深沈之歌比賽
參考來源

↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d editión 1998, with new preface at ix-cviii by Andrés Soria), at lxi, lxx, and 54-57.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 212.
↑  Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 481.
↑  Manuel Orozco Diaz, Falla (Barcelona: Salvat 1985) at 123-124.
↑  Barbara Thiel-Cramér, Flamenco. The Art of Flamenco, Its History and Development until our Days (Lindingö, Sweden: Remark 1990 [Swedish], 1991 [Spanish, German, English]) at 51–52.
↑   .   [2012-01-21].
↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998) at 13-23, 17. Thesoleares in Falla's La Vida Breve is mentioned, during a review of Falla's classical compositions relating to flamenco music. Molina Fajardo at 15 gives his opinion as to how in general Falla incorporated flamenco elements in his art: by drinking in and assimilating their spirit, and then expressing their musical essence. Later he comments on the pervasive use of flamenco in Noches en los Jardines de España, El Amor Brujo, and El Sombrero de Tres Picos.
↑  In Falla's Noches, Gypsies dance and sing during the feast of Corpus Christi, the days later selected by Falla for the Concurso.
↑  Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23, wherein Keim mentions the melodies inspired bycante jondo, and the "rasgueado" and "punteado" in his Noches en los Jardines de España, which ends with a sevillana.
↑  Cf., Lynn Garafola, Diaghilev's Ballets Russes (Oxford Univ. 1989) at 88-90, discussing Falla and flamenco dance projects circa 1916-1917. Falla's El Sombrero de Tres Picos [The Three-cornered Hat;Fr: Le Tricorne], choreographed by Leonide Massine, designs by Pablo Picasso, was produced by the Ballets Russes in 1919. Garafola (1989) at 88, 243, 253.
↑  The flamenco and Spanish origin of both the music and the dance in Le Tricorne is described by Léonide Massine in his My Life in Ballet (London: Macmillan 1968) at 114-118, 122.
↑  Betty Keim, "Manuel de Falla: the Guitar and his Music" in The Guitar Review (Winter 1976) 41:22-23. Keim mentions several other examples of Falla's use of flamenco: the modified farruca for the "Miller's Dance" [Danza del Molinero] in his El Sombrero de Tres Picos (at the end the miller becomes "possessed by the duende"); and, the "falsetas" and "paseos" in his Siete Canciones Populares Españoles (1914), where she again remarks that his piano pieces seem "written as if they were guitar music," especially regarding the "Polo", as well as the "Seguidilla Murciana". Keim also references the memorable "Ritual Fire Dance" in his El Amor Brujo, which is performed at night in a Gypsi camp.
↑  Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226 [Byzantine liturgical at 209-210; Arabic, Moorish at 210-211, 225-226; Gypsies of India at 211-216]; and collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice at 137-155. Falla here refers to his former music professor Felipe Pedrell (1841-1922).
↑  Cf., Peter Crossley-Holland, "Ancient Greece" at 92-103; and, Alec Robertson, "Byzantine and Russian Rites" at 201-208; in: Robertson and Stevens (eds.), The Pelican History of Music (Penguin Books 1960).
↑  Cf., Adolfo Salazar, La Música de España (Madrid: Espasa-Calpe 1953), vol. I at Chap. III/1: 137-149. Also, the religious music of the Jews, who had arrived in Hispania by 300 C.E. Salazar, La Música de España (1953), v. I at I/5: 42-46.
↑  Cf., Julián Ribera y Taregó, La Música de las Cantigas (Madrid 1922), translated and abridged by Eleanor Hague and Marion Leffingwell as Music in Ancient Arabia and Spain (Stanford Univ. 1929).
↑  Arcadio de Larrea Palacin, La Música Hispano-Árabe (Madrid: Ateneo 1957), a folleto.
↑  Cf., Owen Wright, "Music in Muslim Spain" 555-579, in Salma Khadra Jayyusi, editor,The Legacy of Muslim Spain (Leiden: E. J. Brill 1992).
↑  Aziz Balouchi, Cante Jondo. Su origen y evolución (Madrid: Editiones Ensayos 1955) at 30-38. The author, a sufi, discusses the spirit of Indo-Pakistani music, then describes six principal modes. A "tree" is shown (at 37) whose fruit is cante jondo, i.e., "serranas,soleares, polos, seguirillas, cañas". Earlier the author speculates that Ziryab the famous Persian musician, who arrived in Moorish Spain during the 9th century, was a master of "la música persa-baluchi," had studied "el cantar Sindhi" in India, and brought with him to Spain "la música indostánica". Balouchi (1955) at 24-28, 26.
