Comment aborder la musique de Maurice Ohana et quel sens donner à l’usage qu’il fait de la guitare dans son œuvre ? Dans cette recherche, nous tenterons de cerner en quoi la guitare tient une place si particulière et si essentielle au regard de l’ensemble de son œuvre. Elle est, en effet, porteuse de tout un univers culturel et symbolique et contribue à nourrir l’imaginaire poétique du créateur intemporel qu’est Maurice Ohana. Cet univers poétique et atavique irisé d’une arborescence d’influences est, chez le compositeur, tout à la fois une source d’inspiration et d’innovation. La guitare à dix cordes qu’il a introduite dans ses deux cycles : Si le jour paraît… et Cadran lunaire, lui permet d’opérer sur la matière sonore, un travail de création qui donne lieu à une œuvre originale dont la compréhension nécessite l’exploration d’un héritage culturel fortement imprégné du cante jondo et de la culture andalouse. Entre tradition et innovation, oralité et écriture, l’œuvre pour guitare entretient avec la matière sonore, une relation qui donne sens au processus de compréhension de l’œuvre de Maurice Ohana. / How to approach the music of Maurice Ohana and what sense should we give to the use he makes of the guitar in his work? In this research, I will try to understand how the guitar holds such a special and essential place in his work as a whole. In fact, it carries a whole cultural and symbolic universe and contributes to nourishing the poetic imagination of the timeless creator Maurice Ohana. This poetic and atavistic world of a tree of influences is, in the composer's mind, both a source of inspiration and innovation. The ten-string guitar that he introduced in his two cycles — Si le jour paraît… and Cadran lunaire — allows him to operate on the sound material (“matière sonore”), a creative work that gives rise to an original work whose understanding requires the exploration of a cultural heritage strongly imbued with cante jondo and Andalusian culture. Between tradition and innovation, orality and writing, the work for guitar has a relationship with the sound material (“matière sonore”) that gives meaning to the process of understanding of Maurice Ohana’s work.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T13:21:58Z No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-28T13:35:32Z (GMT) No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Made available in DSpace on 2018-08-28T13:35:32Z (GMT). No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Este estudo trata de uma análise sobre transculturação entre cultura nordestina e dança flamenca, tendo como objeto de observação o espetáculo Entre Carmens e Severinas, no seu percurso entre os anos de 2009 e 2012, em Salvador. Esta análise fundamenta-se no conceito sobre transculturação desenvolvido por Fernando Ortiz e Angel Rama; nos estudos culturais referenciados em Stuart Hall, Nestor Garcia Canclini, Zygmunt Bauman, Homi K. Bhabha e Clifford Geertz; em questões políticas acerca da cultura nordestina e dança flamenca apresentados por Durval Muniz de Albuquerque Junior e William Washabaugh, respectivamente. A partir das interlocuções desses aportes teóricos, o modo de olhar para o espetáculo em questão está alicerçado nos princípios da crítica de processo apresentados por Cecilia Salles, com o intuito de evidenciar como as escolhas feitas na composição do espetáculo Entre Carmens e Severinas apresentam um produto transculturado em sua encenação. / This study analyzes the transculturation process between Northeastern culture and Flamenco Dance; the object of observation is the piece Entre Carmens e Severinas, through its course, from 2009 to 2012 in Salvador, Bahia. This analysis is grounded on: the concept of transculturation developed by Fernando Ortiz and Angel Rama; cultural studies by authors such as Stuart Hall, Nestor Garcia Canclini, Zygmunt Bauman, Homi K. Bhabha and Clifford Geertz; political issues concerning Northeastern culture and Flamenco Dance, presented by Durval Muniz de Albuquerque Junior and William Washabaugh, respectively. From the interlocutions among these theoretical contributions, the way of looking at the piece is grounded on the principles of process critical review introduced by Cecília Salles, and the aim is to evidence how the choices made in the composition of Entre Carmens e Severinas present a transculturated product in its staging.

Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value. / <p>Numera Inti Oyarzun-Jonsson.</p>

Cette thèse souhaite rendre intelligibles les expériences esthétiques puissantes qu'on nomme duende dans le flamenco. D'une part, le topos veut que le duende, parce qu'irrationnel et idiosyncrasique, constituerait une réalité indicible transcrite par un terme intraduisible. D'autre part, le flamenco est un genre artistique hybride dont il est difficile de cerner les limites : il s'alimente aussi bien au chant qu'à la musique instrumentale et à la danse, mêle les cultures populaire et savante et fait intervenir la spontanéité au sein d'un système de communication pourtant très codifié. Il pose donc des questions esthétiques singulières portant tout à la fois sur sa nature en tant qu'art, sur ses enjeux identitaires, mais aussi sur ses représentations, lesquelles, par un phénomène de contamination réciproque, semblent tout autant s'alimenter aux pratiques que les influencer en retour. Nombre de mythes et de clichés informent le flamenco depuis ses débuts, qu'ils émanent de la pensée commune, de l'activité artistique ou de la flamencologie. L'image d'un art démesuré, dont l'authenticité serait liée au débridement des instincts, gage d'une hypothétique « pureté », a largement fait fortune. Or, cette image apparaît par excellence dans les usages liés au duende. Tout se passe donc comme si, à étudier le duende, on était inévitablement renvoyé au flamenco, et réciproquement, alors même qu'ils constituent l'un pour l'autre des impensés. Comment, dès lors, approcher le flamenco par l'intermédiaire d'un phénomène apparemment insaisissable, et comment, en retour, approcher le duende par l'intermédiaire d'un art aux contours indistincts ? On formule ici l'hypothèse qu'à la condition d'adopter une conception souple de la définition, le duende devient définissable, et que, de surcroît, il nous livre le concept unificateur de certains des enjeux majeurs du flamenco. / This dissertation aims to make intelligible the powerful aesthetic experience called duende in flamenco. On the one hand, its irrational and idiosyncratic nature is viewed as an inexpressible reality designated by a term beyond translation. On the other hand, flamenco is a hybrid genre of art with ill-defined boundaries. It thrives on singing, instrumental music and dance, mixing popular and scholarly cultures spontaneously within a highly codified framework of communication. This triggers questions on the nature of flamenco as an art form, such as how it defines a cultural identity as well as the relations between representation, norms and practices that mutually influence each other. Since the beginning, flamenco has suffered from numerous myths and stereotypes originating from collective common thought, artistic practice or flamencology. The representation of an intense, instinctive and wild art defined by its excessiveness has long been stamped in the common knowledge as a proof of “purity”. This short-sighted and simplistic perception has thus imposed serious limitations on a rational analysis of the duende. It appears that the study of duende leads to flamenco and vice versa even if both are, so far, rather poorly defined concepts. How, then, to approach the study of flamenco through a seemingly elusive phenomenon, and how, in return, to approach the duende through art with indistinct contours? The necessary working hypothesis is then to use a flexible definition of the concept of duende, which allows for the possibility of a unifying concept for some of the majors' stakes of the flamenco.

No description available.

Despite an international interest in flamenco music, there has not been much analytical work on the genre. In fact, flamenco music has only recently started to be notated, let alone be analyzed by music theorists. Due to its multi-cultural influence, flamenco music incorporates characteristics and trends from both Eastern and Western societies. Although its melodies are fundamentally derived from the Phrygian mode, the flamenco style includes alterations that create symmetrical pitch collections. In Concerto del Fuego, composer Loris O. Chobanian expands upon the Eastern and Western traditions by writing a twentieth-century concert piece that combines the flamenco harmonic and melodic language within a concert setting. The purpose of this document is to demonstrate how Loris O. Chobanian successfully exploits symmetrical collections that are inherent in traditional flamenco scales and cadences to create a concert piece.

