Publication: La poética intepretativa en la obra “Barrio La Viña” de Paco de Lucía
Authors
Moreira de Medeiros, Eduardo
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/flamenco.670871
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info:eu-repo/semantics/article
Description
Abstract
El objetivo principal de este artículo es comprender cómo el compositor y guitarrista Paco de Lucía construyó la interpretación en su obra “Barrio la viña”. En este sentido, se busca abordar los aspectos teóricos relacionados con el funcionamiento rítmico del compás flamenco de doce tiempos y cómo esta relación métrica se puede vislumbrar desde la interpretación poética dentro de la obra mencionada. Desde el punto de vista metodológico, estructuramos el trabajo en una perspectiva aplicada; con un enfoque cualitativo; el estudio se centró en el modelo explicativo; y la investigación artística de carácter reflexivo como herramienta metodológica en el transcurso del trabajo. La relevancia del artículo radica en contribuir a la comprensión de las posibilidades poéticas interpretativas que entraña una obra flamenca de concierto para guitarra y, con ello, ampliar las bases teóricas que envuelven el repertorio de la guitarra flamenca de concierto. A partir de los resultados obtenidos se pudo percibir: (i) la relación entre la partitura, el compás flamenco y la interpretación; (ii) el comienzo de las falsetas en tiempos inusuales del compás flamenco; (iii) el debilitamiento de los acentos de los pulsos fuertes del compás de 12 tiempos.
The main objective of this article is to understand how the composer and guitarist Paco de Lucía built the interpretation in his work “Barrio de la viña”. In this sense, we seek to deal with the theoretical aspects related to the rhythmic functioning of the twelve-beat flamenco compás and how this metric relationship can be glimpsed from the poetic interpretation within the aforementioned work. From the methodological point of view, we structured the work in an applied perspective; with a qualitative approach; the study focused on the explanatory model; and artistic research of a reflective nature as a methodological tool in the course of the work. The relevance of the article lies in contributing to the understanding of the interpretative poetic possibilities involved in a concert flamenco work for guitar and, with this, expanding the theoretical bases that involve the repertoire of the concert flamenco guitar. From the results obtained it was possible to perceive: (i) the relationship between the score, flamenco time signature and interpretation; (ii) the beginning of the falsetas in unusual tempos of the flamenco rhythm; (iii) the weakening of the accents of the strong times of the 12-stroke compás.
The main objective of this article is to understand how the composer and guitarist Paco de Lucía built the interpretation in his work “Barrio de la viña”. In this sense, we seek to deal with the theoretical aspects related to the rhythmic functioning of the twelve-beat flamenco compás and how this metric relationship can be glimpsed from the poetic interpretation within the aforementioned work. From the methodological point of view, we structured the work in an applied perspective; with a qualitative approach; the study focused on the explanatory model; and artistic research of a reflective nature as a methodological tool in the course of the work. The relevance of the article lies in contributing to the understanding of the interpretative poetic possibilities involved in a concert flamenco work for guitar and, with this, expanding the theoretical bases that involve the repertoire of the concert flamenco guitar. From the results obtained it was possible to perceive: (i) the relationship between the score, flamenco time signature and interpretation; (ii) the beginning of the falsetas in unusual tempos of the flamenco rhythm; (iii) the weakening of the accents of the strong times of the 12-stroke compás.
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Citation
Revista de Investigación sobre Flamenco "La madrugá", N. 22, 2025, 57-69
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