Publication: Los otros fandangos, el cante de la madrugá y de taranta : orígenes musicales del cante de las minas
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Date
2011
Authors
Castro Buendía, Guillermo
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
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info:eu-repo/semantics/article
Description
Abstract
En el pasado, el término fandango hacía alusión a “fiesta” más que a un estilo
musical concreto. Desde el siglo XVIII se viene utilizando la voz fandango tanto para
referirse a las reuniones donde se canta o se baila como a la música que se interpretaba.
Parece que no será hasta el siglo XIX cuando se defina la forma que hoy conocemos
bajo el nombre de rondeñas y malagueñas, desapareciendo o quedando marginadas
otras diferentes formas de fandango que deben ser estudiadas. Algunas modalidades de
fandangos generarán en Murcia a comienzos del siglo XX los llamados “Cantes
mineros”, sus antecedentes están en “ciertas” malagueñas que se convertirán en las
primeras tarantas, surgiendo posteriormente el toque de taranta en la guitarra, siendo
necesario abordar su estudio.
In the past, the term fandango was doing allusion to “party” more than to a musical concrete style. From the 18th century one c omes using the voice fandango so much to refer to the meetings where it is sung or i s danced like to the music that was interpreted. It seems that it will not be up to the 19th century when there is defined the form that today we know under the name of rondeñas and malagueñas , disappearing or remaining isolated other different forms of fandang o that must be studied. Some modalities of fandangoes will generate in Murcia at the beginning of the 20th century the so called ones “sing miners”, his precedents ar e in “certain” malagueñas that will turn into the first tarantas , arising later taranta's touch in the guitar, being necessary to approach his study.
In the past, the term fandango was doing allusion to “party” more than to a musical concrete style. From the 18th century one c omes using the voice fandango so much to refer to the meetings where it is sung or i s danced like to the music that was interpreted. It seems that it will not be up to the 19th century when there is defined the form that today we know under the name of rondeñas and malagueñas , disappearing or remaining isolated other different forms of fandang o that must be studied. Some modalities of fandangoes will generate in Murcia at the beginning of the 20th century the so called ones “sing miners”, his precedents ar e in “certain” malagueñas that will turn into the first tarantas , arising later taranta's touch in the guitar, being necessary to approach his study.
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Taranta , Cartagenera , Murciana , Levantica , Malagueña , Fandango , Madrugá , Cantes mineros , Cante de las minas , Rondeña , Abandolao , Vandola , Bandola , Jota , Alegrías , Lucena , Fandanguito de Cádiz , Murcia , La Unión , Cartagena , Granadinas
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