). WKPD 10.2067
La tradición musical en España Vol.3. Pandero cuadrado y panderetas del Transmonte (Asturias). WKPD 10.2011
Session 14-16:
Catalonia and Valencia
Sardana, cobla, yRondalla
Objectives
Identify principal musical forms.
Explain role of the sardana as a changing cultural and political symbol. Pitarch Alfonso, Carles. “En torno al «Cant valencià d'estil»: Investigaciones y proyectos.” Transcultural Music Review 1 (1997): 1-15.
Listening:
La tradición musical en España Vol. 21. La gaita de odre en la péninsula Ibérica-Baleares. WKPD 10.2056
La tradición musical en España Vol. 38. Ball de bastons. WKPD 2095
Colla de dolçainers i tabaleters el Terros. KPD 10.946
Balls de gegants de Barcelona. WHCM 332
La dolçaina. WHCM 340
Session 17 - 18:
The music of Castilla, Leon and Aragon
Objectives
Identify principal musical forms
Identify origins and context of musical instruments from the areas studied
Study the phenomenon of trashumancia in music (migration of livestock) Pardo, José R. El canto popular. Folk y nueva canción. 24-27.
Listening:
La tradición musical en España Vol. 22. Sones de gaita y tamboril de tierra de Ciudad Rodrigo. WKPD 10.2063
La tradición musical en España Vol. 24 y 25. Palotias del viejo Aragón y Valle de Broto. WKPD(2) 10.2066
La tradición musical en España Vol. 30. La ronda de Motilleja. WKPD 10.2079
Las fuentes de la música tradicional en León. WKPD 2102
La tradición musical en España Vol. 8. Monegros. WKPD 10.2020
Session 19:
The Basque Country
Objectives
Identify principal musical forms.
The new Basque music of Kepa Junquera
Final Paper due Session 19 Pardo, José R. El canto popular. Folk y nueva canción. 30-31.
Listening:
The Spanish recordings (Alan Lomax), Basque Country: Biscay and Guipuzcoa. Rounder B0002J58KG
Kepa Junkera. Bilbao Oo: Oh. Alula B00001ZT11
Sessions 20-21:
What is nationalism and how it is represented in music?
The work of composers Tárrega, Albéniz, Granados, Falla, Turina and Rodrigo
Objectives:
Recognize the musical elements used by composers in the creation of nationalist music.
Recognize idioms imported from traditional music. Evora, Toni. “El nacionalismo español” (1); (2). 38-43.
Listening:
Francisco Tárrega: Recuerdos De La Alhambra. Dg Imports B00000E2O1
Enric Granados: Quinteto, Romanza Y Danzas. Columna música B004IK8ZFU
Session 22-24: Oral presentations
Required readings:
Campos Calvo-Sotelo, Javier. Fiesta, Identidad y Contracultura. Contribuciones al estudio histórico de la gaita en Galicia. Pontevedra, Diputación Provincial de Pontevedra, 2007. pp. 208-234.
Cerra Bada, Yolanda. Bailes y danzas tradicionales en Asturias: la tradición y el presente. Gijón: Ayuntamiento de Gijón, 2000. pp. 81-102.
Crivillé i Bargalló, Josep. Historia de la música española. Madrid: Alianza, 2004. pp. 15-24; 113-117.
Evora, Toni. “El nacionalismo español” (1); (2). 38-43. [published only in this reader by the IES]
González González, Mª Eugenia, “Cantos, bailes, instrumentos y grupos de Campoo.” Cuadernos de Campoo 13 (1998): 26-30.
Lefranc, Pierre. “El problema de los orígenes”. In El cante jondo. Sevilla: 2000. pp. 41-56.
Martí, Josep. El folklorismo. Uso y abuso de la tradición. Barcelona: Ronsel, 1996. pp. 37-71.
Moreno Fernandéz, Susana. “El Rabel y su Práctica Musical.” Cuadernos de Campoo 13 (1998): 31-38.
Pardo, José R. El canto popular. Folk y nueva canción. Barcelona: Salvat, 1981. pp. 24-27; 30-31.
