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This landmark historical text delivers the goods promised in its title. It does not address flamenco dance whatsoever, focusing instead on flamenco song forms with a special chapter devoted to the role of the guitar. Includes Spanish lyrics for dozens of flamenco songs along with English translations and interpretive notes, a glossary of flamenco terminology, plus a recommended bibliography and discography are also provided. Informal in its demeanor, this carefully researched, insightful book will help you develop a deeper appreciation for the flamboyant art of flamenco.
- Sales Rank: #1512866 in Books
- Published on: 2003-10-10
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x .29" w x 8.50" l, .93 pounds
- Binding: Paperback
- 128 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
A daring and scholarly book....
By Lucita de Espana
This is an exhaustive, professionally researched and concisely written book about Spanish Flamenco music. It rightly emphasizes the Cante, the singing, as the heart and soul of this art. But the book may be a little daunting for students, while offering much information for experienced aficionados and artists. Perhaps an opening chapter about Sevillanas would help dance students and young guitarists, because this dance is usually the first dance taught in Spanish Dance studios.
The book often lionizes the great guitarist Paco de Lucia, even though some of his innovations remain controversial, like injecting the final, signature chords of Verdiales into Bulerias and elsewhere, and introducing the Peruvian box drum, el cajon, which has become so overused that it often drowns out the dancer's footwork, castanets and finger snapping.
The author should be commended for discussing the dearth of women Flamenco guitarists on pp 79-80. After first trotting out the derogatory belief that womens hands are so weak that no amount of training can overcome an inborn inferiority, the author mentions that women can play demanding pieces on the piano; obviously, the girls can and do catch up! But unscrupulous guitar teachers will lower the pitch on a girl student's guitar to make the strings flaccid and easier to play. But the real reasons for the absence of women guitarists .are a complex of sociological shibboleths. Spain has thousands of girls and women who play ,musical instruments, guitars included, but professionally, these obstacles lie in wait. Andres Segovia wrote that a woman guitarist inspiured him to learn the instrument, but he never mentioned her name.
During the cafe cantante period and earlier, many people reported seeing women guitarists, like the 1774 quote in this book. Thomas Kent Pelham, an Bnglish artist who travelled in Spain and Italy, painted a picture of Spanish Gypsies encamped, with a girl dancing and a woman playing the guitar, presumably her mother.
When Gypsy dancing girls became popular in taverns, they wisely brought along male accompanyists, to protect them from men in the rowdy taven ambience. The women guitarists were left at home, and so Flamenco guitar became a man's profession. In a society that practices a gender division of labor, this benefits the men and bars women from opportunities. Accomplished woman guitarists ( instrumentalists, NOT a self-accompanying singer) who go professional face the risk of being treated like a joke or a freak, much as female athletes used to be treated.. This discrmination is nothing new, nor is it confined to Flamenco. The hostility and exclusion that American Jazz dished out to female instrumentalists exceeded that of the synphony orchestras during the same period. Women guitarists are also rare in classical guitar . But most symphony orchestras now audition people with a curtain so they cannot see if the person playing is male or female, or their race and ethnicity.
The author asserts that many generations must pass before this change seeps into Flamenco. Perhaps the box drum succeeded because it was introduced with the authority of Paco de Lucia, but so far, in the world of Flamenco guitar no one has had the temerity to suggest that God distributes musical talent without a gender division. Again, I commend this author for having dared to mention this topic.
0 of 0 people found the following review helpful.
Love flamenco
By al encinias
I fell in love with flamenco in the early 70's. I started guitar lessons but then life took up all my time and I left flamenco in a memory. Now I am back and she is even more beautiful than she was before.
0 of 0 people found the following review helpful.
Excellent Read
By MaryMR
This is a very interesting and informative book on flamenco, past and present. I would only add that it would have been nicer published as a small paperback book size since it is text only; it is a large book that is very difficult to handle, perhaps because Mel Bay wanted all their books to be the same size.
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