Guide to the Diverse Regional Music Traditions of Spain

Contents
Articles
Music of Spain
Music of Andalusia
14
Music of Aragon
16
Music of Galicia, Cantabria and Asturias
17
Music of the Balearic Islands
22
Basque music
22
Music of the Canary Islands
32
Music of Castile and Len
33
Music of Catalonia
34
Music of Extremadura
36
Music of Murcia
37
Music of Navarre and La Rioja
37
Music of Valencia
38
References
Article Sources and Contributors
39
Image Sources, Licenses and Contributors
40
Article Licenses
License
41
Music of Spain
Music of Spain
The music of Spain has a long history and has played an important
part in the development of western music, and a particularly strong
influence upon Latin American music. Outside of Spain, the country
is often associated with traditional styles such as flamenco and
classical guitar, but Spanish music is in fact very diverse, reflecting
the large cultural differences between regions. The flamenco style,
for example, originated in Andalusia in the south of the country,
whereas the music traditions in the north-western regions such as
Galicia are centered around bagpipes as a result of the Celtic history
of the region. Spain played a notable role in the history of western
classical music, particularly in the early phase from the 15th to the
17th centuries, from composers like Toms Luis de Victoria, the
zarzuela of Spanish opera, the ballet of Manuel de Falla, to the
classical guitar music of Pepe Romero. Nowadays, like elsewhere,
commercial popular music dominates.
The modern classical guitar and its baroque

predecessor originated in Spain
Origins of the Music of Spain

The Iberian peninsula has long been a melting pot of
different cultural influences, particularly during the first
centuries of the Christian era: the Roman culture, which
was dominant for several hundred years, brought with it the
music and ideas of Ancient Greece; early Christians, who
had their own version of the Roman Rite; the Visigoths,
Germanic people who overran the Iberian peninsula in the
5th century; Jews of the diaspora; and finally the
long-standing influence of the Moors during the 8th - 15th
centuries. Hence, there have been more than two thousand
years of internal and external influences and developments
defining the culture of Spain as it is known today,
producing a large number of unique musical traditions.
Early history
Isidore of Seville wrote about the local music in the 6th
century. His influences were predominantly Greek, and yet
he was an original thinker, and recorded some of the first details about the early music of the Christian church. He
Cantigas de Santa mara, medieval Spain
Music of Spain
perhaps is most famous in musical history for declaring that it was not possible to notate sounds, an assertion which
revealed his ignorance of the notational system of ancient Greece, suggesting that this knowledge had been lost (or
not transported to Spain) by that time.[citation needed]
The Moors of Al-Andalus were usually relatively tolerant of
Christianity and Judaism, especially during the first three centuries of
their long presence in the Iberian peninsula, during which Christian and
Jewish music continued to flourish. Music notation was developed in
Spain as early as the 8th century (the so-called Visigothic neumes) to
notate the chant and other sacred music of the Christian church, but this
obscure notation has not yet been deciphered by scholars, and exists
only in small fragments.[citation needed] The music of the early medieval
Christian church in Spain is known, misleadingly, as the "Mozarabic
Chant", which developed in isolation prior to the Islamic invasion and
Codex Las Huelgas, a medieval Spanish music
was not subject to the Papacy's enforcement of the Gregorian chant as
manuscript, circa 1300 AD.
the standard around the time of Charlemagne, by which time the
Muslim armies had conquered most of the Iberian peninsula. As the
Christian reconquista progressed, these chants were almost entirely replaced by the Gregorian standard, once Rome
had regained control of the Iberian churches. The style of Spanish popular songs of the time is presumed to have
been heavily influenced by Moorish music, especially in the south, but as much of the country still spoke various
Latin dialects while under Moorish rule (known today as the Mozarabic) earlier musical folk styles from the
pre-Islamic period continued in the countryside where most of the population lived, in the same way as the
Mozarabic Chant continued to flourish in the churches. In the royal Christian courts of the reconquistors, music like
the Cantigas de Santa Maria, also reflected Moorish influences. Other important medieval sources include the Codex
Calixtinus collection from Santiago de Compostela and the Codex Las Huelgas from Burgos. The so-called Llibre
Vermell de Montserrat (red book) is an important devotional collection from the 14th century.[citation needed]
Renaissance and Baroque Periods

In the early Renaissance, Mateo Flecha el viejo and the Castilian dramatist Juan del Encina ranked among the main
composers in the post-Ars Nova period. Renaissance song books included the Cancionero de Palacio, the Cancionero
de Medinaceli, the Cancionero de Upsala (kept in Carolina Rediviva library), the Cancionero de la Colombina, and
the later Cancionero de la Sablonara. The organist Antonio de Cabezn stands out for his keyboard compositions and
mastery.
An early 16th-century polyphonic vocal style developed in Spain was closely related to that of the Franco-Flemish
composers. Merging of these styles occurred during the period when the Holy Roman Empire and the Burgundy
were part of the dominions under Charles I (king of Spain from 1516 to 1556), since composers from the North of
Europe visited Spain, and native Spaniards travelled within the empire, which extended to the Netherlands, Germany
and Italy. Music composed for the vihuela by Luis de Miln, Alonso Mudarra and Luis de Narvez was one of the
main achievements of the period. The Aragonese Gaspar Sanz authored the first learning method for guitar. Spanish
composers of the Renaissance included Francisco Guerrero, Cristbal de Morales, and Toms Luis de Victoria (late
Renaissance period), all of whom spent a significant portion of their careers in Rome. The latter was said to have
reached a level of polyphonic perfection and expressive intensity equal or even superior to Palestrina and Lassus
[citation needed]
. Most Spanish composers returned home from travels abroad late in their careers to spread their
musical knowledge in their native land, or in the late 16th century to serve at the Court of Philip II.
Music of Spain
18th to 20th centuries

Antonio Soler's Sonata No. 84, an example of Classical era music in Spain
Problems playing this file? See media help.
By the end of the 17th century the "classical" musical culture of Spain
was in decline, and was to remain that way until the 19th century.
Classicism in Spain, when it arrived, was inspired by Italian models, as
in the works of Antonio Soler. Some outstanding Italian composers
such as Domenico Scarlatti and Luigi Boccherini were appointed to the
Madrid royal court. The short-lived Juan Crisstomo Arriaga is
credited as the main beginner of Romantic sinfonism in Spain. [citation
needed]
Fernando Sor, Dionisio Aguado, Francisco Trrega and Miguel Llobet

are known as composers of guitar music. Fine literature for violin was
created by Pablo Sarasate and Jess de Monasterio.
Zarzuela, a native form of opera that includes spoken dialogue, is a
secular musical genre which developed in the mid-17th century,
flourishing most importantly in the century after 1850. Francisco
Asenjo Barbieri was a key figure in the development of the romantic
Front cover of book: Escuela Msica segn la
zarzuela; whilst later composers such as Ruperto Chap, Federico
prctica moderna published in 1723-1724
Chueca and Toms Bretn brought the genre to its late 19th-century
apogee. Leading 20th-century zarzuela composers included Pablo Sorozbal and Federico Moreno Torroba.
Musical creativity mainly moved into areas of popular music until the nationalist revival of the late Romantic era.
Spanish composers of this period included Felipe Pedrell, Isaac Albniz, Enrique Granados, Joaqun Turina, Manuel
de Falla, Jess Guridi, Ernesto Halffter, Federico Mompou, Salvador Bacarisse, and Joaqun Rodrigo.
Music of Spain
Music by Region
The regions of Spain have distinct cultures, including their own musical traditions. There is also a movement of
singer-songwriters with politically-active lyrics, paralleling similar developments across Latin America and Portugal.
The singer and composer Eliseo Parra (b 1949) has recorded traditional folk music from the Basque country and
Castile as well as his own compositions inspired from the musical styles of Spain and abroad.
Andalusia
Though Andalusia is best known for flamenco music, there is also a
tradition of gaita rociera (tabor pipe) music in western Andalusia and a
distinct violin and plucked-string type of band music known as panda
de verdiales in Mlaga.
Flamenco dancing in Seville.
Sevillanas is related to flamenco and most flamenco performers have at

least one classic sevillana in their repertoire. The style originated as a
medieval Castilian dance, called the seguidilla, which was adopted with
a flamenco style in the 19th century. Today, this lively couples' dance is
popular in most parts of Spain, though the dance is often associated
with the city of Seville's famous Easter feria.
The region has also produced singer-songwriters like Javier Ruibal and
Carlos Cano, who revived a traditional music called copla. Catalan
Kiko Veneno and Joaqun Sabina are popular performers in a distinctly
Panda de Verdiales in Mlaga.
Spanish-style rock music, while Sephardic musicians like Aurora
Moreno, Lus Delgado and Rosa Zaragoza keep Andalusian Sephardic music alive.
Aragon
Jota, popular across Spain, might have its historical roots in
the southern part of Aragon. Jota instruments include the
castanets, guitar, bandurria, tambourines and sometimes the
flute. Aragonese music can be characterized by a dense
percussive element that some have tried to attribute to an
influence from the North African Berbers. The guitarro, a
unique kind of small guitar also seen in Murcia, seems
Aragonese in origin. Besides its music for stick-dances and
dulzaina (shawm), Aragon has its own gaita de boto
(bagpipes) and chiflo (tabor pipe). As in the Basque country,
Aragonese chiflo can be played along to a chicotn
string-drum (psaltery) rhythm.
Aragonese jota dancing
Music of Spain
Asturias, Cantabria and Galicia

Northwest Spain (Asturias, Galicia and Cantabria) is home to a distinct
musical tradition extending back into the Middle Ages. The signature
instrument of the region is the gaita (bagpipe), originating from the
Celtic influences in the region. The gaita is often accompanied by a
snare drum, called the tamboril, and played in processional marches.
Other instruments include the requinta, a kind of fife, as well as harps,
fiddles, rebec and zanfona (hurdy-gurdy). The music itself runs the
gamut from uptempo muinieras to stately marches. As in the nearby
Basque Country, Cantabrian music also features intricate arch and stick
dances but the tabor pipe does not play as an important role as it does
in Basque music. Traditionally, Galician music included a type of
chanting song known as alalas. Alalas may include instrumental
interludes, and are believed to have a very long history, mostly
unverified and based on legends.
There are local festivals celebrating the pre-Roman Celtic culture of
the region, where Ortigueira's Festival del Mundo Celta is especially
important. Drum and bagpipe couples range among the most beloved
kinds of Galician music, that also includes popular bands like Milladoiro. Pandereteiras are traditional groups of
women that play tambourines and sing. The bagpipe virtuosos Carlos Nez and Susana Seivane are especially
popular performers.
An Asturian gaitera (bagpipe player)
Asturias is also home to popular musicians such as Jos ngel Hevia (another virtuoso bagpiper) and the group Llan
de Cubel. Circular dances using a 6/8 tambourine rhythm are also a hallmark of this area. Vocal asturianadas show
melismatic ornamentations similar to those of other parts of the Iberian Peninsula. There are many festivals, such as
"Folixa na Primavera" (April, in Mieres), "Intercelticu d'Avils" (Interceltic festival of Avils, in July), as well as
many "Celtic nights" in Asturias.
Balearic Islands
In the Balearic Islands, Xeremiers or colla de xeremiers are a traditional ensemble that consists of flabiol (a five-hole
tabor pipe) and xeremies (bagpipes). Majorca's Maria del Mar Bonet was one of the most influential artists of nova
cano, known for her political and social lyrics. Tomeu Penya, Biel Majoral, Cerebros Exprimidos and Joan Bibiloni
are also popular.
Basque Country
Music of Spain
The most popular kind of Basque music is named after the