Pitarch Alfonso, Carles. “En torno al «Cant valencià d'estil»: Investigaciones y proyectos.” TransculturalMusic Review 1 (1997): 1-15.
Washabaugh,William, Flamenco. Pasión, política y cultura popular, Barcelona: Paidós, 2005. pp.
Required Listening
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 18. Rafael Romero. LDX 2741027
Grands cantaores du flamenco Vol. 5. Ramon Montoya. LDX 274279
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
La tradición musical en España Vol.15. Romances tradicionales. WKPD (2)-2109
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
Romancero pan hispánico (Edición José Manuel Fraile Gil). KPD(5) 10.9004
Cantares y romances sefardíes de Marruecos. KPD 10.889
La tradición musical en España Vol.5. Os ritmos bailables. WKPD 10.2014
La tradición musical en España Vol.1. La cornisa cantabrica. WKPD 10.900
La tradición musical en España Vol.1. Los últimos tañedores del rabel. WKPD 10.2005
Rabelistas de Olea (Cantabria). WKPD 10.2067
La tradición musical en España Vol.3. Pandero cuadrado y panderetas del Transmonte (Asturias). WKPD 10.2011
La tradición musical en España Vol. 21. La gaita de odre en la péninsula Ibérica-Baleares. WKPD 10.2056
La tradición musical en España Vol. 38. Ball de bastons. WKPD 2095
Colla de dolçainers i tabaleters el Terros. KPD 10.946
Balls de gegants de Barcelona. WHCM 332
La dolçaina. WHCM 340
La tradición musical en España Vol. 22. Sones de gaita y tamboril de tierra de Ciudad Rodrigo. WKPD 10.2063
La tradición musical en España Vol. 24 y 25. Palotias del viejo Aragón y Valle de Broto. WKPD(2) 10.2066
La tradición musical en España Vol. 30. La ronda de Motilleja. WKPD 10.2079
Las fuentes de la música tradicional en León. WKPD 2102
La tradición musical en España Vol. 8. Monegros. WKPD 10.2020
The Spanish recordings (Alan Lomax), Basque Country: Biscay and Guipuzcoa. Rounder B0002J58KG
Kepa Junkera. Bilbao Oo: Oh. Alula B00001ZT11
Francisco Tárrega: Recuerdos De La Alhambra. Dg Imports B00000E2O1
Enric Granados: Quinteto, Romanza Y Danzas. Columna música B004IK8ZFU
Recommended readings:
Chase, Gilbert. The Music of Spain. New York: Dover, 1959. pp. 1-15; 40-50
Copland, Aaron, Como escuchar la música. Ciudad de Mexico: Fondo de Cultura Economica, 2006. pp. 1-30.
Brief Biography of Instructor:
Mauricio Molina is a historical musicologist and performer dedicated to the reconstruction and performance of medieval Western European music. He holds a musicology Ph. D. degree from the City University of New York and a Historical Performance degree from The Mannes College of Music (NY). Mauricio is a faculty member of the l’Aula de Música Antiga of the Conservatori de Música de Girona and a consultant curator of Iberian traditional and historical musical instruments for the MIM (Musical Instrument Museum). He has been invited to give lectures and conduct workshops about medieval music theory and performance practice by organizations such as The City University of New York, The Metropolitan Museum of Art, The Carnegie Hall, Universidad Autónoma de Barcelona, Amherst Early Music Festival, the Peabody Conservatory, Western Illinois University, Princeton University Club, Rutgers University, New Jersey University, and the Escola Superior de Superior de Música de Catalunya. He has been awarded the Higini Anglès prize (dissertation award) in 2006 by The Foundation for Iberian Music and the Frederick R. Selch Award by the American Musical Instrument Society for his work on historical frame drums. His first book Frame drum in the Medieval Iberian Peninsula won in 2012 the Nicholas Besserabof prize of the American Musical Instrument Society as the best book on organology in English published on 2010.
Most people who live outside of Spain identify flamenco as the musical genre that fully represents the people and culture of this country. This picture could not be more incorrect: Spain hosts an incredibly rich variety of musical traditions, musical instruments, and dance forms. The musical diversity of Spain is a product of the country’s complex history, and its cultural and geographical diversity. In recent years, nonetheless, a notable effort has been made by different cultural groups all around the country to emphasize divergent elements between the different musical genres. Many of these tendencies become the “sound banner” of trends such as “Celtism” or “Mediterranism” that have been used to justify cultural and even genetic differences in Spain.
