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


Simple Media

id name copyright license
933229 Crespo Barba Adrian - Artistic Research Report (c) Adrián Crespo Barba All rights reserved
933231 Crespo Barba Adrian - Artistic Research Report (c) Adrián Crespo Barba All rights reserved
933236 01 Reference Recording 01 Lares 1 (Soleá) (2017) (c) Adrián Crespo Barba All rights reserved
933250 02 Audio Example 01 (Fig. 1 - Tomás Pavón debla melisma) (c) Adrián Crespo Barba All rights reserved
933253 03 Audio Example 02 (Fig. 2 Rafael Romero Debla melisma) (c) Adrián Crespo Barba All rights reserved
933258 04 Audio Example 03 (Fig. 3 El Cabrero Martinete glissando) (c) Adrián Crespo Barba All rights reserved
933264 05 Audio Example 04 (Fig. 4 El Lebrijano Martinete glissando) (c) Adrián Crespo Barba All rights reserved
933267 06 Audio Example 05 (Fig. 5 Diego Clavel Debla quiebros) (c) Adrián Crespo Barba All rights reserved
933271 07 Audio Example 06 (Fig. 6 Tomás Pavón initial quejío) (c) Adrián Crespo Barba All rights reserved
933274 08 Audio Example 07 (Fig. 8 Fosforito Initial Quejío) (c) Adrián Crespo Barba All rights reserved
933277 09 Audio Example 08 (Fig. 8 Rafael Romero initial quejío) (c) Adrián Crespo Barba All rights reserved
933280 10 Audio Example 09 (Fig. 9 El Lebrijano initial quejío + glosolalia) (c) Adrián Crespo Barba All rights reserved
933283 11 Audio Example 10 (Fig. 10 Tomás Pavón initial phrase) (c) Adrián Crespo Barba All rights reserved
933286 12 Audio Example 11 (Fig. 11 Rafael Romero initial phrase) (c) Adrián Crespo Barba All rights reserved
933290 13 Audio Example 12 (Fig. 12 Rafael Romero initial phrase) (c) Adrián Crespo Barba All rights reserved
933294 15 Audio Example 14 (Fig. 14 Miguel Poevda initial phrase) (c) Adrián Crespo Barba All rights reserved
933297 15 Audio Example 14 (Fig. 14 Miguel Poevda initial phrase) (c) Adrián Crespo Barba All rights reserved
933301 16 Audio Example 15 (Fig. 15a Cántico I) (c) Adrián Crespo Barba All rights reserved
933304 17 Reference Recording 02 Cántico II (2018) (c) Adrián Crespo Barba All rights reserved
933308 20 Audio Example 18 (Fig. 25 Fandango valiente de Alosno) (c) Adrián Crespo Barba All rights reserved
933314 21 Audio Example 19 (Fig. 26 Fandango cané) (c) Adrián Crespo Barba All rights reserved
933319 14 Audio Example 13 (Fig. 13 Arcángel initial phrase) (c) Adrián Crespo Barba All rights reserved
933324 20 Audio Example 18 (Fig. 25 Fandango valiente de Alosno) (c) Adrián Crespo Barba All rights reserved
933326 18 Audio Example 16 (Fandango basic structure) (c) Adrián Crespo Barba All rights reserved
933329 19 Audio Example 17 (Fig. 24 Fandango de Huelva) (c) Adrián Crespo Barba All rights reserved
933476 22 Audio Example 20 (Fig. 27 Fandango de Santa Barbara) (c) Adrián Crespo Barba All rights reserved
933480 23 Audio Example 21 (Fig. 28 Fandango de Santa Eulalia) (c) Adrián Crespo Barba All rights reserved
933486 24 Audio Example 22 (Santa Bárbara - Santa Eulalia) (c) Adrián Crespo Barba All rights reserved
933489 25 Audio Example 23 (Fig. 29 Santa Eulalia Short) (c) Adrián Crespo Barba All rights reserved
933492 26 Audio Example 24 (Fig. 65 Fandango de Huelva melodic transcription (c) Adrián Crespo Barba All rights reserved
933495 27 Audio Example 25 (Fig. 67 Fandango de santa bárbara melodic transcription (c) Adrián Crespo Barba All rights reserved
933498 28 Audio Example 26 (Fig. 69 Fandango de Huelva melodic transformation) (c) Adrián Crespo Barba All rights reserved
933501 29 Audio Example 27 (Fig. 71 Fandango basic pattern) (c) Adrián Crespo Barba All rights reserved
933504 30 Audio Example 28 (Fig. 72 Fandango de Huelva_s rhythmic variation) (c) Adrián Crespo Barba All rights reserved
933507 31 Audio Example 29 (Boccherini_s Guitar Quintet in D major) (c) Adrián Crespo Barba All rights reserved
933510 32 Audio Example 30 (Fandango from Extremadura) (c) Adrián Crespo Barba All rights reserved
933513 33 Audio Example 31 (Fandango por soleá) (c) Adrián Crespo Barba All rights reserved
933517 34 Audio Example 32 (Fandango personal Camarón) (c) Adrián Crespo Barba All rights reserved
933521 35 Audio Example 33 (Fandango personal María la Sabina (c) Adrián Crespo Barba All rights reserved
933524 36 Audio Example 34 (Fig. 74 Fandango natural transcription Structure 1 (c) Adrián Crespo Barba All rights reserved
933527 37 Audio Example 35 (Fig. 75 Fandango natural transcription Structure 2 (c) Adrián Crespo Barba All rights reserved
933530 38 Audio Example 36 (Fig. 76 Caña_s temple) (c) Adrián Crespo Barba All rights reserved
933533 39 Audio Example 37 (Fig. 78 Caña_s tercio by Rafael Romero) (c) Adrián Crespo Barba All rights reserved
933537 40 Audio Example 38 (Fig. 80 Caña_s macho by Rafael Romero) (c) Adrián Crespo Barba All rights reserved
933541 41 Audio Example 39 (Fandangos del Carbonerillo) (c) Adrián Crespo Barba All rights reserved
933544 42 Reference Recording 03_ (Cántico III - Caña) (c) Adrián Crespo Barba All rights reserved
933547 43 Reference Recording 03_ (Cántico III - Fandango Natural) (c) Adrián Crespo Barba All rights reserved
933550 44 Reference Recording 03_ (Cántico III - Fandango de Santa Bárbara) (c) Adrián Crespo Barba All rights reserved
933555 45 Audio Example 40 (Paquera de Jerez_s Saeta transcription) (c) Adrián Crespo Barba All rights reserved
933558 46 Audio Example 41 (Paquera de Jerez_s Saeta Variation 1) (c) Adrián Crespo Barba All rights reserved
933561 47 Audio Example 42 (Paquera de Jerez_s Saeta Variation 2) (c) Adrián Crespo Barba All rights reserved
933564 48 Audio Example 43 (Granular synthesis example) (c) Adrián Crespo Barba All rights reserved
933567 49 Reference Recording 04_ (Cántico IV_ Saeta por seguiriya) (c) Adrián Crespo Barba All rights reserved
933572 Cántico II (Full score) (c) Adrián Crespo Barba All rights reserved
933574 CÁNTICO III (Full score) (c) Adrián Crespo Barba All rights reserved

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