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General aims: to distinguish and relate the concepts of traditional folk music,popular music- applied to Andalusia – and flamenco. We will study what there is of the following in these concepts: a. Real basis or sociology (e.g. in flamenco the ethnic base, the nature of what is Andalusian and what ‘gypsy’ signifies, the ways of singing, playing and dancing). b. Cultural construct. c. Cliché. The topics will be structured on the following content: - 1.A. Concept of folklore and traditional-folk music. Folklore. Popular music. - 1.B. About the paralysis o folklore as a science. The need for other theoretical approaches to study popular music: anthropology, sociology, semiotics, ethnic-musicology. The convenience of multidisciplinary approaches. - 2. Approach to the traditional music in Andalusia. - 3. Approach to the flamenco. Concept. History. Forms. - 4. The new Flamenco. The mix with other types of music. Syllabus I. Theory. Conceptualisation 1. Folklore and traditional-folkloric music. Origin of the term. Studies in Spain. Folklore and folklorism. Current popular music understood as folk music in the present-day. Musical relations and sociological relations. 2. The study of folk music and popular music from a multidisciplinary perspective. Musical events in a society. Social relevance of the diverse types of music. II. Andalusia and traditional music 3. Historical news. First testimonies of musical itemisation in Andalusia. ‘Jarchas’ and ‘moaxajas’: an early example of cultural racial mix. 4. Andalusian folk-traditional types of music. Dances: fandangos. Sevillanas. Songs. ‘Saetas’ (Sacred flamenco song). ‘Trovos’. “Pre-flamenco” music. III. El Flamenco 5. Conceptual approach. What is flamenco? Differences and relations with the folk music in Andalusia. Importance of point of view of the audience in the progressive construction of flamenco, from Romanticism to the presentday. 6. Origins. Popular lyric poetry of a traditional type. The gypsies. Andalusianism in music. The first known flamenco fiestas and the incipient professionalism of the actors. Flamenco as art. 7. History of flamenco. Music cafés. Flamenco opera. The Singing Contest of Granada. Era of revaluation. The New Flamenco. 8. Flamenco singing. Classifications. Principle forms. Songs without guitar. ‘Seguiriyas’. ‘Livianas’. ‘Soleares’. The pole and the cane. 9. Flamenco singing. Family of the fandangos. ‘Malagueñas’. ‘Granaínas’. Singing from Levant. Singing from Huelva. 10. Songs in rhythm. ‘Tangos (tientos)’, ‘bulerías’, ‘alegrías’. Other types of singing. The ‘guajiras’. 11. Dance. The guitar. 12. The new sonorities and the concept of New Flamenco. Activities Visits to flamenco shows or concerts of other types of music which are related to the course syllabus are recommended. Extra pieces of work are of a voluntary nature. Essays (of not more than five sheets of paper in length) on one of the books or articles recommended in the bibliography will be assessed. Articles (essays or of a journalistic nature) on flamenco shows or other concerts, or interviews with the artists themselves (singers, guitarists, etc.) will also be accepted. Assessment The final exam will be 50% of the final mark. Class attendance will be favourably assessed. A mid-term exam will be set and will be 25%m and it the students obtain a 7 or higher, this exam will be eliminatory. The other 25% will be made up of class participation and the (voluntary) pieces of work detailed in the previous paragraph. Bibliography CRIVILLE I BARGALLO, J., El Folklore Musical, Madrid, Alianza, 2/1988. DÍAZ VIANA, L., Música y Culturas, Madrid, Eudema, 1993, Collection Eudema Antropologia, Horizontes. DURAND-VIEL, A. M., La Sevillana. Datos sobre el folklore de la baja Andalucía, Sevilla, Biblioteca de Temas Sevillanos, 1983. GALMEÉS, A., Las jarchas mozárabes. Forma y significado, Barcelona, Crítica, 1994. MARTÍN MORENO, A., Historia de la Música Andaluza, Granada, Editoriales Andaluzas Unidas, 1985. RODRÍGUEZ MARÍN, F., El alma de Andalucía en sus mejores coplas amorosas escogidas entre más de 22.000, Madrid, Gráficas Banchede, 1975. VARIOUS AUTHORS, La confluencia de culturas en el mediterráneo, Granada, Servicio de publicaciones, 1993.