The purpose of this class is not only to familiarize the students with the different musical genres of Spain and to encourage them to develop sensitivity to diversity of forms and functions, but also to encourage them to develop critical listening skills through the analysis of how genres are used as cultural identifiers. This will lead to a discussion about how music can function both as a keeper of tradition or as political and cultural propaganda associated with new nationalistic trends. (3 credits)
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
By the end of the course, students can:
First paper (due session 5): Fieldwork: interview of grandparents or other family members following the premises of a fieldwork questionnaire and the norms for the compilation of oral material. The point of this paper is give the student the experience of collecting information and building a family cultural history in the same way folklorists do when researching folk culture.
Second paper (due session 10): A “road map” or description of the different parts that compose three different flamenco pieces: Type of introduction, type of palo (genre and rhythm), use of falsetas and cierres (improvised interludes and postludes), and analysis of the poetic forms used in each piece. The objective of this paper is to allow students to identify and analyze the genre in its performance context.
Midterm Paper (session 11): Students will go to a flamenco performance and record in a paper all elements of the practice applying concepts of exoticism, romanticism, nacionalism, and body expression studied in the class.
Musical Instrument Paper (session 16): Students will do an analysis of a documentary that showcases the txalaparta (Basque musical instrument) and explain how the instrument is portrayed and manipulated to answer nacionalistic interests.
Final Paper and Presentations (sessions 23-14): The final paper is designed to summarize the materials covered during the semester. It is composed of a series of questions on every aspect of Spanish music. Furthermore, the subject of how this music has and will continue to survive (either through fusion or folklorization) will be addressed by a final question.
LANGUAGE OF PRESENTATION: Spanish
Participation (15%); first paper (15%); second paper (15%); mid-term paper (20%); fourth paper (15%); final exam (20%).
Session 1: Introduction.
The idea of music as identity
Session 2: Basic tools for music analysis
Objectives
To acquire analytical elements for musical analysis. Crivillé i Bargalló, Josep. “Algunas hipótesis sobre los orígenes del hecho musical,” in Historia de la música española. 15-24.
Listening: La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
Sessions 3 and 4:
Objectives
Acquire historical perspectives on traditional Spanish music Martí, Josep. “La base ideacional,” in El folklorismo. Uso y abuso de la tradición. 37-71.
Listening:
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
Session 5:
Objectives
First Paper due in Session 5 Crivillé i Bargalló, Josep. “El repertorio tradicional español,” in Historia de la música española. 113-117.
Listening:
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
Cantares y romances sefardíes de Marruecos. KPD 10.889
Sessions 6-7:
Objectives
Learning to perform flamenco’s basic rhythms Lefranc, Pierre. “El problema de los orígenes,” in El cante jondo. 41-56.
Listening:
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 5. Ramón Montaya. LDX 274279
Grands cantaores du flamenco Vol. 5. Ramón Montaya. LDX 274279
Sessions 8-9:
Objectives
A) Identify the concept of “duende”
B) Recognize the most important performers of flamenco music Washabaugh, William. Flamenco. Pasión, política y cultura popular. 17-30.
Listening:
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 18. Rafael Romero. LDX 2741027
Session 10:
Objectives
Second Paper due in Session 10 Listening:
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 5. Ramon Montoya. LDX 274279
Examples for Exam from youtube and cds from the library.
Sessions 11 – 13:
Objectives
Midterm Exam to be taken home on session 11. Cerra Bada, Yolanda. Bailes y danzas tradicionales en Asturias: la tradición y el presente. 81-102.
Campos Calvo-Sotelo, Javier. Fiesta, Identidad y Contracultura. Contribuciones al estudio histórico de la gaita en Galicia. 208-234.
Moreno Fernández, Susana. “El Rabel y su Práctica Musical.” Cuadernos de Campoo 13 (1998): 31-38.
