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1、FLAMENCORHYTHMSOneofthecharacteristicsofflamencomusicisitsgreatvarietyofstyles.Somehaveanestablishedrhythmicstructure(Soleá,Siguiriya,Bulería,etc),whileothersarefree-metered(Tonás,Taranta,Granaína,Malagueña,etc).However,thisisaFlamencoMetronome,solet’sfocus
2、onstyleswitharhythmicstructure.Thefirstflamencoinstrumentwasthehumanvoice,thecante,sungbythecantaor,andthefirstcantes,unsurprisinglyperhaps,didnothaveafixedmetre(Tonás,Martinete,Debla,etc).Lateron,around1840itseems,theguitarbegantobeusedtoaccompanythevoicer
3、hythmicallyandharmonically,palmas(clapping),pitos(fingersnapping)andgolpeo(knockingknucklesonatableorastickonthefloor)wereusedaspercussioninstruments,anddancingvisuallyembellishedthesinging.Theyalltooktheirleadfromthevoice.Atthispointthe‘workers’settoitandb
4、egantoestablishrhythmicrulesforthecantes.Newstyleswerebornandthe12-beatflamencocompás,ormeasure,cameintobeing,givingrisetoawidevarietyofdifferentstylessuchasSoleá,Siguiriya,Bulería,Alegría,Guajira,etc.Asflamencoperformershadnowrittenmusic,theyinventedajargo
5、ntomakethemselvesunderstood,withtermssuchasCierre(arhythmicbreak),Remate(afinishingflurry)orLlamada(acallorsignal).AnewmusicwasborncalledFLAMENCO.Flamencomusicisalanguageforcommunicating,expressinghappiness,sadness,rage,passion.Traditionally,flamencomusicia
6、nslearntbylistening,imitatingandrepeating,likeababylearningtospeak.Thisclearlyhasapositiveeffectonflamencomusicians,butitisalsonegativebecausetheyplainlylack‘schooling’.Itismybeliefthattheidealplaceforamusician,anymusician,tolearnisatschool.Academictraining
7、isoftheutmostimportance,butsoistheeducationtobegainedfromperformerswholearntfromothersintheschooloflife.Perhapsbothschoolsmustbeattendedinordertolearncompletely.Throughoutthehistoryofflamenco,peoplehavesaidtosingorplayordanceflamencoyouhavetobebornwithit,fe
8、elitinside.Itcan’tbetaught.Iagree.Anyactivityinliferequirescertainbasicskills,buttheyneedtobedeveloped.Justhowmanyguitarists,singers,dancers,painters,doctorsaretherehiddenawayaroundtheworld?Howmanygeni