General objective: distinguish and relate the concepts of folklore music- traditional-popular –applying this to the case of Andalusia- and Flamenco. Concepts that will be studied are: a) sociology (in the flamenco, ethnic base, the Andalusia influence, Gypsies, forms of singing, and dance). B) Cultural construction. C) Topics surrounding the following:
It is recommended in the duration of the course, the student attends flamenco shows and other musical events that are related to the program. These are not obligatory, but optional to attend and write something about the events. The reflections about certain books and articles (no longer than five pages) are recommended in the bibliography. Students may present the information (newspaper or essay style) about these flamenco shows, or interviews with the artists or others that they know (singers, guitar players, etc).
The final exam is 50% of the final grade
Class participation is very important
A mid-term which is 25% of the grade unless it is higher than a 7 and it will be eliminated
The other 25% will constitute of the participation in class and the voluntary activities (before explained) and essays
CRIVILLE I BARGALLO, J., El Folklore Musical, Madrid, Alianza, 2/1998.
DÍAZ VIANA, L., Música y culturas, Madrid, Eudema, 1993, Col. Eudema Antropología, Horizontes.
DURAND-VIEL, A.M., La Sevillana. Datos sobre el folklore de la baja Andalucía, Sevilla, biblioteca de Temas Sevillanos, 1983.
GALAMÉS, A., Las jarchas mozárabes. Forma y significado, Barcelona, Crítica, 1994.
MARTÍN MORENO, A., Historia de la Música Andaluza, Granada, Editoriales Andaluzas Unidas, 1985.
NAVARRO GARCÍA, J.L., Cantes y bailes de Granada, Málaga, Arguval, 1993.
RODRÍGUEZ MARÍN, F., El alma de Andalucía en sus mejores coplas amorosas escogidas entre mas de 22.000, Madrid, Gráficas Banchede, 1975.
VARIOS, La confluencia de culturas en el Mediterráneo, Granada, Servico de publicaciones, 1993.
H. SEGUNDAS LENGUAS
Existe un folleto a disposición de los alumnos con la información sobre la oferta anual de las mismas, el calendario lectivo, asi como un Libro oficial de Programas de la sección de Lenguas Extranjeras del Centro de Lenguas Modernas.
Objetivo general: distinguir y relacionar los conceptos de músicas folklórico-tradiciopopulares – aplicándolo al caso de Andalucía-, y flamenco. Se estudiará lo que en estos conceptos hay de: a) Base real o sociológica (p.e., en lo flamenco, la base étnica, lo andaluz y lo Gitano, las formas de cante, toque y baile). b) Constructo cultural. C) Tópico.
Los temas se estructurarán en torno a los siguientes contenidos:
Se recomendarán, a lo largo del curso, los espectáculos de flamenco o de otras músicas que tengan interés por su relación con los contenidos del programa. La realización de trabajos no es obligatoria sino optativa. Se valorará la realización de memorias (de extensión no superior a los cinco folios) sobre alguno de los libros y artículos que se recomiendan en la bibliografía. Podrán presentarse informes (tipo artículo periodístico o ensayo) de espectáculos de flamenco o similares, al igual que entrevistas con los artistas de esos espectáculos u otros que se conozcan (cantores, guitarristas, etc.).
El examen de fin de curso contará como un 50% de la nota final.
La participación en clase se valorará positivamente.
La realización de un examen parcial, a la mitad de l curso, contará en un 25%, y si la nota es superior al 7, podrá ser eliminatorio.
El otro 25% lo constituirán la participación en clase y la realización (voluntaria) de las actividades detalladas en el aparato anterior.
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