Exposition

Rite and identity of the cantaor flamenco in my own musical language (2020)

ADRIÁN CRESPO BARBA
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About this exposition

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.
typeresearch exposition
keywordscontemporary music, Composition, Flamenco, Flamencology, Flamencología, Tonás, Debla, Martinete, Carcelera, Fandango, Fandango natural, Caña, Caña flamenca, Polo, Andalusian sociology, Contemporary music composition, Cante flamenco
date15/06/2020
published15/06/2020
last modified15/06/2020
statuspublished
share statuspublic
affiliationCodarts, Hogeschool voor de Kunsten
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
languageEnglish
urlhttps://www.researchcatalogue.net/view/933225/933226
published inCodarts
portal issueCodarts Artistic Research Reports.
external linkwww.codarts.nl


Copyrights

nameCrespo Barba Adrian - Artistic Research Report
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagespdf
name01 Reference Recording 01 Lares 1 (Soleá) (2017)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name02 Audio Example 01 (Fig. 1 - Tomás Pavón debla melisma)
copyright(c) Adrián Crespo Barba
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usagesaudio
name03 Audio Example 02 (Fig. 2 Rafael Romero Debla melisma)
copyright(c) Adrián Crespo Barba
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name04 Audio Example 03 (Fig. 3 El Cabrero Martinete glissando)
copyright(c) Adrián Crespo Barba
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usagesaudio
name05 Audio Example 04 (Fig. 4 El Lebrijano Martinete glissando)
copyright(c) Adrián Crespo Barba
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usagesaudio
name06 Audio Example 05 (Fig. 5 Diego Clavel Debla quiebros)
copyright(c) Adrián Crespo Barba
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name07 Audio Example 06 (Fig. 6 Tomás Pavón initial quejío)
copyright(c) Adrián Crespo Barba
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name08 Audio Example 07 (Fig. 8 Fosforito Initial Quejío)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name09 Audio Example 08 (Fig. 8 Rafael Romero initial quejío)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name10 Audio Example 09 (Fig. 9 El Lebrijano initial quejío + glosolalia)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name11 Audio Example 10 (Fig. 10 Tomás Pavón initial phrase)
copyright(c) Adrián Crespo Barba
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name12 Audio Example 11 (Fig. 11 Rafael Romero initial phrase)
copyright(c) Adrián Crespo Barba
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name13 Audio Example 12 (Fig. 12 Rafael Romero initial phrase)
copyright(c) Adrián Crespo Barba
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usagesaudio
name14 Audio Example 13 (Fig. 13 Arcángel initial phrase)
copyright(c) Adrián Crespo Barba
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name15 Audio Example 14 (Fig. 14 Miguel Poevda initial phrase)
copyright(c) Adrián Crespo Barba
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name16 Audio Example 15 (Fig. 15a Cántico I)
copyright(c) Adrián Crespo Barba
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name17 Reference Recording 02 Cántico II (2018)
copyright(c) Adrián Crespo Barba
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usagesaudio
name20 Audio Example 18 (Fig. 25 Fandango valiente de Alosno)
copyright(c) Adrián Crespo Barba
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usagesaudio
name21 Audio Example 19 (Fig. 26 Fandango cané)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
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name18 Audio Example 16 (Fandango basic structure)
copyright(c) Adrián Crespo Barba
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name19 Audio Example 17 (Fig. 24 Fandango de Huelva)
copyright(c) Adrián Crespo Barba
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usagesaudio
name22 Audio Example 20 (Fig. 27 Fandango de Santa Barbara)
copyright(c) Adrián Crespo Barba
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usagesaudio
name23 Audio Example 21 (Fig. 28 Fandango de Santa Eulalia)
copyright(c) Adrián Crespo Barba
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usagesaudio
name24 Audio Example 22 (Santa Bárbara - Santa Eulalia)
copyright(c) Adrián Crespo Barba
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usagesaudio
name25 Audio Example 23 (Fig. 29 Santa Eulalia Short)
copyright(c) Adrián Crespo Barba
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usagesaudio
name26 Audio Example 24 (Fig. 65 Fandango de Huelva melodic transcription
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name27 Audio Example 25 (Fig. 67 Fandango de santa bárbara melodic transcription
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name28 Audio Example 26 (Fig. 69 Fandango de Huelva melodic transformation)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name29 Audio Example 27 (Fig. 71 Fandango basic pattern)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name30 Audio Example 28 (Fig. 72 Fandango de Huelva_s rhythmic variation)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name31 Audio Example 29 (Boccherini_s Guitar Quintet in D major)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name32 Audio Example 30 (Fandango from Extremadura)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name33 Audio Example 31 (Fandango por soleá)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name34 Audio Example 32 (Fandango personal Camarón)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name35 Audio Example 33 (Fandango personal María la Sabina
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name36 Audio Example 34 (Fig. 74 Fandango natural transcription Structure 1
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name37 Audio Example 35 (Fig. 75 Fandango natural transcription Structure 2
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name38 Audio Example 36 (Fig. 76 Caña_s temple)
copyright(c) Adrián Crespo Barba
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usagesaudio
name39 Audio Example 37 (Fig. 78 Caña_s tercio by Rafael Romero)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name40 Audio Example 38 (Fig. 80 Caña_s macho by Rafael Romero)
copyright(c) Adrián Crespo Barba
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usagesaudio
name41 Audio Example 39 (Fandangos del Carbonerillo)
copyright(c) Adrián Crespo Barba
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usagesaudio
name42 Reference Recording 03_ (Cántico III - Caña)
copyright(c) Adrián Crespo Barba
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usagesaudio
name43 Reference Recording 03_ (Cántico III - Fandango Natural)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name44 Reference Recording 03_ (Cántico III - Fandango de Santa Bárbara)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name45 Audio Example 40 (Paquera de Jerez_s Saeta transcription)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name46 Audio Example 41 (Paquera de Jerez_s Saeta Variation 1)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name47 Audio Example 42 (Paquera de Jerez_s Saeta Variation 2)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name48 Audio Example 43 (Granular synthesis example)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagesaudio
name49 Reference Recording 04_ (Cántico IV_ Saeta por seguiriya)
copyright(c) Adrián Crespo Barba
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usagesaudio
nameCántico II (Full score)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagespdf
nameCÁNTICO III (Full score)
copyright(c) Adrián Crespo Barba
licenseAll rights reserved
usagespdf

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