Music of Spain
For many people,
Spanish music is virtually synonymous with
flamenco, an Andalusian-
Gipsy genre of music. However, regional styles of folk music abound, and pop, rock and hip hop are also popular.
Early history
In Spain several very different cultural streams came together in the first centuries of the
Christian era: the
Roman culture, which was dominant for several hundred years, and which brought with it the music and ideas of
Ancient Greece; early Christians, who had their own version of the Roman Rite; the
Visigoths, a
Germanic tribe that overran the
Iberian peninsula in the
fifth century;
Jews of the
diaspora; and eventually the
Arabs, or the
Moors as the group was sometimes known. Determining exactly which spices flavored the stew, and in what proportion, is difficult after almost two thousand years, but the result was a musical style and tradition considerably different from what developed in the rest of Europe.
Isidore of Seville wrote about music in the
sixth century. His influences were predominantly
Greek, and yet he was an original thinker, and recorded some of the first information about the early music of the Christian church. He perhaps is most famous in music history for declaring that it was not possible to notate sounds"an assertion which reveals his ignorance of the notational system of ancient Greece, so that knowledge had to have been lost by the time he was writing.
Under the Moors, who were usually tolerant of other religions during the seven hundred years of their influence, both Christianity and
Judaism, with their associated music and ritual, flourished.
Music notation developed in Spain as early as the
eighth century (the so-called Visigothic
neumes) to notate the chant and other sacred music of the Christian church, but this obscure notation has not yet been deciphered by scholars, and exists only in small fragments. The music of the Christian church in Spain was known as the music of the
Mozarabic Rite, and developed in isolation, not subject to the enforced codification of
Gregorian chant under the guidance of Rome around the time of Charlemagne. At the time of the
reconquista, this music was almost entirely extirpated: once Rome had control over the Christians of the Iberian peninsula, the regular Roman rite was imposed, and locally developed sacred music was banned, burned, or otherwise eliminated.The style of Spanish popular songs of the time is presumed to be closely related to the style of Moorish music. Music of the King
Alfonso X Cantigas de Santa Maria is considered likely to show influence from Islamic sources. Other important medieval sources include the
Codex Calixtinum collection from
Santiago de Compostela and the Codex
Las Huelgas. The so-called
Llibre Vermell de Montserrat (red book) is an important devotional collection from the fourteenth century.
Renaissance and Baroque
In the early
Renaissance, instrumental music was still influenced by
Arabic music.
Mateo Flecha el viejo and Castillian dramatist
Juan del Encina rank among composers in the post
Ars Nova period. Some renaissance songbooks are the
Cancionero de Palacio, the
Cancionero de Medinaceli (also known as
cancionero de Uppsala as it is kept in
Carolina Rediviva library), the
Cancionero de la Colombina, and the later
Cancionero de la Sablonara.
Early
16th century polyphonic vocal style developed in Spain was closely related to the style of the
Franco-Flemish composers. Melting of styles occurred during the period when Spain was part of the
Holy Roman Empire, under
Charles V (king of Spain from
1516 to
1556), since composers from the North both visited Spain, and native Spaniards travelled within the empire, which extended to the
Netherlands,
Germany and
Italy. Music for
vihuela by
Luis de Milán,
Alonso Mudarra and
Luis de Narváez stands as one of the main achievements of the period. The great Spanish composers of the Renaissance included
Francisco Guerrero and
Cristóbal de Morales, both of whom spent a significant portion of their careers in Rome; and the great Spanish composer of the late Renaissance, who reached a level of polyphonic perfection and expressive intensity equal to
Palestrina and
Lassus, was
Tomás Luis de Victoria, who also spent much of his life in Rome. Most Spanish composers returned home late in their careers to spread their musical knowledge in their native land.
18th to 20th centuries
By the end of the 17th century the "classical" musical culture of Spain was in decline, and was to remain that way until the
19th century. Classicism in Spain, when it arrived, was inspired on Italian models, as in the works of
Antonio Soler. Some outstanding Italian composers as
Domenico Scarlatti or
Luigi Boccherini were appointed at the Madrid court. The short-lived
Juan Crisóstomo Arriaga is credited as the main beginner of Romantic sinfonism in Spain.
Fernando Sor,
Dionisio Aguado,
Francisco Tárrega and
Miguel Llobet are known as composers of guitar music. Fine literature for violin was created by
Pablo Sarasate and
Jesus de Monasterio.
Zarzuela, a native form of light
opera, is a secular musical form which developed in the early
17th century. Some beloved zarzuela composers are
Ruperto Chapí,
Federico Chueca and
Tomás Bretón.