dance trikitixa, which is based on the accordion and
tambourine. Popular performers are Joseba Tapia and Kepa
Junkera. Highly appreciated folk instruments are the txistu (a
tabor pipe similar to Occitanian galoubet recorder), alboka (a
double clarinet played in circular-breathing technique,
similar to other Mediterranean instruments like launeddas)
and txalaparta (a huge xylophone, similar to the Romanian
toac and played by two performers in a fascinating
game-performance). As in many parts of the Iberian
peninsula, there are ritual dances with sticks, swords and
arches made from vegetation. Other popular dances are the
fandango, jota and 5/8 zortziko.
Ezpatadantza of the Basque Country.
Basques on both sides of the Spanish-French border have been known for their singing since the Middle Ages, and a
surge of Basque nationalism at the end of the 19th century led to the establishment of large Basque-language choirs
that helped preserve their language and songs. Even during the persecution of the Francisco Franco era (19391975),
when the Basque language was outlawed, traditional songs and dances were defiantly preserved in secret, and they
continue to thrive despite the popularity of commercially-marketed pop music.
Canary Islands
In the Canary Islands, Isa, a local kind of Jota, is now popular, and Latin American musical (Cuban) influences are
quite widespread, especially with the charango (a kind of guitar). Timple, the local name for ukulele / cavaquinho, is
commonly seen in plucked-string bands. A popular set on El Hierro island consists of drums and wooden fifes (pito
herreo). The tabor pipe is customary in some ritual dances on the island of Tenerife.
Castile, Madrid and Len

A large inland region, Castile, Madrid and Leon were
Celtiberian country before its annexation and cultural
latinization by the Roman Empire but it is extremely doubtful
that anything from the musical traditions of the Celtic era have
survived. Ever since, the area has been a musical melting pot;
including Roman, Visigothic, French, Italian, Gypsy, Moorish,
and Jewish influences but the most important influences are the
longstanding and continuing ones from the surrounding Spanish
regions as well as from Portugal to the west. Areas within
Castile and Len generally tend to have more musical affinity
with neighbouring regions than with other, more distant, parts of
Castile and Len. This has given the region a locally diverse
musical tradition.
Children in Castilian folk costume in Soria, Castile.
Jota is popular, but is uniquely slow in Castile and Len, unlike its more energetic Aragonese version.
Instrumentation also varies much from the one in Aragon. Northern Len, that shares a language relationship with a
region in northern Portugal and the Spanish regions of Asturias and Galicia, also shares their musical influences.
Here, the gaita (bagpipe) and tabor pipe playing traditions are prominent. In most of Castile, there is a strong
tradition of dance music for dulzaina (shawm) and rondalla groups. Popular rhythms include 5/8 charrada and circle
dances, jota and habas verdes. As in many other parts of the Iberian peninsula, ritual dances include paloteos (stick
Music of Spain
dances). Salamanca is known as the home of tuna, a serenade played with guitars and tambourines, mostly by
students dressed in medieval clothing. Madrid is known for its chotis music, a local variation to the 19th-century
schottische dance. Flamenco, although not considered native, is popular among some urbanites but is mainly
confined to Madrid.
Catalonia
Though Catalonia is best known for sardana music played by a
cobla, there are other traditional styles of dance music like ball
de bastons (stick-dances), galops, ball de gitanes. Music is at the
forefront in cercaviles and celebrations similar to Patum in
Berga. Flabiol (a five-hole tabor pipe), gralla or dolaina (a
shawm) and sac de gemecs (a local bagpipe) are traditional folk
instruments that make part of some coblas.
Catalan gipsies created their own style of rumba called rumba
catalana which is a popular style that's similar to flamenco, but
not technically part of the flamenco canon. The rumba catalana
The Sardana of Catalonia
originated in Barcelona when the rumba and other Afro-Cuban
styles arrived from Cuba in the 19th and early 20th centuries.
Catalan performers adapted them to the flamenco format and made it their own. Though often dismissed by
aficionados as "fake" flamenco, rumba catalana remains wildly popular to this day.
The havaneres singers remain popular. Nowadays, young people cultivate Rock Catal popular music, as some years
ago the Nova Can was relevant.
Extremadura
Having long been the poorest part of Spain, Extremadura is a largely rural region known for the Portuguese influence
on its music. As in the northern regions of Spain, there is a rich repertoire for tabor pipe music. The zambomba
friction-drum (similar to Portuguese sarronca or Brazilian cuica) is played by pulling on a rope which is inside the
drum. It is found throughout Spain. The jota is common, here played with triangles, castanets, guitars, tambourines,
accordions and zambombas.
Murcia
Murcia is a region in the south-east of Spain which, historically, experienced considerable Moorish colonisation, is
similar in many respects to its neighbour, Andalusia. The guitar-accompanied cante jondo Flamenco style is
especially associated with Murcia as are rondallas, plucked-string bands. Christian songs, such as the Auroras, are
traditionally sung a cappella, sometimes accompanied by the sound of church bells, and cuadrillas are festive songs
primarily played during holidays, like Christmas.
Music of Spain
Navarre and La Rioja

