Cello Meets Soleares
(2022)
author(s): Candela Mier-Terán
published in: KC Research Portal
Flamenco is still a mystery and although there is a growing body of academic literature seeking to understand it, there is still a long way to go. In addition, flamenco is opening up to such variety and innovation that various instruments have been included in the traditional ensemble of guitar, cajón, clapping, cantaor/a and dancer. For these reasons, this research aims to bring cante por soleares closer to anyone interested in the world of flamenco, although perhaps with special attention to string musicians, and cellists in particular. This work, together with my analysis of the rhythm, melody, harmony and structure of the soleares, seeks to offer reflections, tools and conclusions for those looking to imitate soleares singers on the cello. This work is carried out through the transcription and analysis of six soleares, carefully selected for the purpose of being played on the cello [having done so much work with flamenco experts, it is a pity not to mention this as one of your key methods]. With these insights, I seek to better understand the characteristics of cante por soleares, to propose different forms of imitating it on the cello, and to offer options more suitable to the instrument when close imitation is not possible.
Rite and identity of the cantaor flamenco in my own musical language
(2020)
author(s): ADRIÁN CRESPO BARBA
published in: Codarts
While flamenco harmony and rhythm has been widely used for creating new compositions, the use of flamenco voice in contemporary music is almost non-existent. The aim of this research was to uncodify the idiosyncrasy of the cantaor flamenco in order to apply it in a different musical context, starting from a solo instrumental piece and taking it to larger instrumental settings. To make this possible, the voice of the cantaor has been disaggregated into its melodic behaviour, its rhythm or its timbre.
The process consisted of transcribing examples of flamenco vocal recordings; analyzing many hours of videos, interviews and iconography to understand the cantaor’s rite; the participation of experts in the field like Mauricio Sotelo, Arcángel or Niño de Elche among others; and working side-by-side with the performers. The result came with three new compositions: ‘Cántico II: A la memoria de Antonio Mairena’, for trombone quartet, video media and soundtracks; ‘Cántico III’, a piece for voice, delay system and large ensemble; and ‘Cántico IV: Saeta por seguiriya after Velazquez’s ‘Cristo crucificado’’, a piece for electronic music, 3D animation and performative acting. In addition, this is probably the first study that treats in a deeper way the behaviour of the voice in the performance of cantes like fandangos or cañas, so it can open new perspectives on the field of flamencology.
Lost (& found) in Translation
(last edited: 2023)
author(s): Tamar Porcelijn
This exposition is in progress and its share status is: visible to all.
This is a guide to the live exposition LOST & FOUND IN TRANSLATION, presented by Tamar Porcelijn on May 13th 2023 in Amsterdam.
This guide gives an overview of the artistic research into the question:
“How can I connect dance, music and story to communicate on a physical and intuitive level?
Looking at my choreography as a craft, through the lens of filmmaking. “
It exposes the research process and the events leading up to it and discusses the different dance styles and cultural fields in which the artist operates. It explains how the key insights, multi-modal communication and story structure, led the artist to approach her choreographic craft through what she came to call “the filmmakers’ mindset”, eventually leading to the creation of a choreography in which elements of flamenco and contemporary dance where combined.
It is important to note that this online exposition is an appendix to the live presentation, and is to be approached as such.