Musical creativity mainly moved into areas of folk and popular music until the nationalist revival of the late Romantic era. Spanish composers of this period include
Isaac Albéniz,
Enrique Granados,
Manuel de Falla,
Jesús Guridi,
Ernesto Halffter,
Federico Mompou and
Joaquin Rodrigo.
Main article: Spanish popular music
Spanish
pop began during the end of
Francisco Franco's regime. By the late
1950s, a generation of performers were coming of age having been through the end of the
Spanish Civil War. At the same time American and British music, especially
rock and roll, was having an impact on Spanish audiences.
The
Festival de la Canción De Benidorm was founded in
1959 in
Benidorm, a seaside town attempting to boost local tourism. It was inspired by the Italian
Festival di San Remo and followed by a wave of similar
music festivals in places like
Barcelona,
Majorca and the
Canary Islands. The first major pop stars were all women, and they rose to fame through these music festivals.An injured
Real Madrid player-turned-singer became the world-famous
Julio Iglesias.
The
1960s and early
70s were a time of economic and cultural flourishing in Spain (the
años de desarrollo). Tourism boomed, bringing yet more musical styles from the rest of the continent and abroad.
Ye-Yé
Main article: Yé-yé
From the English pop-refrain words "yeah-yeah",
ye-yé was a French-coined term which Spanish language appropriated to refer to uptempo pop music. It mainly consisted of a fusion of American rock from the early 60s (such as
twist) and British
beat music.
Concha Velasco, a singer and movie star, launched the scene with her
1965 hit "La Chica Ye-Yé", though there had been hits earlier by female singers like
Karina (
1963). The earliest stars were an imitation of French pop, at the time itself an imitation of American and British pop and rock. Dark passion and flamenco rhythms, however, made the sound distinctively Spanish. From this first generation of Spanish pop singers,
Rosalia's
1965 hit "Flamenco" sounded most distinctively Spanish.
Performers
Main article: List of Spanish musicians
Some of
Spain's most famous
singers are:
*
Antonio Molina*
Camarón de la Isla*
Paco de Lucía*
Pepe de Lucía*
Raphael*
Julio Iglesias*
Miguel Bosé*
Joan Manuel Serrat*
Enrique Morente*
Loquillo*
Enrique Bunbury*
María Jiménez*
Joaquín Sabina*
Luis Eduardo Aute*
El Fary*
Miguel Ríos*
Ramoncín*
Víctor Manuel*
Enrique Iglesias*
Álex Ubago*
El Chivi*
David BisbalIn addition to these, famous Spanish pop groups include
Los Brincos,
Los Bravos,
"Cánovas, Adolfo, Rodrigo y Guzmán",
Fórmula V,
Triana,
Orquesta Mondragón,
Loquillo y Los Trogloditas,
Nacha Pop,
Ketama,
Los Secretos,
Siniestro Total,
Obús,
Burning,
Radio Futura,
Mecano,
Héroes del Silencio,
El Último de la Fila,
Barón Rojo,
Estopa,
Amaral,
La Oreja de Van Gogh,
Mojinos Escozíos and
Gigatron.
Also from Spain was the famous trio of singing clowns
Gaby, Fofó y Miliki.
Main article: Flamenco
Flamenco is a mainly
Gypsy art-form, strongly influenced by
Andalusian traditional folk music. It consists of three forms: the song (
cante), the dance (
baile) and the
guitar (
guitarra). First reference dates back to 1774, from Cadalso's "Cartas Marruecas". Flamenco probably originated in
Cádiz,
Jérez de la Frontera and
Triana, and could be a descendant of musical forms left by
Moorish during the
8th-
14th century. Influences from the
Byzantine church music,
Egypt,
Pakistan and
India could also have been important in shaping the music. The word
flamenco is most commonly considered derived from the Spanish word for
Flemish. Some claim that Spanish Jews in Flanders were allowed to perform their music without oppression, and Gypsies that had fought there with distinction in war on behalf of Spain were rewarded by being allowed to settle in Andalusia. Main stream scholars recognize all these early influences but consider flamenco as an earlier 19th century performance stage music as
tango or
fado.
Spain's autonomous regions have own distinctive folk traditions. There is also a movement of
folk-based singer-songwriters with politically active lyrics, paralleling similar developments across
Latin America and
Portugal.
Andalusia
Main article: Music of Andalusia
Though Andalusia is best known for
flamenco music (see below for more information), folk music features a strong musical tradition for
gaita rociera (
tabor pipe) in Western Andalusia and a distinct
violin and plucked-strings band known as
panda de verdiales in
Málaga. The region has also produced
singer-songwriters like
Javier Ruibal and
Carlos Cano, who revived a traditional music called
copla. Catalan
Kiko Veneno and
Joaquín Sabina are popular performers in a distinctly Spanish-style
rock music, while
Sephardic musicians like
Aurora Morena,
Luís Delgado and
Rosa Zaragoza keep alive-and-well Andalusian Sephardic music.
