5. FOLKLORE OF SPAIN
1. INTRODUCTION
Etnomusicology studies traditional music from different cultures.
Characteristics of traditional music:
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It's anonymous; it’s the result of collective elaboration.
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It's transmitted orally from generation to generation.
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It's functional; it accompanies works, social events and celebrations.
Musical folklore expresses the distinctive characteristics of a certain region or culture. Spain has one of the most diverse and rich musical folklore in the world, due to the different peoples and cultures that have passed through the country (Celtic, Iberian, Roman, Christian, Visigoth, Arab, Sephardic, Gypsy, etc.).
Some Spanish folk music manifestations are limited to certain regions while others are widespread throughout all the country, such as “romance, fandango, bolero, jota, seguidilla”, stick and weapon dances…
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“Romance” or ballad: narrative poem from the Middle Ages sung to a repeating melody, that recounts all kinds of events (epic stories, legends, fairy tales, etc.). They were compiled in “romanceros” and “cancioneros”.
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“Fandango”: partnered dance in triple time developed in the 18th century. Each Spanish region and even colonies have their local variant and it evolved into a “palo flamenco”. It was included in tonadillas, zarzuelas, ballets, etc. It was used by classical composers such as Rameau, Mozart, Boccherini.
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“Bolero”: moderately slow dance in 3/4 with a repeating rhythmic pattern that is danced by a soloist or a couple accompanied by guitars and castanets. It originated in Spain in the late 18th century, not to be confused with the late 19th century Cuban “bolero”. It was used by classical composer Ravel.
Romance del Conde Olinos
Bolero (from Spanish folklore to Ravel)
2. GALICIA, ASTURIAS & CANTABRIA
These regions were influenced by Roman and Celtic traditions.
Traditional genres: “pericote, alborada, danza de arcos” (dance with decorated arches).
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“Muiñeira” (miller’s dance): lively Galician dance in 6/8 accompanied by bagpipes, drums, tambourines and “aturuxos” (shrill cries). Originally performed by peasants at flour mills. It consists of two parts: the "punto", featuring complex footwork variations, and the "volta", where dancers rotate in a circle changing positions. It emerged in Galicia and spread to Asturias and parts of León.
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“Tonada” (Galicia), “asturianada” (Asturias), “tonada montañesa” (Cantabria): song with melismatic ornamentations, usually performed a cappella.
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“Los Picayos”: Cantabrian dance performed by men dressed in white playing castanets, accompanied by women singing and playing 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 adjacent areas and by the pilgrimage along the Way of St James.
Traditional genres: “makil dantza” (stick dance), “ezpata dantza” (sword dance), Navarrese “sagar dantza” (apple dance). There is a strong singing and choral tradition.
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“Aurresku”: Basque ceremonial dance that serves as a homage or welcome to prominent figures in which dancers perform acrobatic steps accompanied by “txistu” and “danbolina”.
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“Zortziko”: Basque fast dance in 5/8 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 Roman, Celtic and Arab traditions.
Traditional genres: “albada, aurora, gozo, paloteo”.
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“Jota”: Aragonese partner dance usually in 3/4, with fast instrumental introductions followed by slower vocal sections ("coplas") about love, religion or patriotism. Dancers perform with hands raised high, often playing castanets, accompanied by a rondalla (guitars, bandurrias, lutes, and tambourines). . It originated in Aragon in the 18th century, spread across Spain (generating local variants), and even reached the Philippines. It was used by classical composers such as Liszt, Bizet or Glinka.
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“Danza de los zancos“ (stilt dancers): Since the 17th century, this Riojan tradition in Anguiano has featured eight young villagers in skirts performing a fast-spinning dance down steep, cobbled streets on 50-centimeter-high stilts, accompanied by "dulzainas", "tamboriles" and castanets.
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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 adjacent areas, Arab and Mediterranean traditions.
Traditional genres: “havaneres, ball de bastons, de panderetes, de gitanes”. Balearic “glosas, gozos” and “mateixes”.
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“Sardana”: slow circle dance usually in 6/8, danced holding hands. It originated in the Empordá, it became popular in the 19th century and it was banned during Franco's dictatorship for being a symbol of the Catalan nationalism.
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“Moixiganga”: street performance featuring dances and human towers called “castellers” in Catalonia, “muixeranga” in Valencia and “dance de tauste” in Aragon.
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“Ball pagès”: Balearic dance in which the man performs athletic jumps playing large castanets, while the woman circles him with short, rapid steps and her eyes downward.
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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 adjacent areas such as Galicia, Asturias, Andalusia and Portugal.
Traditional genres: “habas verdes, charrada, paloteo”, “pindango”, “perantón”.
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“Seguidilla”: lively partner dance in 3/4 featuring an instrumental introduction and "coplas" about love, daily life, or satire, accompanied by a rondalla and castanets. It is performed with energetic footwork and characterized by a sudden rigid pose called "bien parao" at the end of each "copla". It spread across Spain, generating local variants and new genres such as “sevillanas” and “seguiriya”. It was included in zarzuelas, operas and ballets.​
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“Ronda”: serenade sung in the streets at night by a group of singers and instruments also called “ronda”. Lyrics deal with amorous picaresque and social criticism. Types: “de mozos” (young singles), “de quintos” (young men before going to the military service), “de tunas” (students dressed in medieval clothing), etc.
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“Son”: lively and cheerful 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”: ritual dance in which 9 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”: partner dance from Madrid in which the woman dances around the man, who rotates on his own axis, accompanied by an “organillo”. It's said that "it doesn't take more than a tile" to dance it. It derives from the 19th-century Bohemian dance called “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 was influenced by from Arab, Sephardic, Gypsy and Castilian traditions; and America.
Traditional genres: “copla andaluza, trovo, saeta, parranda, aguilando”.
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“Flamenco”: genre which includes “cante” (singing), “toque” (guitar playing), “baile” (dance) and “palmas” (handclaps). It was developed in the 18th century from outcast populations with many influences such as Arab, Jewish, Indian and Gypsy traditions. It involves a great deal of improvisation. Its different styles are called “palos”, which are classified by criteria such as rhythmic pattern, mode, chord progression, form, etc. There are more than 50 “palos”, but only about 12 are commonly played. E.g. “alegrías, soleares, bulerías, tangos, peteneras, fandangos”, etc.
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“Sevillanas”: partner dance derived from Castilian "seguidilla", accompanied by guitars, castanets and clapping; and often associated with Seville's April Fair. Lyrics deal with daily life, criticisms and funny stories.​
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“Los auroros”: Murcian polyphonic chant tradition performed a cappella at night by men, 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 the Guanches (aboriginal Berber inhabitants), the Iberian Peninsula, and various Latin American and Caribbean countries through trade and migration.
Traditional genres: “malagueña, seguidilla, tanganillo, tajaraste”.
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“Isa”: Canarian variant of "jota" with funny and sarcastic lyrics, accompanied by a “rondalla” of guitars and “timples”. The dance begins simply but gradually increases in complexity.
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“Folía”: slow and stately Canarian partner dance in 3/4, in which dancers never touch, continuously changing partners until they return to their original one, accompanied by a rondalla. It emerged in Portugal and spread across Europe as a prestigious courtly dance during the 16th century.
Instruments: 1. “timple” (small guitar), 2. “pito herreño” (transverse flute), 3. “chácaras” (big castanets).