Listening:
La tradición musical en España Vol.5. Os ritmos bailables. WKPD 10.2014
La tradición musical en España Vol.1. La cornisa cantabrica. WKPD 10.900
La tradición musical en España Vol.1. Los últimos tañedores del rabel. WKPD 10.2005
Rabelistas de Olea (Cantabria). WKPD 10.2067
La tradición musical en España Vol.3. Pandero cuadrado y panderetas del Transmonte (Asturias). WKPD 10.2011
Session 14-16:
Objectives
Explain role of the sardana as a changing cultural and political symbol. Pitarch Alfonso, Carles. “En torno al «Cant valencià d'estil»: Investigaciones y proyectos.” Transcultural Music Review 1 (1997): 1-15.
Listening:
La tradición musical en España Vol. 21. La gaita de odre en la péninsula Ibérica-Baleares. WKPD 10.2056
La tradición musical en España Vol. 38. Ball de bastons. WKPD 2095
Colla de dolçainers i tabaleters el Terros. KPD 10.946
Balls de gegants de Barcelona. WHCM 332
La dolçaina. WHCM 340
Session 17 - 18:
Objectives
Study the phenomenon of trashumancia in music (migration of livestock) Pardo, José R. El canto popular. Folk y nueva canción. 24-27.
Listening:
La tradición musical en España Vol. 22. Sones de gaita y tamboril de tierra de Ciudad Rodrigo. WKPD 10.2063
La tradición musical en España Vol. 24 y 25. Palotias del viejo Aragón y Valle de Broto. WKPD(2) 10.2066
La tradición musical en España Vol. 30. La ronda de Motilleja. WKPD 10.2079
Las fuentes de la música tradicional en León. WKPD 2102
La tradición musical en España Vol. 8. Monegros. WKPD 10.2020
Session 19:
Objectives
Final Paper due Session 19 Pardo, José R. El canto popular. Folk y nueva canción. 30-31.
Listening:
The Spanish recordings (Alan Lomax), Basque Country: Biscay and Guipuzcoa. Rounder B0002J58KG
Kepa Junkera. Bilbao Oo: Oh. Alula B00001ZT11
Sessions 20-21:
Objectives:
Recognize idioms imported from traditional music. Evora, Toni. “El nacionalismo español” (1); (2). 38-43.
Listening:
Francisco Tárrega: Recuerdos De La Alhambra. Dg Imports B00000E2O1
Enric Granados: Quinteto, Romanza Y Danzas. Columna música B004IK8ZFU
Session 22-24: Oral presentations
Campos Calvo-Sotelo, Javier. Fiesta, Identidad y Contracultura. Contribuciones al estudio histórico de la gaita en Galicia. Pontevedra, Diputación Provincial de Pontevedra, 2007. pp. 208-234.
Cerra Bada, Yolanda. Bailes y danzas tradicionales en Asturias: la tradición y el presente. Gijón: Ayuntamiento de Gijón, 2000. pp. 81-102.
Crivillé i Bargalló, Josep. Historia de la música española. Madrid: Alianza, 2004. pp. 15-24; 113-117.
Evora, Toni. “El nacionalismo español” (1); (2). 38-43. [published only in this reader by the IES]
González González, Mª Eugenia, “Cantos, bailes, instrumentos y grupos de Campoo.” Cuadernos de Campoo 13 (1998): 26-30.
Lefranc, Pierre. “El problema de los orígenes”. In El cante jondo. Sevilla: 2000. pp. 41-56.
Martí, Josep. El folklorismo. Uso y abuso de la tradición. Barcelona: Ronsel, 1996. pp. 37-71.
Moreno Fernandéz, Susana. “El Rabel y su Práctica Musical.” Cuadernos de Campoo 13 (1998): 31-38.
Pardo, José R. El canto popular. Folk y nueva canción. Barcelona: Salvat, 1981. pp. 24-27; 30-31.
Pitarch Alfonso, Carles. “En torno al «Cant valencià d'estil»: Investigaciones y proyectos.” Transcultural Music Review 1 (1997): 1-15.
Washabaugh,William, Flamenco. Pasión, política y cultura popular, Barcelona: Paidós, 2005. pp.