↑  Bernard Leblon, Gypsies and Flamenco (Univ.of Hertfordshire 1995). Leblon, who favored the view of a strong Gitano influence on the art, addresses the theories proposed by Falla (at 85-91). Leblon discounts Falla regarding the Byzantines, then endorses influence by the Moors. Regarding India and Gitano contributions to flamenco, Leblon writes that here Falla makes five points: 1) "use of intervals less than a demi-tone" (smallest interval common to western music) to modulate keys; 2) "a melodic ambitus which rarely exceeds the limits of a sixth" (ninehalf-notes); 3) "repeated, almost obsessive use of a single note" often with appoggiatura; 4) melody rich in ornamentation, suiting the emotion of the lyrics; 5) "shouts [jaleos] used by our people to excite the dancers and guitarists" following ancient custom. Leblon (1995) at 88.
↑  Angus Fraser, The Gypsies (Oxford: Blackwell 1992, 2d ed. 1995) at 10-32 (origin), at 205-208 (flamenco).
↑  The Gypsi road from India to Spain, with music along the way, is displayed in the 1993 French film Latcho Drom.
↑  Manuel de Falla, El "cante jondo" (canto primitivo andaluz), a folleto (Granada: Urania 1922); included in Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 209-226, 217-225; collected in Falla's Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), Apéndice 137-155. Falla noted that the foreign borrowing of Spanish music went beyond rhythm (usual with dances of other European countries, e.g., the jig, the saraband, the gavote, the minuet); it went further, to the basic modes of expression found in Spanish music. Falla (1922), reprinted in Molina Fajardo (1998) at 218.
↑  Gilbert Chase, The Music of Spain (New York: W.W.Norton 1941; rev.ed., New York: Dover 1959) at 289-304, "The Spell of Spanish Music". Gilbert discusses Falla at 182-197.
↑  The list would include these composers and works: Mikhail Glinka (Jota Aragonesa, 1845), Georges Bizet (Carmen, 1875), Nikolai Rimsky-Korsakov (Capriccio Espagnol, 1887),Claude Debussy (Ibéria, 1905-1908), Maurice Ravel (Rapsodie espagnole, 1907, and Boléro, 1928).
↑  "Pues bien, señores: ese tesoro de belleza, no sólo amenaza ruina, sino que está apunto de desaparecer para siempre." "El canto grave, hierático de ayer, ha degenerado en el ridículo flamenquismo de hoy." Manuel de Falla, "La proposición del cante jondo" en El Defensor de Granada (March 21, 1922), reprinted in Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1962, 1998) at 169-175, 173. "Well, gentlemen, this beautiful treasure not only is about to collapse, but may disappear forever." "The song of gravitas, majestic yesterday, has sunk now to this absurd flamenquismo."
↑  Carol A. Hess, Manuel de Falla and modernism in Spain, 1898-1936 (University of Chicago 2001) at 175 [footnote omitted].
↑  An entry ticket to the event reads: "Concurso y Fiesta del Cante Jondo, Corpus 1922. Entrada de Silla Preferente, para los días 13 y 14 de Junio. Entrada por la Puerta de Justicia. Preséntese a toda reclamación." Molina Fajardo (1998), insert at 129.
↑  Would "renacieron en toda su pureza esos cantos de maravilla, que constituyen uno de los más legítimos orgullos de música natural europea". Manuel de Falla, "La proposición del cante jondo" (Granada 1922), reprinted in Molina Fajardo (1962, 1998) at 169-175, 174-175.
↑  Timothy Mitchell, in his Flamenco Deep Song (New Haven: Yale University 1994), disputes the very notion of a traditional "purity" as advanced by Concurso proponents. For example, regarding the seguiriya gitana Mitchell describes it as a result of "lower-class gitanos, payo [non-Gitano] ruffians, blind beggars, female mourners for hire, and proletarian youth" which later was evolved in the 19th century by "professional cantaores" entertaining within the cultural maze of Spanish society, at venues including "private juergas [parties] and public saloons." Mitchell (1994) at 168.