Navarre and La Rioja are small northern regions with diverse
cultural elements. Northern Navarre is Basque in language,
while the Southern section shares more Aragonese features.
The jota is also known in both Navarre and La Rioja. Both
regions have rich dance and dulzaina (shawm) traditions.
Txistu (tabor pipe) and dulzaina ensembles are very popular in
the public celebrations of Navarre.
Valencia
Traditional music from Valencia is characteristically
Ioaldunak dancers of Navarre.
Mediterranean in origin. Valencia also has its local kind of
Jota. Moreover, Valencia has a high reputation for musical
innovation, and performing brass bands called bandes are common, with one appearing in almost every town.
Dolaina (shawm) is widely found. Valencia also shares some traditional dances with other Iberian areas, like for
instance, the ball de bastons (stick-dances). The group Al Tall is also well-known, experimenting with the Berber
band Muluk El Hwa, and revitalizing traditional Valencian music, following the Riproposta Italian musical
movement.
Popular music
Although Spanish pop music is currently flourishing, the industry suffered for many years under Francisco Franco's
regime, with few outlets for Spanish performers during the 1930s through the 1970s. Regardless, American and
British music, especially rock and roll, had a profound impact on Spanish audiences and musicians. The Benidorm
International Song Festival, founded in 1959 in Benidorm, became an early venue where musicians could perform
contemporary music for Spanish audiences. Inspired by the Italian San Remo Music Festival, this festival was
followed by a wave of similar music festivals in places like Barcelona, Majorca and the Canary Islands. Many of the
major Spanish pop stars of the era rose to fame through these music festivals. An injured Real Madrid
player-turned-singer, for example, became the world-famous Julio Iglesias.
During the 1960s and early 1970s, tourism boomed, bringing yet more musical styles from the rest of the continent
and abroad. However, it wasn't until the 1980s that Spain's burgeoning pop music industry began to take off. During
this time a cultural reawakening known as La Movida Madrilea produced an explosion of new art, film and music
that reverberates to this day. Once derivative and out-of-step with Anglo-American musical trends, contemporary
Spanish pop is as risky and cutting-edge as any scene in the world, and encompasses everything from shiny
electronica and Eurodisco, to homegrown blues, rock, punk, ska, reggae and hip-hop to name a few. Artists like
Enrique Iglesias or Alejandro Sanz have become successful internationally, selling million of albums worldwide and
winning major music awards such as the coveted Grammy Award.
Ye-Y
From the English pop-refrain words "yeah-yeah", ye-y was a French-coined term which Spanish language
appropriated to refer to uptempo, "spirit lifting" pop music. It mainly consisted of fusions of American rock from the
early 1960s (such as twist) and British beat music. Concha Velasco, a talented singer and movie star, launched the
scene with her 1965 hit "La Chica Ye-Y", though there had been hits earlier by female singers like Karina (1963).
The earliest stars were an imitation of French pop, at the time itself an imitation of American and British pop and
rock. Flamenco rhythms, however, sometimes made the sound distinctively Spanish. From this first generation of
Spanish pop singers, Rosala's 1965 hit "Flamenco" sounded most distinctively Spanish.
Music of Spain
Performers
Some of Spain's most famous musicians and bands are:
Cantautores
Luis Eduardo Aute

Cecilia
Braulio Garca
Pedro Guerra
Paco Ibez
Jos Antonio Labordeta
Llus Llach
Jos Luis Perales
Rosana Arbelo
Joaqun Sabina
Ismael Serrano
Joan Manuel Serrat
Vctor Manuel
Electropop bands
Aviador Dro
Fangoria
Hidrogenesse
The Pinker Tones
Flamenco, New Flamenco or copla singers, guitarists and bands
Andy y Lucas
Concha Buika
El Fary
Camarn de la Isla
Roco Jurado
Ketama
Paco de Luca
Pepe de Luca
Antonio Molina
Enrique Morente
Ojos de Brujo
Isabel Pantoja
Music of Spain
Pop music or ballad singers and bands
Alaska y Dinarama
Alejandro Sanz
Ana Torroja
lex Ubago
Amaia Montero
David Bisbal
David Bustamante
Caf Quijano
Chenoa
Conchita
Sergio Dalma
Do Dinmico
Edurne
El Sueo de Morfeo
Estopa
Enrique Iglesias
Julio Iglesias
La Quinta Estacin
Rosa Lpez
Mecano
Mnica Naranjo
Nena Daconte
Presuntos Implicados
Raphael
Paloma San Basilio
Marta Snchez
Hugo Salazar
Pablo Alboran
David DeMaria
D'Nash
Pop rock or Rock singers and bands
Amaral
Bebe
Enrique Bunbury
Celtas Cortos
Dover
Duncan Dhu
El Canto del Loco
El ltimo de la Fila
Fito & Fitipaldis
Hroes del Silencio
Hombres G
Jarabe de Palo
Frmula V
La Oreja de Van Gogh
10
Music of Spain
Loquillo
Los Bravos
Los Rodrguez
Los Toreros Muertos
Mocedades
Mojinos Escozos
Nacha Pop
Pereza
Pignoise
Radio Futura
Miguel Ros
Siniestro Total
Tequila
Triana
Van Tard
Hard Rock or Heavy Metal bands
Mgo de Oz
ngeles del Infierno
ngelus Aptrida
Avalanch
Avulsed
Barn Rojo
Barricada
Bella Bestia
Centinela
Extremoduro
Haemorrhage
Hamlet
Leo
Lujuria
Los Suaves
Nahemah
Obs
Panzer
Platero y T
Reincidentes
Saratoga
Soziedad Alkoholika
Stravaganzza
Tierra Santa
Warcry
Zarpa
11
Music of Spain
King Of The Dance