Aragon
Main article: Music of Aragon
Aragon was inhabited by people of
Iberian descent, primarily, though
Celtic,
Moorish and
French influences remain.
Jota, now popular across Spain, could have historical roots in the Southern part of Aragon. Jota instruments include the
castanets,
tambourines and
flutes. Aragonese music can be characterized by a complex
percussive element, possibly a descendant of
North African
Tuaregs and
Berbers. The
guitarro, a unique kind of small
guitar also seen in Murcia, seems Aragonese in origin. Besides its music for stick-dances and
dulzaina (
shawm), Aragon has its own
gaita de boto (
bagpipes) and
chiflo (
tabor pipe). As in Basque country, Aragonese chiflo can be played along to a
chicotén string-drum (
psalterium) rhythm.
Asturias, Cantabria and Galicia
Main article: Music of Galicia, Cantabria and Asturias
|
traditional Asturian dancers |
Northwest Spain (Galicia, Asturias and Cantabria) is home to a distinct tradition of
bagpipe music that some tried to connect to the 1970s commercial label of Celtic-derived culture. All the languages in this area are of Latin descent but local festivals celebrating the area's so-called "Celtic" influence are common, with
Ortigueira's Festival del Mundo Celta being especially important. Drum and bagpipe groups are the most beloved kind of Galician folk music, and include popular bands like
Milladoiro. Groups of pandereteiras are another traditional set of singing women that play tambourines. Bagpipe virtuoso
Carlos Núñez is an especially popular performer; he has worked with Ireland's The
Chieftains and
Sinéad O'Connor, United States'
Ry Cooder and Cuba's
Vieja Trova Santiaguera.
Galician folk music includes characteristical
alalas songs. Alalas, that may include instrumental interludes, are believed to be chant-based popular songs with a long history, perhaps closely related to
Gregorian chanting. Though connected to
jota, some whimsical dilettanti also point to a
Greek origin, or
Phoenician rowing songs.
In Asturias is also home to very popular musicians as José Ángel
Hevia (a virtuoso bagpiper) or celtic group
Llan de Cubel (famous all around the world). Circle folk dances at a 6/8 tambourine rhythm are also a hallmark of this land. Vocal
asturianadas show melismatic ornamntations similar to those of other areas in th Iberian Peninsula. There are many festivals, such as "Folixa na Primavera (April, in
Mieres), Intercelticu d'
Avilés (July, in Avilés), and lots of "celtic nights" along Asturias
As in the Basque Country, Cantabrian folk music features intrincate arch and stick dances but
tabor pipes did not play such a predominant role. Aside with a rich tradition for
rebec, a popular instrumental setting encompasses drum and alto
clarinet (here known as pito or requinto) players.
Balearic Islands
Main article: Music of the Balearic Islands
Xeremiers or
colla de xeremiers is a traditional ensemble that consists of
flabiol (a five-hole
tabor pipe) and
xeremies (bagpipes).
Majorca's
Maria del Mar Bonet was one of the most influential artists of
nova canço, known for her political and social lyrics.
Tomeu Penya,
Biel Majoral and
Joan Bibiloni are also popular.
Basque Country
Main article: Basque music
The
Basques have a unique
language, unrelated to any other in the world and with uncertain connections abroad. The most popular kind of Basque folk music is called after the dance
trikitixa , which is based on the
accordion and
tambourine. Popular performers are
Joseba Tapia and
Kepa Junkera. Very appreciated folk instruments are
txistu (similar to Occitanian
galoubet recorder),
alboka (a double
clarinet played in circular-breathing technique, similar to other Mediterranean instruments like
launeddas) and
txalaparta (a huge
xylophone, similar to Romanian
toaca and played by two performers in a fascinating game-performance). As in many parts of the Iberian peninsula, there are ritual dances with sticks, swords and vegetal arches. There is also choral music, as well as Basque stars that sang in Spanish like
Luis Mariano and
Duncan Dhu.
Canary Islands
Main article: Music of the Canary Islands
The
Canary Islands were formerly inhabited by a
North African
Hamitic people called the
Guanches. Isa a local kind of
Jota is now popular, and
Latin American musical (
Cuban) influences are especially widespread, especially in the presence of the
charanga (a kind of
guitar).
Timple, the local name for
ukulele /
cavaquinho, is commonly seen in pluked string bands. A popular set in
El Hierro island consists of drums and wooden
fifes (
pito herreño).
