Notes regarding credits...

This course consists of 40 hours of instruction. However, students may earn 45 hours by attending supplemental sessions and completing additional coursework. Please check with your home university to find out whether you need 40 or 45 hours to earn course equivalents.

Note: A placement exam will be required when you arrive on site.

High Advanced

This course is designed for students who have completed or tested out of a minimum of five semesters (or seven quarters) of college-level Spanish. However, students must take a placement exam to determine the course level into which they will be able to enroll.

Introduction
The objective of this course is to distinguish and recognize similarities among the following concepts: folkloric-traditional music, popular music as applied to Andalusia, and flamenco music. The students will study the presence of the following in the above concepts: a) real or sociological foundation (for example in flamenco: the ethnic ingredient, Andalusian and gypsy traces, forms of folk songs, beat, and dance). b) cultural construct and c) local.

The topics are structured around the following concepts:
1.A. The concept of folklore and folkloric-traditional music. Folklorism. Popular music. B. About the paralysis of folklore as a science. The need for other theoretical approaches in order to study popular music: anthropology, sociology, semiotics, ethnomusicology. The compatibility of multi-disciplinary approaches.
2. Approach;es to traditional music in Andalusia.
3. Approaches to flamenco. Concept. History. Form.
4. The New Flamenco. Its mixing with other music.

Program
I. Theory. Conceptualization.
Topic 1. Folklore and folkloric-traditional music. The origin of the term. Studies in Spain. Folklore and folklorism. Currently popular music understood as present-day folkloric music. Musical relationships and sociological relationships. Topic 2.The study of folkloric music and popular music from a multi-disciplinary perspective. Musical events within a society. Social relevance of different music.
II. Andalusia and musical traditions.
Topic 3. Historical Announcements. The first testimonies of musical specialty in Andalusia. Jarchas and moaxajas: an early example of cultural miscegenation. Topic 4. Andalusian folkloric-traditional music. From dance: fandangos. Sevillanas. Canciones. Saetas. Trovos. "Pre-flamenco" music.
III. Flamenco.
Topic 5. Conceptual approach. What is flamenco? Differences and relationships with folkloric music in Andalusia. The importance of the look of the other in the progressive construction of flamenco, since Romanticism until present-day.
Topic 6. Origins. Popular lyrical poetry of the traditional kind. The gypsies. Andalusianism in music. The first known Flamenco parties and the incipient professionalism of their actors. Flamenco as an art.
Topic 7. The history of flamenco. Singing cafes. Flamencan Opera. The competition of folk songs in Granada. The revaluation stage. The new Flamenco.
Topic 8. Flamenco folk songs. Classifications. The main forms. Folk songs without guitar. Seguiriyas. Livianas. Soleares. El polo y la caña.
Topic 9. Flamenco folk songs. The fandango family. Malagueñas Granaínas. Folk songs from
Levante. Folk songs from Huelva.
Topic 10. Folk songs in time. Tangos (tientos), bulerías, alegrías. Other songs. The
guajiras.
Topic 11. Dance. Guitar.
Topic 12. The new sonorities and the concept of the new Flamenco.

Activities
Flamenco or other musical shows related to the program are recommended throughout the duration of the course. The completion of papers is optional, however their completion will be considered in your participation grade. The papers (no longer than five pages) will be about some of the books and articles recommended in the bibliography preciated. Reports (articles or essays) can be presented about these musical shows or other topics related to the course (e.g. singers, guitar players, etc).

Evaluation
The final exam is worth 50% of the final grade.
Class participation will be evaluated positively.
A midterm exam will be worth 25%. If the grade is higher than 7, it can be eliminatory.The other 25% will constitute class participation and voluntary completion of the activities, mentioned in the program.

Bibliography
CRIVILLE I BARGALLO, J., El Folklore Musical, Madrid, Alianza, 2/1988.
DÍAZ VIANA, L., Música y Culturas, Madrid, Eudema, 1993, Col Eudema Antropología, Horizontes.
DURAND-VIEL, A.M. La Sevillana. Datos sobre el folklore de la baja Andalucía, Sevilla, Tamas Sevillanos, 1983.
GALMES, A., Las jarchas mozárabes. Forma y significado, Barcelona, Crítica, 1994.
MARTÍN MORENO, A., Historia de la Música Andaluza, Granada, Editoriales Andaluzas Unidas, 1985.
NAVARRO GARCÍA, J.L., Cantes y bailes de Granada, Málaga, Arguval, 1993.
RODRÍGUEZ MARÍN, F., El alma de Andalucía en sus mejores coplas amorosas escojidas entre más de 22.000, Madrid, Gráficas Banchede, 1975.
VARIOS, La confluencia de cultural en el Mediterráneo, Granada, Servicio de publicaciones, 1993. 298 PP.