Soraya Arnelas
Hip hop bands
La Excepcin
Violadores del Verso
La Mala Rodrguez
SFDK
El Chojin
Tote King
Falsalarma
Nach
Chirie Vegas
Xcese
Mitsuruggy
Primer Dan
Ltex Diamond
Trad Montana
Sholo Truth
Duo kie
el Porta
Dareysteel
Zpu
Dogman crew
Other genres
Paloma Berganza (chanson singer)
Roco Drcal (ranchera singer)
Also from Spain was the famous trio of singing clowns Gaby, Fof y Miliki.
References
Fairley, Jan "A Wild, Savage Feeling". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie,
James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 279291. Rough
Guides Ltd, Penguin Books. ISBN 1-85828-636-0
Fairley, Jan with Manuel Domnguez. "A Tale of Celts and Islanders". 2000. In Broughton, Simon and Ellingham,
Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East,
pp 292297. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
Alan Lomax: Mirades Miradas Glances. Photos and CD by Alan Lomax, ed. by Antoni Piz (Barcelona: Lunwerg
/ Fundacio Sa Nostra, 2006) ISBN 84-9785-271-0
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Music of Spain
13
External links
(French) Audio clips: Traditional music of Spain. [1] Muse d'Ethnographie de Genve. Accessed November 25,
2010.
MIDI samples of traditional music from the Iberian peninsula [2] and Extended version [3]
AlejandroSanz4EnglishSpeakers [4] A collection of translated songs from one of Spain's most famous singers.
Bloomingdale School of Music Piano Project: Sonidos de Espana/Music of Spain [5] - extensive monthly features
on the history of Spanish music.
Spanish language music [6] Traditional and contemporary Spanish-language music, with genre descriptions,
representative artists, CDs & audio samples.
Learn Spanish with songs [7] Morkol will help you to learn Spanish with songs. Listen to the songs while you read
the lyrics.
Spainmusictv.com [8] Spanish music videos
Spanish Folk Music in Havana (Photo Album) [9]
Encyclopedia of Spanish Music (16th to 19th centuries) [10]
A request for comment about this template (Template:Europe topic) is currently held.
References
[1] http:/ / www. ville-ge. ch/ meg/ musinfo_ph. php?what=pays=Espagne& debut=0& bool=AND
[2] http:/ / www. interacesso. pt/ web/ wencesmc
[3] http:/ / www. geocities. ws/ iberiamidi
[4] http:/ / www. alejandrosanz4englishspeakers. com
[5] http:/ / www. bsmny. org/ features/ pianoproject08/ index. php
[6] http:/ / www. vistawide. com/ spanish/ spanish_music. htm
[7] http:/ / www. morkol. com/ index. php/ artistas/ videos_letras_canciones/ ?id=132
[8] http:/ / www. spainmusictv. com
[9] http:/ / www. havanatimes. org/ ?p=20846
[10] http:/ / www. musicadehispania. net
Music of Andalusia
Music of Andalusia
The Music of Andalusia is fundamentally western and has itself had a strong influence on western music generally
but it has also been influenced by diverse non-Western influences, most notably Romani, Moorish and Sephardic
Jewish.
Influence of Andalusian music

Andalusia was probably the main route of transmission of a number of Near-Eastern musical instruments used in
classical music; the rebec (ancestor of violin) from the rebab, the guitar from qitara and naker from naqareh. Further
terms fell into disuse in Europe; adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba from
al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, sonajas de azfar from
sunuj al-sufr, the conical bore wind instruments, the xelami from the sulami or fistula (flute or musical pipe), the
shawm and dulzaina from the reed instruments zamr and al-zurna, the gaita from the Rhaita, rackett from iraqya or
iraqiyya, geige (German for a violin) from ghichak and the theorbo from the tarab.
According to historic sources, William VIII, the father of William, brought to Poitiers hundreds of Muslim
prisoners.[1] Trend [2] acknowledges that the troubadors derived their sense of form and the subject matter of their
poetry from Andalusia. The hypothesis that the troubador tradition was created, more or less, by William after his
experience of Moorish arts while fighting with the Reconquista in Spain was also championed by Ramn Menndez
Pidal in the early twentieth-century, but its origins go back to the Cinquecento and Giammaria Barbieri (died 1575)
and Juan Andrs (died 1822). Meg Bogin, English translator of the female troubadors, also held this hypothesis.[3]
Certainly "a body of song of comparable intensity, profanity and eroticism [existed] in Arabic from the second half
of the 9th century onwards."[4] Grove Dictionary of Music and Musicians, edited
Andalusia is a modern autonomous community of Spain that is best known for flamenco, a form of music and dance
that is mostly performed by Andalusian people.
Improvised flamenco songs of ancient Andalusian origin are called cante jondo, and are characterized by a reduced
tonal ambiance, a strict rhythm, baroque ornamentation and repetition of notes. Cante jondo is sung by a single
singer (cantaor).
Structure
There are two forms of flamenco songs: cante jondo and cante chico. Cante jondo are slower and usually feature sad
lyrics about disappointed love or death, while cante chico are much quicker, more popular and dance-oriented. The
concept of duende is very important in flamenco. Loosely, defined, duende is a spiritual or emotional bond between
the performer and audience, created by the performer's intense concentration and passion.
There are multiple styles (palos) of flamenco, including:
fandango
fandangos de Huelva
granadnos - from Granada
malagueas - from Mlaga
saeta
sevillana
siguiriyas
soleares
Tangos
14
Music of Andalusia
The guitar is a vital instrument to flamenco; it marks the measure of a song, and is frequently used in expressive
solos during which the guitarist will improvise short variations called falsetas. Ramn Montoya was the most
influential early guitarist, known for having solidified the guitar as a solo instrument. His successors included
Manolo Sanlcar and Paco de Luca.
History
The golden age of flamenco is said to be 1869 to 1910, later becoming more and more popularized internationally
and influenced by South American music, especially the tango. Musicians from the golden age performed at bars
called caf cantantes, such as Caf de Chinitas in Mlaga, which was made famous by the poetry of Garca Lorca.
Other musicians of the early 20th century include Manolo Caracol, who walked from Jerez to participate in a cante
jondo competition, which he won.
Though the golden age had long since passed, the 1950s saw flamenco achieving increased respectability in Spain.
Hispavox, a Spanish record label, released Antologa del Cante Flamenco in 1956; the recording's collection of most
all of the greatest flamenco singers was very popular. In 1956, the first national cante jondo competition was held in
Cordoba, followed by a Chair of Flamencology being established at Jerez in 1958.
In the late 1950s and early 1960s, Antonio Mairena and similar artists kelped kickstart a flamenco revival as
American and British rock began dominating the Spanish music scene. Emerging from this, Camarn de la Isla
became one of the most popular and critically acclaimed performers of the century. His 1969 debut Con la
Colaboracion Especial de Paco de Lucia inspired a new generation of performers that invented Nuevo Flamenco.
In the 1970s and 80s, salsa, blues, rumba and other influences were added to flamenco, along with music from
Morocco and India. Ketama's 1988 debut, Ketama, was especially influential. At the beginning of the 1990s, the
Madrid label Nuevos Medios became closely associated with the new flamenco fusion music, which came to be
called nuevo flamenco.
References
[1]
[2]
[3]
[4]
M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad).

J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause Reprint)
Bogin, Meg. The Women Troubadours. Scarborough: Paddington, 1976. ISBN 0-8467-0113-8.
"Troubadour"
^ Ham Zafrani (2002). Juifs d'Andalousie et du Maghreb . Maisonneuve & Larose. p.228. ISBN
978-2-7068-1629-1. ^ Rachid Aous; Mohammed Habib Samrakandi (2002). Musiques d'Algrie . 47. Presses Univ.
du Mirail. ISBN 978-2-85816-657-2. ^ Mara Rosa Menocal; Raymond P. Scheindlin; Michael Anthony Sells
(2000). The literature of Al-Andalus . title=Cambridge history of Arabic literature. 4 Arabic literature to the end of
the Umayyad period (illustrated ed.). Cambridge University Press. pp.7273. ISBN 978-0-521-47159-6. ^
Arab-Andalusian Music of Morocco during the Centuries / scientific publication of D. Eisenberg (Hispanic Journal
of Philosophy 1988) ^ (Farmer 1978, p.137) ^ (Farmer 1978, p.140) ^ (Farmer 1978, pp.1401) ^ (Farmer 1978,
p.141) ^ (Farmer 1978, p.142) ^ (Farmer 1978, p.143) ^ (Farmer 1978, p.144) ^ M. Guettat (1980), La Musique
classique du Maghreb (Paris: Sindbad). ^ J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause
Reprint) ^ Bogin, Meg. The Women Troubadours. Scarborough: Paddington, 1976. ISBN 0-8467-0113-8. ^
"Troubadour", Grove Dictionary of Music and Musicians, edited by Stanley Sadie, London: Macmillan Press
15
Music of Andalusia
External links
Other Examples of Music From Andalusia
Juifs et musique Arabo Andalouse 1 (http://www.youtube.com/watch?v=UY5HWB9Qvzo&feature=related)
Juifs et musique Arabo Andalouse 2 (http://www.youtube.com/watch?v=rOH-Q9e9QDE&NR=1)
Bibliography
Farmer, Henry George (1978). Historical facts for the Arabian musical influence (http://books.google.com/
?id=OTsTS87nBgAC). Ayer Publishing. ISBN978-0-405-08496-6.
Music of Aragon
The music of Aragon, like its culture, has through history absorbed Roman, Celtic, Moorish and French influences.
Traditional instruments include bagpipes, drums, flutes, tambourines, rattles and, perhaps most distinctively, the
guitarro and bandurria.
Jota (music) is probably the best-known style of music from Aragon. While regionally emblematic to Aragon, the
Jota is also danced in most regions of Spain, unlike for instance flamenco which until recently was uniquely regional
to Andalucia and some neighbouring areas. The Jota is played instrumentally, danced, and sung.
Other genres of traditional Aragonese music include albadas and rondas.
Some of the most notable Spain cupletistas were born in Aragon in the first decades of the 20th century. Raquel
Meller became a major international star. Other important cupletistas included Preciosilla, Paquita Escribano,
Matilde Aragn, Mercedes Sers, one of the creators of the Catalan couplet, Ofelia de Aragn and Elvira de Amaya.
Recent artists with folk influences include Jos Antonio Labordeta, La Bullonera or Joaqun Carbonell. In Pop and
Rock music, the most popular groups have been Hroes del silencio and Amaral.
References
16

The traditional music of Galicia and Asturias, located along Spain's north-west Atlantic coast, are highly distinctive
folk styles that have some similarities with the neighbouring area of Cantabria. The music is characterized by the use
of bagpipes.
History
It had long been thought that Galician and Asturian
music might owe their roots to the ancient Celtic
history of the region, in which it was presumed that
some of this ancient influence had survived despite
the long evolution of the local musical traditions
since then, including centuries of Roman and
Germanic influences. Whether or not this is the
case, much modern commercial Galician and
Asturian traditional and folk-rock of recent years
has become strongly influenced by modern Irish,
Scottish and Welsh "folk" styles. Galicia is
nowadays a strong player on the international
Celtic folk scene. As a result, elements of the
Galician gaiteiros
pre-industrial Galician tradition have become
integrated into the modern Celtic folk repertoire
and style. Many, however, claim that the "Celtic" appellation is merely a marketing tag; the well known Galician
bagpipe player Susana Seivane, said "I think [the 'Celtic' moniker is] a label, in order to sell more. What we make is
Galician music". In any case, due to the Celtic brand, Galician music is the only non-Castilian-speaking music of
Spain that has a significant audience beyond the country's borders. Some Galicians and Asturians have complained
that the "Celtic boom" was the final death blow to once highly distinctive musical traditions.
Celtic culture is known to have extended over a large part of the Iberian Peninsula as early as 600BC. During the 2nd
and 1st centuries BC, the Roman Empire slowly conquered Iberia, which they called Hispania. The Celtic regions
put up a long and fierce struggle to maintain their independence but were eventually subdued. In the centuries that
followed, the language of the Romans, Latin, came to gradually supplant nearly all the earlier languages of the
peninsula, including all Celtic languages, and is the ancestor of all the current languages of Spain and Portugal,
including Galician and Astur-Leonese-Mirandese but not Basque. The departure of the Romans in the 5th century led
to the invasions of Germanic tribes. The Suebi people conquered the northwest but the poor documentation from the
period has left their cultural impact on the region unclear. In the 6th century, a final small Celtic influx arrived from
Britain; the Britons were granted their own diocese, Britonia, in northern Galicia. Galicia was then taken over by the
Visigothic Kingdom when the Suebian kingdom fell apart. Galicia came under the control of the Moors after they
defeated the Visigoths in 717 but Moorish rule was little more than a short lived military occupation, although an
indirect Moorish musical influence arrived later, through Christian troubadours. Moorish rule ended after two
decades when the their garrison was driven out by a rebellion in 739. The region was incorporated into the Kingdom
of Asturias and, after surviving the assaults of the Moors and Vikings, became the springboard for the Reconquista.
In 810, it was claimed that the remains of Saint James, one of the apostles, had been found at a site which soon
became known as Santiago de Compostela. It became Europe's premier pilgrimage destination in the Middle Ages.
This is assumed to have had a significant effect on the folk culture of the area, as the pilgrims brought with them
musical instruments and styles from as far afield as Scandinavia and Hungary.
17

Like the earlier periods, little is known about musical traditions from this era. Just a few manuscripts from the time
are known, such as those by the 13th-century poet and musician Martn Codax, which indicate that some of the
distinctive elements of today's music, such as the bagpipes and flutes, were common at the time. The Cantigas de
Santa Maria, a collection of manuscripts written in old Galician, also show illustrations of people playing bagpipes.
Revival
The Galician folk revival drew on early 20th century performers like Perfecto Feijoo, a bagpipe and hurdy-gurdy
player. The first commercial recording of Galician music had come in 1904, by a corale called Aires d'a Terra from
Pontevedra. The middle of the century saw the rise of Ricardo Portela, who inspired many of the revivalist
performers, and played in influential bands like Milladoiro.
During the regime of Francisco Franco, honest displays of
folk life were appropriated for politicised spectacles of
patriotism, causing a sharp decline in the popularity of the
traditional styles in favour of modern music. When
Franco's regime ended in 1975, Galician and Asturian
music experienced a strong revival and recordings
flourished. The establishment of the Festival
Internacional do Mundo Celta (1977), which helped
establish some Galician bands. Aspiring performers
began working with bands like Os Areeiras, Os Rosales,
Os Campaneiros and Os Irmns Garceiras, learning the
folk styles; others went to the renowned workshop of
Asturian folk dancers
Antn Corral at the Universidade Popular de Vigo. Some
of these musicians then formed their own bands, like Milladoiro.
In the 1980s and 1990s, some Galician and Asturian performers began to win fame within Spain and the
international Celtic folk scene. Galician musicians of this period included Uxa, a singer originally with the band Na
La, whose 1995 album Estou vivindo no ceo and a subsequent collaboration with Sudanese singer Rasha, gained her
an international following. The appearance of Fa na Roca, (that means "Spin in the spinning wheel") was
undoubtedly one of the key events of the Galician musical scene in the 90's. Fa na Roca was also the name of their
debut album released in 1993. Its mixture of tradition and modernity led BBC to choose the music of this album as
the soundtrack of the TV program that broadcast the Galician image to Europe in the 1993 Xacobeo Celebration
(Santiago de Compostela's Holy Year).
It was Carlos Nez, however, who has done the most to popularize Galician traditions. His 1996 A irmandade das
estrelas sold more than 100,000 copies and saw major media buzz, partially due to the collaboration with
well-known foreign musicians like La Vieja Trova Santiaguera, The Chieftains and Ry Cooder. His follow-up, Os
amores libres, included more fusions with flamenco, Celtic music (especially Breton) and Berber music.
Other modern Galician bagpipe players include Xos Manuel Budio and Susana Seivane. Seivane is especially
notable as the first major female player, paving the way for many more women in a previously male-dominated field.
Galicia's most popular singers are also mostly female, including Uxa, Sonia Lebedynski and Mercedes Pen.
A revival of traditional Asturian music also occurred during this period. Artists such as the popular bagpiper Hevia
and music groups such as Llan de cubel and Tejedor helped to bring attention to Asturian folk music both within
Asturias itself, and in the wider realm of the "Celtic" and world music scenes. Musicians from Asturias have become
increasingly prominent at events such as the Festival Interceltique de Lorient in France.
18
19
Traditional instruments
Traditional instruments in Galicia, Asturias and Cantabria include
the well-known gaita, a kind of bagpipe, as well as an array of
percussion and wind instruments.
Wind instruments
Folk wind instrument of the area include the pitu, a kind of
conical-bored shawm with seven holes in the front and one in the
back, which is played in a similar manner to the bagpipe chanter.
While it was traditionally made in E-flat, the instrument has been
revitalized by Antn Corral, who makes them in D. A transverse
flute with six holes is called a requinta; it is similar to the fife. It is
usually in G, or sometimes a high C. Other wind instruments
include chifre, ocarina and the imported clarinet and accordion.
Cantabria has a rich dance repertoire for soprano clarinet, also
known as pitu or requinto (not to be confused with the requinta
fife).
String instruments
Cantabrians with pitu and tamboril
Plucked stringed instruments are common throughout Spain and Portugal, but they were proscribed in Galician or
Asturian commercial folk music until recent years. Modern guitarists like Xess Pimentel often use strong flamenco
influences in their sound. The violin has a long tradition in the area, common since the early 20th century, when
blind fiddlers [citation needed]traveled to fairs to play traditional and self-composed songs, as well as pieces by
composers like Sarasate. The hurdy gurdy (zanfona) has been played in the area for many centuries, but had mostly
died out by the middle of the 20th century before being revived by Faustino Santalices, Xos Lois Rivas and the like.
Though the instrument is now more closely associated with French music, the first recordings of the hurdy gurdy
were by Galician Perfecto Feijoo in 1904. Harps had been used in the Middle Ages, but were not revived until the
1970s, when Emilio Cao used the instrument to accompany his compositions. Modern harpists have been encouraged
by the use of the Celtic harp in Scotland, Ireland and Brittany, and include Quico Comesaa and Rodrigo Roman.
Percussion
Percussion instruments include the tamboril, a snare drum that hangs from the player's belt and is played with two
sticks. It is small, natural-skinned and features snares made usually of gut. Along with the bombo, a bass drum
played with one stick, the tamboril is typically found as accompaniment to bagpipes. The pandeiro (Asturian:
panderu) is a double-faced, square frame drum, similar to the Portuguese and Castilian adufe. It usually contains
some beans that rattle inside. It is often played alongside the pandeireta, a large tambourine, in small groups or by a
single female singer. A pair of vieira shells (cunchas) are rubbed together, and accompany dancing. Tarraolas
