5. FOLKLORE OF SPAIN
1. INTRODUCTION
Ethnomusicology studies traditional music from different cultures.
Musical folklore is the musical expression of a certain region or culture.
Characteristics of traditional music:
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Anonymous: It is the result of collective creation over time; the original author is usually unknown.
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Oral tradition: It is transmitted by ear from generation to generation, without the need for written scores.
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Functional: It accompanies work, social events and celebrations.
Spain has one of the world's most diverse musical traditions due to the influence of various cultures (Celtic, Roman, Visigoth, Arab, Sephardic, Gypsy, etc.). While some genres are regional, others are widespread across the country.​
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“Romance” (ballad): narrative poem of medieval origin sung to a repeating melody, with lyrics about epic stories, legends or fairy tales. Collections of these songs are called “romanceros”.
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“Fandango”: lively partnered dance in 3/4 It emerged in the 18th century and evolved into many regional variants and a “palo flamenco”. It influenced classical composers like Rameau, Mozart and Boccherini.
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“Bolero”: moderately slow dance in 3/4 characterized by a repeating rhythmic pattern. It is performed by a soloist or a couple, accompanied by guitars and castanets. It emerged in the late 18th century in Spain; not to be confused with the late 19th century Cuban “bolero”. It influenced classical composers like Ravel.
Romance del Conde Olinos
Bolero (from Spanish folklore to Ravel)
2. GALICIA, ASTURIAS & CANTABRIA
These regions were influenced by Celtic and Roman traditions.
Genres:
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“Muiñeira” (miller’s dance): Galician dance in 6/8 consisting of two parts: the "punto", with complex footwork, and the "volta" in circular rotation. It is accompanied by bagpipes, drums, tambourines and “aturuxos” (high-pitched shouts). It was originally performed by peasants at mills while waiting for grain to be ground.
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“Tonada” (Galicia), “asturianada” (Asturias), “tonada montañesa” (Cantabria): song with melismatic ornamentations (many notes per syllable), usually performed a cappella.
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“Los Picayos”: Cantabrian dance performed in honor of local patron saints where men dressed in white play castanets with energetic steps, while women sing and play tambourines.
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Instruments: 1. “gaita” (bagpipe), 2. “zanfona“ (hurdy gurdy), 3. “tamboril” (snare drum), 4. “pandeiro” (square frame drum), 5. “cunchas” (vieira/scallop shells).
3. BASQUE COUNTRY & NAVARRE
These regions were influenced by the Way of St James.
Genres:
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“Aurresku”: Basque ceremonial dance with acrobatic steps, performed as a tribute or welcome to prominent figures; it is accompanied by “txistu” and “danbolina”.
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“Zortziko”: Basque dance in 5/8 usually accompanied by “txistu” and “danbolina”.
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Instruments: 1. “txistu” (3-hole pipe), 2. “danbolina” (snare drum), 3. “trikitixa” (diatonic accordion), 4. “alboka” (single reed aerophone), 5. “txalaparta” (idiophone played by two performers).
4. ARAGON & LA RIOJA
These regions were influenced by Celtic, Roman and Arab traditions.
Genres:
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“Jota”: Aragonese partner dance in 3/4 that alternates fast instrumental sections with slower vocal sections ("coplas") about love, patriotism or religion. Dancers perform with raised arms, often playing castanets, accompanied by a rondalla (ensemble of guitars, bandurrias, lutes, and tambourines). It emerged in the 18th century in Aragon and spread across Spain generating local variants and even reached the Philippines. It influenced classical composers like Liszt, Bizet or Glinka.
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“Danza de los zancos“ (stilt dancers): Riojan tradition featuring eight young villagers in skirts performing a fast-spinning dance down steep, cobbled streets on 50-cm-high stilts, accompanied by "dulzainas", "tamboriles" and castanets. It emerged in the 17th century in Anguiano.
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Instruments: 1. “chicotén” (psaltery), 2. “chiflo” (3-hole pipe), 3. “dulzaina” (shawm), 4. “requinto” or “guitarrico” (small guitar), 5. “bandurria“ (small lute).
5. CATALONIA, VALENCIA & BALEARIC ISLANDS
These regions were influenced by Arab and Mediterranean traditions.
Genres:
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“Sardana”: Catalan circle dance in 6/8, where dancers hold hands with raised arms and perform small steps, accompanied by a cobla. It emerged in the 19th century and was banned during Franco's dictatorship as a Catalan symbol.
