Publication: Analogías y diferencias entre el cante jondo y el canto asturiano
Authors
Lluch Alemany, Pablo
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/flamenco.688311
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info:eu-repo/semantics/article
Description
Abstract
El estudio conjunto del cante jondo andaluz y el canto asturiano —especialmente las canciones de cuna o añadas– revela dos tradiciones musicales profundamente distintas en origen, función y estética, pero unidas por su capacidad para expresar emociones esenciales de la vida humana. La obra de Eduardo Martínez Torner (1888–1955) constituye el pilar científico que permitió documentar, preservar y dignificar el folklore asturiano mediante un método riguroso de transcripción y contextualización, recogido de manera magistral en su Cancionero musical de la lírica popular asturiana (1920/2005). Su colaboración intelectual con Federico García Lorca, en el marco de la Residencia de Estudiantes, enriqueció la comprensión mutua de la música popular española: Lorca halló en las añadas una hondura afín a la del cante jondo, mientras que Torner encontró en el poeta un aliado para divulgar la importancia estética y antropológica de la canción tradicional. La comparación entre ambos universos sonoros muestra afinidades expresivas y diferencias estructurales que reflejan las identidades culturales del norte y del sur de España.
The joint study of Andalusian flamenco and Asturian song —especially lullabies or ‘añadas’— reveals two musical traditions profoundly different in origin, function, and aesthetics, yet united by their capacity to express essential emotions of human life.The work of Eduardo Martínez Torner (1888–1955) constitutes the scholarly foundation that allowed for the documentation, preservation, and elevation of Asturian folklore through a rigorous method of transcription and contextualization, masterfully compiled in his Cancionero musical de la lírica popular asturiana (1920/2005). His intellectual collaboration with Federico García Lorca, within the framework of the Residencia de Estudiantes (Student Residence), enriched their mutual understanding of Spanish folk music: Lorca found in the ‘añadas’ a depth akin to that of flamenco, while Torner found in the poet an ally in disseminating the aesthetic and anthropological importance of traditional song.The comparison between both sound universes shows expressive affinities and structural differences that reflect thecultural identities of northern and southern Spain.
The joint study of Andalusian flamenco and Asturian song —especially lullabies or ‘añadas’— reveals two musical traditions profoundly different in origin, function, and aesthetics, yet united by their capacity to express essential emotions of human life.The work of Eduardo Martínez Torner (1888–1955) constitutes the scholarly foundation that allowed for the documentation, preservation, and elevation of Asturian folklore through a rigorous method of transcription and contextualization, masterfully compiled in his Cancionero musical de la lírica popular asturiana (1920/2005). His intellectual collaboration with Federico García Lorca, within the framework of the Residencia de Estudiantes (Student Residence), enriched their mutual understanding of Spanish folk music: Lorca found in the ‘añadas’ a depth akin to that of flamenco, while Torner found in the poet an ally in disseminating the aesthetic and anthropological importance of traditional song.The comparison between both sound universes shows expressive affinities and structural differences that reflect thecultural identities of northern and southern Spain.
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Citation
Revista de Investigación sobre Flamenco "La madrugá", N. 22, 2025, 45-56
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