↑  Written application for support was made on December 31, 1921, giving artistic and cultural reasons as redacted by Miguel Cerón, and signed by several dozen adherents. Molina Fajardo,Manuel de Falla y El "Cante Jondo" (1962, 1998) at 51-58, 51-53; also, Solicitud Al Ayuntamiento de Granada reprinted in Molina Fajardo (1998) as Apéndice II at 163-167.
↑  Álvarez Caballero, El cante flamenco (1994) at 217, gives the amount of city funding at 30,000pesetas.
↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 69-87.
↑  Timothy Mitchell, Flamenco Deep Song(New Haven: Yale University 1994) at 168-169.
↑  Robin Totton, Song of the Outcasts (Portland, Oregon: Amadeus Press 2003) at 84.
↑  Leblon, Gypsies and Flamenco (University of Hertfordshire 1995) at 87-88.
↑  "We want to purify and renew the admirablecante jondo, which is not to be confused with flamenco, a degeneration of it, almost a caricature." 法雅寫給倫敦評論家 John Trend 的信, Molina Fajardo 引用在 Manuel de Falla y El "Cante Jondo" 書中，(1962; 1998) 76-77 頁。
↑  Cf., Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 213-214.
↑  Eduardo Molina Fajardo in his Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 92-93, 141.
↑  Among factors in the cauldron are the dynamic opposition of flamenco tradition versus innovation, the latter frequently including interpenetration with other musical styles. E.g., Manuel Ríos Ruiz, Ayer y Hoy del cante flameno (Madrid: Ediciones ISTMO 1997) at 85-95. Recent decades have seen Nuevo Flamenco emerge with rock and jazz connections.
↑  Flamenco motivation is notoriously difficult to pin down. "Existe en plenitud anárquica, independiente de todo acicate organizado." "Fully anarchic, blind to organized incentives." Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964) at 272. See Gazález Climent's comments on the nuance involved in the rôle of La guasa (the tricky, humorous rustic), at 329-341.
↑  On occasion political passions may be stirred, in a sociological view of the art: as embodying the anguished expression of the poor, the oppressed classes. Yet to the contrary, others see flamenco performers of the past, who were often short of resources, as influenced by their wealthy patrons who had a taste for the exotic. An ethnic dimension also arises: as to how much the art owes to its strong Gitano elements, or to the Andalusian. Altogether contrary is the opinion that in flamenco what one hears is the cry of the soul, transcending class, patrons, ethnicity, etc. Wide-ranging views are held by flamencologos on the art and on what motivates a performer. E.g., Anselmo Gazález Climent, Flamencología. Toros, Cante y Baile (Madrid: Editorial Escelicer 1955, 1964); William Washabaugh, Flamenco. Passion, politics and popular culture (Oxford: Berg 1996) at 31-38.
↑  Molina Fajardo in Manuel de Falla y El "Cante Jondo" (1962; 2d ed. 1998) at 129, 131.
↑  Andrés Soria, "Prefacio" at lxix, in Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d edition 1998, with new preface at ix-cviii by Soria).
↑  The performance of flamenco is very difficult and demanding; only someone who devotes a great deal of their life's nurture to the art will be able to express its subtleties and nuance, its drama and simplicity; often but not always such refinement will acquire wide attention. Cf., Paco Sevilla, "Introductory History of Flamenco, Part II" in Jaleo VIII/2, originally published in Guitar and Lute (March 1983), at ¶14.
↑  The elimination of all professionals from the contest was considered a mistake by many flamencos, for there were those who had not fallen to the era's commercial tendencies. An example would be the professionals hired by the Concurso, the cantaora Pastora Pavón (La Niña de los Peines), the cantaor Manuel Torre, and the bailaora Juana la Macarrona. These had, unlike many paid performers of that decadent era, maintained a purity in their approach to flamenco. Cf., D.E.Pohren, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
↑  Paul Hecht in his The Wind Cried (New York: The Dial Press 1968) at 105-107, describes a "dream vision of a flamenco contest" in which the performers and local aficionados are given preference. Lasting at minimum several weeks, it would begin with a banquet and include hotel accommodations. Before each session time would be allowed for thawing out the voice and interacting with the listeners. At extra-official Juergas flamenco's "pure spontaneous essence" would be given rein.
↑  Timothy Mitchell, Flameno Deep Song (Yale Univ. 1994) at 170.