Made available in DSpace on 2016-03-15T19:47:44Z (GMT). No. of bitstreams: 1 Tania Cristina Ferreira Gasparini.pdf: 414492 bytes, checksum: d96829e2b8b80ac2296f9a602f2d46c3 (MD5) Previous issue date: 2009-08-07 / This research develops a dialogue between Prosper Mérimée s novella Carmen and two contemporary filmic adaptations, one by Jean-Luc Godard and the other by Carlos Saura. The purpose of this study is to analyze the main character (Carmen) by means of the dance and the red and black colors, which are the colors both of Flamenco and of Carmen as a character. Another aim is to present the diachronic evolution of Flamenco as a dance and comment the role of the gestures as part of the code of the Flamenco dance. This study has resulted in the production of a peformance called A dialogue among Carmens, which testifies the development of the theme we have chosen to study. Mikhail Bakhtim has been elected as the basis to study dialogism, Antonio Candido has helped in the study of the characters, Eugenio Borba for the study of the gestures and Agnes Heller has offered us material to study colors in general. / Esta pesquisa desenvolve um diálogo entre a obra Carmen, de Prosper Mérimée e as adaptações de Carlos Saura e Jean-Luc Godard. Tem o intuito de analisar a personagem principal por meio da dança flamenca e das cores vermelha e preta. Apresenta ainda a evolução diacrônica do Flamenco e comenta a importância da gestualidade típica desta dança. O trabalho resultou na produção de um espetáculo em três atos, intitulado Um diálogo entre Carmens, cuja representação mostra, na prática, o tema estudado. Escolhemos Mikhail Bakhtin para estudar o dialogismo, Antonio Candido para estudar a personagem, Eugenio Barba para a gestualidade e Agnes Heller para o estudo das cores, entre outros.

abstract: My dissertation topic engages in the trajectory of Roma/Gitano culture and flamenco and its implications for Chicanx culture in New Mexico. New Mexicans have the reputation amongst US Chicanx as referring to themselves as Hispanic and aligning culturally with a Spanish sensibility. Historically in the larger US Chicanx community this type of popularity for flamenco would be described as typical of New Mexico’s wavering Chicanidad that yearns to be connected to a Spanish colonial past more than to its indigenous Mexican roots. However, I believe the reality is a bit different. What makes New Mexican Chicanx different from the larger US Chicanx community is that they utilize flamenco and its Gitano roots as a cultural example of their Chicanidad. There is scant research on how Chicanidad as a historical movement has been influenced by the flamenco culture that exists in New Mexico. This dissertation will begin a conversation that places flamenco and the precarious identity of Chicanx, Gitanos and Nuevomejicanos in dialogue through the body, the art form, and the cultural stylings of flamenco rooted in the Flamenco Festival Internacional de Albuquerque (FFI). / Dissertation/Thesis / Doctoral Dissertation Theatre 2019

Submitted by Diana Alves (ppgdancaufba.adm@gmail.com) on 2013-01-16T12:37:46Z No. of bitstreams: 1 Laura Pacheco.pdf: 2871820 bytes, checksum: 31c50e2ebf7875824f55e920fa671df9 (MD5) / Made available in DSpace on 2013-01-16T12:37:46Z (GMT). No. of bitstreams: 1 Laura Pacheco.pdf: 2871820 bytes, checksum: 31c50e2ebf7875824f55e920fa671df9 (MD5) / CAPES / Este trabalho investiga o campo de enunciação da dança contaminado à performance e às artes visuais, por meio de estratégias artísticas compositivas híbridas que enunciam imagens e discursos do corpo. Pelo conceito do fazer-dizer do corpo – ideia associada à performatividade em dança (SETENTA, 2008) – propõe-se que o campo ampliado da dança produz um discurso próprio – um discurso do corpo. Trabalha-se com a ideia da imagem do corpo enquanto ação (MACHADO, 2007), considerando que o discurso do corpo enuncia imagens em ações, ideias e pensamentos num fazer artístico performativo. Sob o contexto da tradução cultural (BHABHA, 2007) – processo comunicacional performativo – observa-se como a ação artística contemporânea é capaz de subverter estratégias artísticas compositivas tradicionais e inaugurar outras, à medida que se interessa na ressignifição de imagens e discursos do corpo. Para análise, foram selecionadas obras artísticas que estabelecem um diálogo entre a contemporaneidade e a tradição flamenca, situadas entre a dança, a performance e as artes visuais. São elas: ―Solo‖, de Israel Galván (Espanha), ―Non‖, de Yalda Younes (Líbano) e ―Prohibido el cante‖ e ―Dancing Dolls‖, de Pilar Albarracín (Espanha). Paralelamente, foi desenvolvido o espetáculo Desplante, como um campo de experimentação das questões teóricas levantadas no que diz respeito ao deslocamento da tradição flamenca num diálogo com a arte contemporânea. / Programa de Pós Graduação em Dança- Escola de Dança

There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage.