Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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2. Classification.An indiscriminate classification of the cante as hondo or flamenco neglects the fact that cante hondo constitutes a major flamenco category. Nonetheless, two basic divisions of cante flamenco appear to have gained wide currency: the first, twofold, with cante grande comprising songs of the hondo type, and cante chico the remainder; and the second, threefold, with the category cante intermedio inserted between grande and chico. While there is wide disagreement as to which cante belong to the intermedio, the hondo and chico categories represent the most and the least difficult cante respectively in terms of their technical and emotional interpretation. Moreover, various cantes have achieved prominence by their links with individual singers (e.g. soleá Tomás Pavon, siguiriya El Manolito) or by their stylistic amalgamation with other cante (chuflas por (‘sung in the manner of ’) bulerías, fandanguillos por soleares, saeta por siguiriya etc.). In more recent studies, the chico category has been further enlarged to include popular flamenco (flamenco árabe, flamenco pop and nuevas canciones andaluzas), which takes into account current commercial repertories at theatres and night clubs (explained in greater detail by Manuel, 1989). Table 1, comprising a selection of 44 cante, represents songs of the ‘classical’ flamenco repertory together with songs which have enjoyed a peripheral association, although many no longer exist. If the table were extended to encompass cante from the many subdivisions, it would exceed 300 items and variant forms. While the derivations of numerous cante have been firmly established, the identity of musical precursors for the remainder, as well as related forms, has been problematic. In some cases two or more derivations have been suggested for particular cantes. The caña, fandango, polo, soleá and toná constitute the most basic songs in the flamenco hierarchy. Such cante as the mariana, murciana, palmares, policaña, roás, rosa, temporera and tirana were once prominent but now either no longer exist or are in the process of extinction. The songs grouped under the generic name cantiñas comprise those with a smaller number of coplas.
The earlier inclusion of the alboreá (or alboleá), a Gypsy wedding song, is questionable as is the case of the extremely popular Gypsy songs cachuca, mosca and panadero. Songs and dances which have been associated with the repertory include the bambera, bolera, camparsa, cantes de trilla (work songs), chufla, danza mora, macho, media granaína, medio polo (hondo type), olé (hondo type), panadero, rociera, seguidilla gitana (=siguiriya), soleariya, taranto(= taranta de Almería and other localities), vidalita, villancico, vito, zambra and zorongo. The cantes aflamencadas of Hispanic American origin, mainly associated with dancing, include danzón flamenca, habanera flamenca, punto de La Habana, rumba flamenca, tango cubano and vidalita flamenca. Additional cantes religiosas aflamencadas include the campanillero and villancico (mainly those sung for Christmas), whereas examples of cantes folklóricos aflamencadas (of Andalusian origin) comprise the unaccompanied nana (lullaby), temporera (work song) and pajarona (work song), as well as the sevillana (a species of the seguidilla castellana) which accompanied the dance. While the relationship of cante flamenco to Gypsy traditions has been more thoroughly investigated than the Arab and Celtic, the two principal streams from which the cante developed were the liturgical and the secular. The predominant textual unit for the cante is the aforementioned copla, which varies according to the number of lines and syllable count. The popular octosyllabic and hexasyllabic quatrain structures, with second and fourth lines rhyming in assonance, point to the romance (‘traditional ballad’) as a significant antecedent. Also popular is the seguidilla strophe, with alternating hepta- and pentasyllabic lines. Flamenco Yüklə 17,54 Mb. Dostları ilə paylaş:
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