↑  The liviana (derived from "liviano" meaning "light, frivolous" and also "the donkey who leads the pack") is a type of siguiriya sung without accompaniment. Andrés Batista, Maestros y Estilos. Manual flamenco (Madrid 1985) at 18-19, 74-75.
↑  Marice Legendre, "El Corpus de Granada in 1922: El Cante Jondo" in the periodical Le Correspondant of Paris, July 1922; cited by Molina Fajardo (1998) at 131-132.
↑  A storm threatened the first night, but the air remained light. The second night rain began to fall, yet the audience remained. Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1998) at 132, 140.
↑  Believed for the most part to be of Gitano (Gypsi) origin. I.e., by D. E. Pohren, Lives and Legends of Flamenco. A Biographical History (Madrid: Society of Spanish Studies [1964] 1988) at 17-20.
↑  The brief Concurso prize and contest rules are reprinted in Manuel de Falla, Escritos sobre música y músicos (Madrid: Espasa-Calpe 1950, 1972), at 156-162 in the  Apéndice, following his essay "El Cante Jondo (Canto Primitivo Andaluz)" at 137-155; translated as On Music and Musicians (London: Marion Boyars 1979), at end of Appendix (99-117).
↑  The Alhambra had been the site of the opening for Falla's opera El Sombrero de Tres Picos [French: Le Tricorne] three years ealier in 1919. Léonide Massine, My Life in Ballet (London: Macmillan 1968) at 142.
↑  Ricardo Villa-Real, The Alhambra and the Generalife (Granada: Ed. Miguel Sanchez 1988) at 6-7.
↑  Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ.de Granada 1962; 2d ed. 1998) at 118-119.
↑  Irving Brown, Deep Song (New York: Harper & Brothers 1929) at 149-150.
↑  Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ.de Granada 1962; 2d ed. 1998) at 116. It was Claude Debussy who had first shown Falla how to find the flamenco's true spirit in the guitar music of the cante jondo. Ibid. at 17-18.
↑  Nota Bene: Segovia at this time played flamenco as well as classical guitar (to the latter he would soon devote his entire effort). Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
↑  Cf., Betty Keim, in her "Manuel de Falla: the Guitar and his Music" published in The Guitar Review (Winter 1976) 41:22-23, notes that Falla called meeting Claude Debussy the "turning point" of his career. Falla wrote the Homenaje following Debussy's death in 1918, then gave it to the guitarist Miguel Llobet. The score is widely acclaimed for its mastery of the instrument and, while not flamenco, its beauty resonates with the music of Andalusia.
↑  Puente Genil is about 50 km. south of Córdoba. Diego Bermúdez was born 1850 at Morón de la Frontera about 70 km. southwest of Puente Genil. Pohlen, Lives and Legends of Flamenco (1988) at 71.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 218-219. Burmúdez "había dejado de cantar treinta años antes al perder facultades a causa de una puñalada recibada en el pulmón durante una reyerta." His punctured lung, Ibid. at 218. Fixed to a wall of a cafe in Puente Genil could later be seen a certificate signed by Antonio Chacón that the Concurso had awarded to Tío Bermúdez (at 219). The walk from Puente Genil to Granada for the Concurso was said to have taken him only three days, but long and exhausting ones; but some doubt he walked the distance (at 218).
↑  Cf., Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Univ. de Granada 1962; 2d ed. 1998) at 135-136, 140.
↑  D.E.Pohlen, Lives and Legends of Flamenco (1988) at 71-72.
↑  "Lord help me, what I hear!" Jose Luis Cano, García Lorca (Barcelona: Salvat Editores 1985) at 55.
↑  Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 507.
↑  Before he died el Tío Tenazas traveled Spain performing his prize-winning singing style but, as his innovations had already been copied by younger singers, the tour was evidently not well received. Timothy Mitchell, Flamenco Deep Song (Yale Univ. 1994) at 171.
↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidade Granada 1962; 2d ed. 1998) at 133, 141.
↑  D. E. Pohren, Lives and Legends of Flamenco (Madrid: Society of Spanish Studies 1985) at 146-150, 148.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 219-220. Yerbagüena figured in the novel La oración de la tarde by González Anaya. The poet Alvarez de Cienfuegos recited at his burial.