Required Listening
Grands cantaores du flamenco Vol. 17. Beni de Cadiz. LDX 274992
Grands cantaores du flamenco Vol. 1. Pepe de la matrona. LDX274829
Grands cantaores du flamenco Vol. 9. Antonio Mairena. LDX 274911
Grands cantaores du flamenco Vol. 15. Camarón de la Isla. LDX 274957
Grands cantaores du flamenco Vol. 18. Rafael Romero. LDX 2741027
Grands cantaores du flamenco Vol. 5. Ramon Montoya. LDX 274279
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
La tradición musical en España Vol. 14. Instrumentos tradicionales. WKPD 10.2040
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
La tradición musical en España Vol.15. Romances tradicionales. WKPD (2)-2109
La tradición musical en España Vol.15. 37. El romancero de la tradición oral. WKPD 2093
La poesía improvisada en el mundo hispánico. KPD 10.951
Romancero pan hispánico (Edición José Manuel Fraile Gil). KPD(5) 10.9004
Cantares y romances sefardíes de Marruecos. KPD 10.889
La tradición musical en España Vol.5. Os ritmos bailables. WKPD 10.2014
La tradición musical en España Vol.1. La cornisa cantabrica. WKPD 10.900
La tradición musical en España Vol.1. Los últimos tañedores del rabel. WKPD 10.2005
Rabelistas de Olea (Cantabria). WKPD 10.2067
La tradición musical en España Vol.3. Pandero cuadrado y panderetas del Transmonte (Asturias). WKPD 10.2011
La tradición musical en España Vol. 21. La gaita de odre en la péninsula Ibérica-Baleares. WKPD 10.2056
La tradición musical en España Vol. 38. Ball de bastons. WKPD 2095
Colla de dolçainers i tabaleters el Terros. KPD 10.946
Balls de gegants de Barcelona. WHCM 332
La dolçaina. WHCM 340
La tradición musical en España Vol. 22. Sones de gaita y tamboril de tierra de Ciudad Rodrigo. WKPD 10.2063
La tradición musical en España Vol. 24 y 25. Palotias del viejo Aragón y Valle de Broto. WKPD(2) 10.2066
La tradición musical en España Vol. 30. La ronda de Motilleja. WKPD 10.2079
Las fuentes de la música tradicional en León. WKPD 2102
La tradición musical en España Vol. 8. Monegros. WKPD 10.2020
The Spanish recordings (Alan Lomax), Basque Country: Biscay and Guipuzcoa. Rounder B0002J58KG
Kepa Junkera. Bilbao Oo: Oh. Alula B00001ZT11
Francisco Tárrega: Recuerdos De La Alhambra. Dg Imports B00000E2O1
Enric Granados: Quinteto, Romanza Y Danzas. Columna música B004IK8ZFU
Chase, Gilbert. The Music of Spain. New York: Dover, 1959. pp. 1-15; 40-50
Copland, Aaron, Como escuchar la música. Ciudad de Mexico: Fondo de Cultura Economica, 2006. pp. 1-30.
Mauricio Molina is a historical musicologist and performer dedicated to the reconstruction and performance of medieval Western European music. He holds a musicology Ph. D. degree from the City University of New York and a Historical Performance degree from The Mannes College of Music (NY). Mauricio is a faculty member of the l’Aula de Música Antiga of the Conservatori de Música de Girona and a consultant curator of Iberian traditional and historical musical instruments for the MIM (Musical Instrument Museum). He has been invited to give lectures and conduct workshops about medieval music theory and performance practice by organizations such as The City University of New York, The Metropolitan Museum of Art, The Carnegie Hall, Universidad Autónoma de Barcelona, Amherst Early Music Festival, the Peabody Conservatory, Western Illinois University, Princeton University Club, Rutgers University, New Jersey University, and the Escola Superior de Superior de Música de Catalunya. He has been awarded the Higini Anglès prize (dissertation award) in 2006 by The Foundation for Iberian Music and the Frederick R. Selch Award by the American Musical Instrument Society for his work on historical frame drums. His first book Frame drum in the Medieval Iberian Peninsula won in 2012 the Nicholas Besserabof prize of the American Musical Instrument Society as the best book on organology in English published on 2010.