Conchita piquer disco grafia de jose

Journal articles on the topic 'Flamenco music'

To see the other types of publications on this topic, follow the link: Flamenco music.

Author:Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Consult the top 50 journal articles for your research on the topic 'Flamenco music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (July 1, 2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.

Full text

Abstract:

This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, improvisation outside the cuadro setting and even outside flamenco music opened new movement possibilities and ways to inform, deepen and step back into flamenco structures in my own work. I show how I created new choreography from combining movement knowledge and vocabulary from both inside and outsid

Exhibition dates: 24th August, 2024 – 12th January, 2025

 

 

Victor Plumier (Belgian, 1820-1878)
Lady in Costume
About 1850
Daguerreotype, half plate
5 1/2 × 4 1/2 inches
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

Past present

Magnificent photographs that bring past presence into present consciousness.

Costume. variedly, the term “costume,” indicating clothing exclusively from the eighteenth century onward, can be traced back to the Latin consuetudo, meaning “custom” or “usage.”

Gesture. late Middle English: from medieval Latin gestura, from Latin gerere ‘bear, wield, perform’. The original sense was ‘bearing, deportment’, hence ‘the use of posture and bodily movements for effect in oratory’.

Expression. the action of making known one’s thoughts or feelings. a look on someone’s face that conveys a particular emotion. late Middle English: from Latin expressio(n- ), from exprimere ‘press out, express’.


The emotions and the sentiments, the gestures and the expressions.

The actor and the stage, the photographer and the sitter.

The staged photograph and the tableaux vivant.

The Self and the Other.


Today, something happens when we look at these photographs. Today, the social spaces, gestures and expressions in these photographs are not fixed, monological re-presentations or presences. Our experience of the photographs enables them to be seen as nodes within a network caught up in a system of social and cultural references, whose unity is variable and relative.1

Thus,

” …in my reading (of the photograph), I relied upon a number of semiological systems, each one being a social / cultural construct: the sign language of clothes, of facial expressions, of bodily gestures, of social manner, etc. Such semiological systems do indeed exist and are continually being used in the ma

  • Discos de Vinil &
  • I18n Error: Missing interpolation value "artista" for "{{ artista }} Discografia & Vinis"

    Who is Marife De Triana? A Brief Career Overview

    Meet Marife De Triana, a captivating figure in the world of copla music. Her unique voice, theatrical flair, and rich emotional presentation have left a lasting impression on fans of Spanish folk music. Known for her dramatic performances and heartfelt lyrics, Marife is celebrated not only as a singer but also as an actress and dancer, carving out an indelible space in the fabric of Spanish culture. With her powerful stage presence, she brings to life stories of love, loss, and folklore, captivating audiences across Spain and beyond.

    Throughout her illustrious career, spanning several decades, Marife De Triana has made groundbreaking contributions that have inspired countless artists, while her classic vinyl records serve as a testament to her artistic excellence. Her connection to vinyl culture is deep-rooted; these tangible discs hold the sounds of her soul, inviting listeners to experience her artistry in an intimate way.

    Marife De Triana's Early Life and Background

    Born as María Felisa Martínez López on September 13, 1936, in the picturesque town of Burguillos, near Seville, this starlet's journey was deeply influenced by her cultural surroundings. Growing up in the vibrant neighborhood of Triana, renowned for its rich artistic heritage, Marife was immersed in music and dance from an early age. This colorful backdrop, filled with flamenco rhythms and the stories of her ancestors, instilled in her a profound love for the arts.

    Her upbringing, surrounded by the melodies and traditions of her community, sparked an early interest in music. As a child, she would often witness local performances and was inspired to explore her own talents. This early exposure to live music eventually blossomed into a passion for vinyl records, which would later become an essential part of her musicianshi

      Conchita piquer disco grafia de jose


    Rosa Morena

    Manuela Pulgarín González (Badajoz, 11 de julho de 1940 – Badajoz, 4 de dezembro de 2019), mais conhecida pelo seu nome artístico Rosa Morena, foi uma cantora de copla, música popular e atrizespanhola. Alcançou sua popularidade na Espanha, nos anos 70, após ter viajado muito pela América e pelo Estados Unidos, quando ainda era uma jovem com grande virtuosismo vocal e pouco conhecido em seu próprio país.

    Biografia

    [editar | editar código-fonte]

    Início da carreira

    [editar | editar código-fonte]

    Rosa Morena nasceu na rua Felipe Checa na cidade de Badajoz, filha de um minerador de carvão e membro de uma família que foi concluída com um grande número de irmãos (oito). Aos 6 anos de idade, começou a cantar em sua terra natal, onde ela ganhou o primeiro prêmio em um concurso musical "Jueves infantiles" organizado em 1953 pelo locutor de rádio Julián Mojedano, no Teatro López de Ayala. Nesse evento, Rosa Morena imitou Antonio Molina, em "El macetero" e "A la sombra de un bambú" . Foi lá onde ela começou a se tornar conhecida através de apresentações no Radio Extremadura. Em seguida, na idade de nove anos, se apresentou no espetáculo teatral Los nardos extremeños juntamente com os filhos de Porrina de Badajoz, em turnê por cidades na província de Badajoz. Foi neste em que o fenômeno dos miúdos maravilha estava se formando.

    Aos doze anos de idade, que ela estreou em Madrid, ao lado do mestre Millán, no Cabalgata fin de semana de Bobby Deglané e José Luis Pécker na Radio Madrid, jogando "24 Cascabeles" de Antonio Molina. Teve a oportunidade de conhecer a Lola Flores, Concha Piquer e Antoñita Moreno. Tais emissões sobre produtores estrangeiros foram fixadas em ouvi-la cantar, então apresentado estudos para conhecer pessoalmente e lhe ofereceram um contrato artístico.

    Nesta frase, ela começou a atuar em teatros como Circo Price, Victoria, entre outros, e começou a assinar contatos na Bélgica, França, Japão, América. Além disso, ela

  • After the parenthesis of
  • Argumento de la ópera
  • Conchita Piquer - Puente De Coplas