↑  Eduardo Molina Fajardo lists the prize winners in his Manuel de Falla y El "Cante Jondo" (Univ. de Granada 1962; 2d ed. 1998) at 141-142. The top two prize winners received 1000 pesetas each, with total prize money for the contestants being almost 5000. Yet he cites a newspaper of Seville to the effect that the biggest winners was the Concurso organizer, Centro Artístico, who after event expenses, with the gate (6,000 pesetas) added to public funding, managed to come out ahead. Molina Fajardo (1998) at 142.
↑  Álvarez Caballero, El cante flamenco (1994) at 217 puts the gate at 30,000, and at 213 puts the public funding at 12,000. Expense amounts do not seem to be stated.
↑  Pastora Pavón was also an honorary judge but without a vote. Paco Sevilla, Queen of the Gypsies (1999) at 153.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 216, 210 (drawing).
↑  D. E. Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 273 (Cuenca). Also, Pohlen's literary portraits at 112-114 (Pavón), at 91-97 (Torre), at 212-215 (Macarrona), and at 76-80 (Chacón).
↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 136-139. María Amaya was also a prize winner. Ibid. at 142.
↑  Pohlen, Lives and Legends of Flamenco (1964, 1988) at 73.
↑  Antonia Mercé la Argentina, after watching Juana la Macarrona dance during the Concurso, later knelt down at her feet, took off her shoes, and carried them away. Flamenco World article on Juana la Macarrona （页面存档备份，存于）
↑  Molina Fajardo, Manuel de Falla y el "Cante Jondo" (1962, 2d ed. 1988) at 136, 139.
↑  Timothy Mitchell, Flamenco Deep Song (Yale Univ. 1994) at 170.
↑  Some Concurso critics, however, seemed to revisit the earlier contra position (see above the section "Public funding").
↑  Frederico García Sanchíz, "Granada. El Concurso de Cante Jondo" （页面存档备份，存于） 馬德里的雜誌 Nuevo Mundo(新世界)1922年6月23,flamenco-world.com 網站的英文翻譯。
↑  "A few nights of brilliance." "Great has been the success of the Concurso." Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 144.
↑  Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (1962, 1998) at 151-157.
↑  The sevillano Rodriguez de Leon writing in El Sol lamented the Concurso as cause of the "funerales por el alma del cante, muerto recientemente en Granada, a manos de los intelectuales... ." Cited by Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 217. I.e., the lamented Concurso has caused "funerals for the soul of the cante, recently dead in Granada, at the hands of the intellectuals."
↑  Félix Grande, Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 514.
↑  Paco Sevilla, "Introductory History of Flamenco, Part II" inJaleo VIII/2, originally published in Guitar and Lute (March 1983), at ¶ 14.
↑  Paco Sevilla, Queen of the Gypsies. The Life and Legend of Carmen Amaya (San Diego 1999) at 197.
↑  The initial elation and sense of accomplishment by those attending the event was manifest. Yet following the Concurso, in addition to the usual sniping at success in the press, there was a distressing sense of loss felt by the Concurso organizers. Hence they abandoned pursuit of their original long-term goals, plans scheduled to be implimented following the Concurso event."It was disillusioning to the organizers that the true purpose of the concurso failed, at least during their lifetimes. ... The Granada contest was designed as only the first step. As a followup, they intended to open flamenco schools in Andalusian cities and to hire flamenco's old-timers to instruct the youngsters in the pure cante. The Centro Artístico of Granada, which was to have played an important part in this plan, at the last minute pulled out, and the whole idea collapsed." D.E.Pohren, Lives and Legends of Flamenco (Madrid: Society of Spanish Studies 1964, revised 1988) at 73-74. Yet the continuance of "Concurso" events in different cities and the current spread offlamenco schools perhaps means "that Manuel de Falla's dream may yet come true". D.E.Pohren (1964, 1988) at 74. Or perhaps now his dream has been realized, in part.
↑  Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 517-539.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994) at 229-244.
↑  Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 513.
↑  Cf., Paco Sevilla, Queen of the Gypsies (1999) at 40-41.
↑  Ángel Álvarez Caballero, El cante flamenco (Madrid: Alianza Editorial 1994, 1998) at 262.
↑  Félix Grande,Memoria del Flamenco (Madrid: Espasa-Calpe 1979) at II: 513-514.
The Alhambra in Granada, from Mirador de San Nicolás.
Torre de la Justicia, original entry gate to the Alhambra; and, the walk way to the June evening's Concurso events.
Manuel de Falla (1876-1946)