Introduction to Flamenco music - cofla-project.com · flamenco. • Guitar and dance are rooted in...
Transcript of Introduction to Flamenco music - cofla-project.com · flamenco. • Guitar and dance are rooted in...
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Introduction to Flamenco music
José-Miguel Díaz-Báñez Universidad de Sevilla
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What is flamenco?
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What is flamenco? • Many new to flamenco typically ask,
"What is flamenco?"
• Rather than trying to define flamenco, the intention here is to describe some of its most characteristic features.
• Flamenco is a traditional Andalusian art
form passed down orally from one generation to the next.
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What is flamenco? • The most basic element of flamenco is the
voice. • Contrary to what many foreigners believe,
dance is not the motor that drives flamenco.
• Guitar and dance are rooted in flamenco
singing.
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What is flamenco?
• The foundations are in the singing voice.
• Improvisation and spontaneity play a
central rol. • The musical structure derives in every
case from song.
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Flamenco. A brief intro.
• Flamenco music has developed by coalescence of several music traditions.
• Apart from the influences of the Jews
and Arabs, flamenco music shows the imprint of the culture of the Andalusian Gypsies.
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The flamenco map
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Forms of flamenco expression. • Toque
Flamenco guitar. • Cante
Flamenco Singing. • Baile
Flamenco Dance. • Palos
Flamenco music styles are called palos. 32 styles and over 750 different variants.
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Flamenco palos
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Flamenco. A brief intro.
• In the flamenco jargon, singing is called cante, and songs are termed cantes.
• Main general features: ü Instability of pitch. Portamenti. ü Sudden changes in volume. ü Short pitch range or tessitura. ü Timbre. Breathiness in the voice and
absence of high frequency formant.
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Flamenco. A brief intro.
• Oral tradition. Voice is an essential element.
• Uses intervals smaller than the half-tone. • Not strict with tuning. Melismatic.
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Musical characteristics. Harmony.
• Apart from minor and mayor, Flamenco has also preserved the Phrygian mode, called Greek Dorian mode, and sometimes also "flamenco mode”.
• Based on the Phrygian scale, a typical cadence is formed, usually called “Andalusian cadence”. The chords for this cadence are Am–G–F–E.
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Musical characteristics. Melody.
• Melodic improvisation. Based on traditional songs. Singers add variations on the spur of the moment.
• Apparent lack of regular rhythm. Melodic
rhythm of the sung line is different from the metric rhythm of the accompaniment.
• Baroque ornamentation.
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Musical characteristics. Compás. • Compás is the flamenco word for meter or
rhythm. • When performing flamenco it is important to
feel the compás rather than mechanically count the beats.
• Flamenco uses three basic counts or
measures: Binary, Ternary and the twelve-beat cycle (combination binary-ternary).
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Tango 1 2 3 4 - 5 6 7 8
4/4 Fandango
1 2 3 - 4 5 6 - 7 8 9 - 10 11 12 3/4
Soleá 1 2 3 - 4 5 6 - 7 8 - 9 10 - 11 12
6/8 + 3/4
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Fandango, Sevillanas, etc. 1 2 3 - 4 5 6 - 7 8 9 - 10 11 12
Soleá, Alegrías, etc.
1 2 3 - 4 5 6 - 7 8 - 9 10 - 11 12 Soleá por Bulería
1 2 3 - 4 5 6 - 7 8 - 9 10 - 11 12
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Solea Bulerıa
Seguiriya Guajira
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Fandango
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A rhythmic game: maintain the silence
Solea Bulerıa
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A rythmic game: maintain the silence
1 2 3 4 5 6 7 8 9 10 11 12 (start at 12)
soleá
1 2 3 4 5 6 7 8 9 10 11 12 (start at 12)
soleá por bulería
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CHALLENGE: CLASSIFICATION OF STYLES
• Classification is not yet clearly established in the flamenco literature.
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THE GREAT PROBLEM: CLASSIFICATION OF STYLES
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Based on rhythmic pattern
ü Palos with a Tango rhythm (Tiento) Rhythms in 2/4 or 4/4.
ü Seguiriya Palos. 1 2 3 4 5 6 7 8 9 10 11 12 ü Palos based on the Soleá rhythm (Bulería). 12-beat rhythms, 6/8 + 3/4. ü Palos derived from Fandango. Rhythms in 3/4. ü
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• So far, flamenco music has been transmitted and preserved through oral tradition.
• Western notation has been proved
fruitless for a cappella cantes.
• Automatic Melodic Transcription with audios recordings.
MELODIC REPRESENTATION
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THE COFLA PROJECT: COMPUTATIONAL ANALYSIS
OF FLAMENCO MUSIC • A group of researchers from different
disciplines. • Mathematicians, engineers, computer
scientists, musicologists, flamenco experts.
• Scientific study of flamenco music. • Multidisciplinary study.
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• SIMILARY MEASURES. • AUTOMATIC TRANSCRIPTION. • PATTERN RECOGNITION. • ORNAMENTATION. • VOICE SEPARATION. • MUSICAL PREFERENCE. • QUERY BY HUMMING. • CLASSIFICATION…
COFLA PROBLEMS. INTERDISCIPLINARY RESEARCH
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Similarity & style classification
José-Miguel Díaz-Báñez Emilia Gómez Universidad de Sevilla Universitat Pompeu Fabra
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OPEN PROBLEM: CLASSIFICATION OF STYLES
• Classification is not yet clearly established in the flamenco literature.
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CHALLENGE: SIMILARITY MEASURES.
• Similarity based on: ü Compás. ü Melody. ü Musical
features. ü Combination.
M.BorricoP.Frascola
El MellizoV.de la Isla
Cádiz
sevillanas
P.IsidroJuan María
GRANAINA
OCÉANOATLÁNTICO
Son-coplasGaleras
T.JaénLa Pirula
PerchelEl PiyayoVidalitaMilongaT.ExtremeñosT.del CerroT.del CaminoT.Jerez
T.Cádiz
Tanguillos PetenerasGuajira
Del TitiT.TrianaT.SevillaFarrucaGarrotín
MarianasTientosColombianas
ZambrasCatalanas
P.de GuzmánEl GloriaMarchena
N.CalzaAlmeríaGranada
CórdobaMálagaGüejar.S.La Peza TarantosLevanticaP.MolineroMinerasJaberaJabegoteZanganoF.VerdialRondeñasJ.Breva de Velez
Los MontesRonda-Coin
BandolásF.YerbagüenaT.de LinaresMurcianaCartageneras
Lucena
SevillanasEl MellizoJ.BrevaA.Chacón
Niño Velez
CampanillerosVillancicosPregonesNanasSaetasCaleseraTemporeraTrilla
LivianasSerranas
Cabales El FilloF.Colorao
Gagancho
M.TorresMarrurroF.la Perla T.el NitriJ.LachernaUtrera
CádizAlfarerosTriana
CorridoS.Apola RomancePoloCaña
Alboreas de Cádizde JerezChicoPobreExtremeñosT.Grande
Silverio LivianaT.CristoPajaritosT.Chicalos Pelaosde JuaneloP.FrascolaMartineteCarceleraDebla
C.Durse
L.Mateo
El Planeta
Caracoles
de Jerez
CanarioLa Trini Personita
M.MolinaPaco la Luz
AlcaláB.por SoleáRomeras
Lebrija Jerez
A.de CórdobaCórdoba
Carbonerillo
Porrina de BA.
CeperoBamberas
Vallejo
LOCALES
FANDANGOS
JALEOSTONADASSEGUIDILLASTANGO AMERICANO
GranainaM.Granaina
Mirabras B.CortasUtrera
Peñaranda
C.CAMPEROSPUNTO CUBANO
HABANERATROVO DÉCIMA
CONTRADANZA MINUÉ
FANDANGOS TONADILLAS
SEGUIDILLAS TONADAS
RITMOS AFRICANOS
CULTURALES MUSICALES
AMERICANAS INDÍGENAS
ZARABANDAS TONADILLAS CHACONAS JOTAS FADOS
EL ROMANCERO CRISTIANO
ZEJEL ARÁBIGO - ANDALUZ
CULTURAS MUSICALES PENÍNSULA IBÉRICA
Alegrías
El PeroteB.PachecoGayarrito
Fosforito
Canasteras
Sevilla
Giliana
Fregenal
RebolloRengelToronjoLa Conejilla CanéA.AbadJuana MaríaBartolo
M.JiménezEl Acalmao TharsisH.CapitalEl CerroCabezarrubiaAlmonaster Encinasola
ValverdeS.Bárbara
Calañas
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CHALLENGE:CLUSTERING ALGORITHMS
• SplitTree
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CHALLENGE:CLUSTERING ALGORITHMS
• Graph algorithms
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THE PROBLEM: MELODIC SIMILARITY IN FLAMENCO
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THE PROBLEM: MELODIC SIMILARITY IN FLAMENCO
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MINI-CONCERT
José-Miguel Díaz-Báñez, HILARIO JIMÉNEZ Universidad de Sevilla
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EL COMPÁS DE SEGUIRIYA 1 2 3 4 5 6 7 8 9 10 11 12
SEGUIRIYA
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EL COMPÁS DE ALEGRÍA
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Solea Bulerıa
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EL COMPÁS DE FANDANGO, SEVILLANAS
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