Publication: La evolución de los toques flamencos : desde el fandango dieciochesco "por medio", hasta los toques mineros del siglo XX
Authors
Torres Cortés, Norberto
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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Description
Abstract
Este trabajo de investigación, extraído de nuestra tesis doctoral, presenta la evolución de
los toques flamencos, desde el toque “por medio” ligado al fandango dieciochesco y a la
guitarra barroca, pasando por el toque “por arriba” de primera mitad del XIX
relacionado con la guitarra clásico-romántica y “pre-flamenca”, el toque “por granaína y
murciana” de segunda mitad del XIX en el contexto de guitarra clásica y flamenca y que
prefigura el último toque, el de “Levante” o “tarantas”, con variantes como los toques
“por minera” y “por rondeña”, elaborados todos ya durante la primera mitad del siglo
XX. A modo de conclusión, destaca con una breve descripción el contexto actual y los
lugares donde se cultiva especialmente este último toque hoy.
This paper, taken from my PhD research, presents th e evolution of flamenco guitar styles, from the “por medio” technique related to t he 17 th century fandango and the baroque guitar, through the “por arriba” technique in the first half of the 19 th century, related to the classical-romantic and pre-flamenco guitar, up to the granaína and murciana style in the second half of the 19 th century, in the context of the classical guitar, that leads to the configuration of the Leva nte or taranta style, with minera and rondeña variants, in the first half of the 20 th century. In the way of a conclusion, we give a brief description of the present-day context and the places where the taranta style is commonly played today.
This paper, taken from my PhD research, presents th e evolution of flamenco guitar styles, from the “por medio” technique related to t he 17 th century fandango and the baroque guitar, through the “por arriba” technique in the first half of the 19 th century, related to the classical-romantic and pre-flamenco guitar, up to the granaína and murciana style in the second half of the 19 th century, in the context of the classical guitar, that leads to the configuration of the Leva nte or taranta style, with minera and rondeña variants, in the first half of the 20 th century. In the way of a conclusion, we give a brief description of the present-day context and the places where the taranta style is commonly played today.
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