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“Moixiganga” (Catalonia), “muixeranga” (Valencia), “dance de tauste” (Aragon): ritual street performance combining dances and human towers, accompanied by "gralles" and drums. It is the origin of the modern “castellers”.
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“Ball pagès”: Balearic courtship dance where the man performs athletic jumps and plays castanets, while the woman circles him with small steps and her eyes downward. It is accompanied by "flabiol" and "tambor".
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Instruments: the most popular instrumental ensembles in these regions are:
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Catalan “cobla“ or Balearic “colla de xeremiers” made up of: 1. “flabiol“ (5-hole pipe), 2. “tamborí“ (small drum), 3. “tenora”, 4. “tible”, 5. “gralla“ (shawm), 6. Catalan “sac de gemecs” or Balearic “xeremía“ (bagpipe).
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Valencian “bandas” (wind bands) and “rondallas” (plucked string ensembles).
6. CASTILE & LEÓN, LA MANCHA, EXTREMADURA & MADRID
These regions were influenced by Celtic, Roman and Arab traditions.
Genres:
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“Seguidilla”: Castilian partner dance in 3/4 characterized by energetic footwork, "coplas" about love or satire and a sudden rigid pose called "bien parao" at the end of each "copla"; accompanied by a rondalla and castanets. It spread across Spain generating local variants and new genres like “sevillanas” and “seguiriya”. ​
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“Ronda”: Castilian street serenade with lyrics about love and social criticism, performed at night by a group called “ronda”. Types: “de mozos” (singles), “de quintos” (pre-military service), “de tunas” (students in medieval dress), etc.
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“Son”: Extremaduran partner dance accompanied by “tamboril” or “pandero”. Types: “sones brincaos”, which are danced with jumps and “sones llanos”, which are danced without jumps.
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“Los danzaores”: Extremaduran ritual dance where nine men in white skirts and floral headdresses dance for around 10 hours in honour of the Virgin Mary, accompanied by “gaita extremeña”, drums and castanets.
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“Chotis”: Madrid partner dance where the woman moves around the man, who rotates on his own axis, accompanied by an “organillo”. It's famously danced "on a single tile". It derives from the 19th-century Bohemian "schottische”.
Instruments: 1. “pito”, 2. “gaita extremeña” (3-hole pipes), 3. “tamboril” (snare drum), 4. “dulzaina” (shawm), 5. “chirimía”, 6. rebec, 7. “arrabel”, 8. “almirez” (metal mortar), 9. “cucharas” (spoons), 10. “botella de anís” (anis bottle), 11. “zambomba“ (friction drum), 12. “organillo” (barrel organ).
7. ANDALUSIA & MURCIA
These regions were influenced by Arab, Sephardic, Gypsy and Latin American traditions.
Genres:
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“Flamenco”: Andalusian genre consisting of “cante” (singing), “toque” (guitar), “baile” (dance) and “palmas” (clapping). Its different styles are called “palos”, classified by their rhythmic patterns and modes. E.g. “alegrías, soleares, bulerías, tangos, peteneras, fandangos”, etc. It emerged in the 18th century from diverse cultural influences.
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“Sevillanas”: Andalusian partner dance in 3/4 derived from "seguidilla", with four fixed sections (coplas) and funny lyrics about daily life, accompanied by guitars and castanets. It is famously associated with Seville's April Fair.
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“Los auroros”: Murcian polyphonic chant performed by men at night, sometimes accompanied by bells. They sing religious songs called “salves”.
Instruments: 1. guitar, 2. handclaps, 3. castanets, 4. “cajón”, 5. “guitarro“ (small guitar).
8. CANARY ISLANDS
This region was influenced by Guanche (indigenous) and Latin American traditions.
Genres:
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“Isa”: Canarian dance in 3/4 derived from the "jota" with sarcastic lyrics and a choreography that increases in complexity, accompanied by a "rondalla".
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“Folía”: Canarian dance in slow 3/4 where dancers never touch, continuously changing partners, accompanied by a "rondalla". It emerged in the 16th century in the Iberian Peninsula and evolved from a popular dance into a prestigious courtly dance across Europe.
Instruments: 1. “timple” (small guitar), 2. “pito herreño” (transverse flute), 3. “chácaras” (big castanets).