Tabor pipe is customary in some ritual dances in
Tenerife island.
Castile, Madrid and León
Main article: Music of Castile, Madrid and León
A large inland region,
Castile,
Madrid and
Leon had predominantly
Celtiberian and
Celtic cultural background before the Roman rule, showing influences from
North African sources. The area has been a melting pot, however, and
Gypsies,
Portuguese,
Jewish,
Roman,
Visigothic and
Moorish sources could have left a mark on the region's music.
Jota is popular, but uniquely slow in Castile and Leon. Instrumentation also varies here much from the one in Aragon. Northern León, that shares a language background to Portuguese
Miranda do Douro and
Asturias, also has
Galician influences. There are also
gaita (
bagpipe) and
tabor pipe traditions. The
Maragatos people, of uncertain origin, have a unique musical style and live in Leon, around
Astorga. All over
Castile there is also a strong tradition of dance music for
dulzaina (
shawm) and
rondalla groups. Popular rhythms include 5/8
charrada and circle dances,
jota and
habas verdes. As in many other parts of the Iberian peninsula, ritual dances include
paloteos (stick dances).
Salamanca is known as the home of
tuna, a
serenade played with
guitars and
tambourines, mostly by students dressed in medieval clothing.
Madrid is known for its
chotis music, a local variation to the European tradition of 19th century
schottische dance.
Flamenco is also widespread.
Catalonia
Main article: Music of Catalonia
Though Catalonia is best known for
sardana played by
cobla, there are other traditional styles of dance music like
ball de bastons (stick-dances),
galops,
ball de gitanes. Music takes forefront personality in
cercaviles and celebrations similar to
Patum in
Berga.
Flabiol (a five-hole
tabor pipe),
gralla or
dolçaina (a
shawm) and
sac de gemecs (a local
bagpipe) are traditional folk instruments that make part of some
coblas. The
havaneres singers remain popular. Nowadays, young people cultivate
Rock Català popular music, as some years ago the
Nova Cançó was relevant. Catalan gipsies have created their own style of
rumba called
rumba catalana.
Extremadura
Main article: Music of Extremadura
Having long been the poorest part of Spain,
Extremadura is a largely rural region known for
Portuguese influence on its music. As in Northern regions of Spain, there is a rich repertoire for
tabor pipe music. The
zambomba drum (similar to Portuguese
sarronca or Brazilian
cuica) is played by pulling on a rope which is inside the drum. It is found throughout Spain but is characteristic of Extremadura. The
jota is common, here played with
triangles,
castanets,
guitars,
tambourines,
accordions and zambombas.
Murcia
Main article: Music of Murcia
Murcia is a dry region which has very strong Moorish influences, as well as
Andalusian.
Flamenco and
guitar-accompanied
cante jondo is especially associated with Murcia as well as
rondallas (plucked-string bands).
Navarre and La Rioja
Main article: Music of Navarre and La Rioja
Navarre and
La Rioja are small regions that has diverse cultural elements. Northern Navarre is
Basque in language, while the Southern section shares more
Aragonese features. The
jota, a form of music more closely associated with Aragon, is also known in both Navarre and La Rioja. Both regions have rich dance and
dulzaina (
shawm) traditions.
Txistu (
tabor pipe) and
dulzaina ensembles are very popular to public celebrations in Navarra.
Valencia
Main article: Music of Valencia
As you were expecting,
Valencia has its local kind of
Jota. Moreover, Valencia has a high reputation for musical innovation, and performing
brass bands called
bandes are common, with one appearing in almost every town. The group
Al Tall is also well-known, experimenting with the
Berber band
Muluk El Hwa.
*
Download recording of "Venid pastores", a Spanish-American Christmas song from the Library of Congress'
California Gold: Northern California Folk Music from the Thirties Collection; performed by Aurora Calderon on April 10, 1939 in
Oakland, California*
Download recording - "Alfonso Doce" Minorcan song from the Library of Congress'
Florida Folklife from the WPA Collections; performed by Maria Hugas de Aceval on September 26, 1939 in
St. Augustine, Florida*Fairley, Jan. "A Wild, Savage Feeling". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),
World Music, Vol. 1: Africa, Europe and the Middle East, pp 279-291. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
*Fairley, Jan with Manuel Domínguez. "A Tale of Celts and Islanders". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),
World Music, Vol. 1: Africa, Europe and the Middle East, pp 292-297. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
*
Spanish language music Traditional and contemporary Spanish-language music, with genre descriptions, representative artists, CDs & audio samples.
*
MIDI samples of traditional music from the Iberian peninsula *
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