(Asturian and Spanish: tejoletas) are strips of wood held between the fingers. Charrasco consists of a pole with a
frame on the top adorned with tambourine rattles; it is played by rubbing a string along the pole with a stick. Other
percussion instruments are canaveira and carraca.
Gaita
Outside of Galicia and Asturias, bagpipes are also traditionally played in other parts of Spain, including Aragon,
Catalonia, Len, Majorca, Zamora and in Portugal in Minho, Trs-os-Montes and Estremadura. The term gaita may
refer to a variety of different pipes, shawms, recorders, flutes and clarinets in different areas of Spain and Portugal.
Records show that the gaita was already common in the 13th century but suffered a decline in popularity in the 17th
and 18th centuries until the 19th century renaissance of the instrument. The early 20th century saw another decline.
Then, beginning in about the 1970s, a roots revival heralded another rebirth. The folk revival may have peaked in the
late 1990s, with the release of acclaimed albums by Galician Carlos Nez (A Irmandade Das Estrelas) and Asturian
Hevia (Tierra De Nadie). Both releases broke records, and Tierra De Nadie sold more than a million copies.
In the 18th century, an important teaching school was opened in Asturias, created by Jos Remis Vega. Musicians of
that era included the legendary Ramn Garca Tuero, while the 20th century produced performers like Vega's son,
Jos Remis Ovalle and Jos Antonio Garca Surez. The best-known modern Asturian player is Hevia, whose 1998
Tierra De Nadie was a landmark recording that smashes record sales and became the darling of the Spanish music
media. Other modern performers and bands include Tejedor and Xuacu Amieva.
Traditional use include both solo performances or with a snare-drum known as tamboril (a wooden natural-skinned
drum with gut snares), and the bombo, a bass drum.
Galician bagpipes come in three main varieties, though there are exceptions and unique instruments. These include
the tumbal (B-flat), grileira (D) and redonda (C). Asturian bagpipes are usually played along with a tambor (snare
drum). Asturian bagpipes usually have only one drone and follow a different fingering pattern.
Description
The player inflates the bag using his mouth through a tube fitted with a non-return valve. Air is driven into the
chanter (Galician: punteiro; Asturian: punteru) with the left arm controlling the pressure inside the bag. The chanter
has a double reed similar to a shawm or oboe, and a conical bore with seven finger-holes on the front. The bass
drone (ronco or roncn) is situated on the player's left shoulder and is pitched two octaves below the key note of the
chanter; it has a single reed. Some bagpipes have up to two more drones, including the ronquillo or ronquilla, which
sticks out from the bag and plays an octave above the ronco, or the smaller chilln. This two extra drones are placed
by the right arm of the player.
The finger-holes include three for the left hand and four for the right, as well as one at the back for the left thumb.
The chanter's tonic is played with the top six holes and the thumb hole covered by fingers. Starting at the bottom and
(in the Galician fingering pattern) progressively opening holes creates the diatonic scale. Using techniques like
cross-fingering and half-holding, the chromatic scale can be created. With extra pressure on the bag, the reed can be
played in a second octave, thus giving range of an octave and a half from tonic to top note. It is also possible to close
the tone hole with the little finger of the right hand, thus creating a semitone below the tonic.
Songs
Tunes using the gaita are usually songs, with the voice either accompanying the instrumentation or taking turns with
it.
The most common type is the muieira, found in both Asturias and Galicia, a sprightly 6/8 rhythm. Other 6/8
Galician tunes use different steps; they include the carballesa, ribeirana, redonda, chouteira and contrapaso.
The asturian alborada usually-instrumental tune, most often in 2/4, though sometimes 3/4, and is characterized by a
series of descending turning phrases. It is used to begin a day's celebrations, and is played at sunrise. Russian
composer Nikolai Rimsky-Korsakov included three asturian movements (two Alboradas and one Fandango
Asturiano) in his famous orchestral work Capriccio espagnol, Op. 34, written in 1887.
The foliada is a joyful 3/4 jota-type song, often played at romeras (community gatherings at a local shrine).
20
Songs
The oldest and best-known form of Galician music is the alal, a form of chanting that has been associated with
Galician nationalism. They share characteristics with Celtic nations as well as Castilian, German, Arab and other
Mediterranean-area peoples. Their origin is shrouded in mystery, with some scholars asserting Gregorian chants as a
major source, while others fancily point to Greek or Phoenician rowing songs called alelohuas.
Alals are arhythmic, and based on a single, short theme that repeats the melody, separated by instrumental bagpipes
or a cappella interludes. Melodies are based on a continuous drone and are almost always diatonic. Over time, alalas
have adapted to include choral polyphony which has added harmony and rhythms (most typically in 2/4 or 3/4 time)
to the tradition. A distinct feature of alalas is that the first cadence is also the last. They end in an enlarged coda that
fades into a sustained and undefined sound. In contrast to the typically slow alal there are also swift songs called
pandeirada.
Marching tunes (Galician: ruadas, Asturian: pasucis, Spanish: pasacalles) are also known, as well as the local
variation of jota.
Other Asturian dances include saltn, diana, respingu, pericote, fandango, pasodoble, marcha procesional,
rebudixu, corri-corri, baile de los pollos, giraldilla and xiringelu.
Dances
Baile is the term for social dances, though there are also weapon dances like danzas de palillos (stick dances),
danzas de espadas (sword dances) and danzas de arcillos (dances with decorated arches) a hallmark of Cantabrian
folk tradition. Other popular dance songs in the area include the jota, pasacorredoiras (pasacalles, Asturian:
pasucis), and the imported fandango, mazurka, polka, rumba and pasodoble.
References
Cronshaw, Andrew. "Celtic Iberia". 2001. In Mathieson, Kenny (Ed.), Celtic music, pp.140175. Backbeat
Books. ISBN 0-87930-623-8
Celtic Music Base [1], large biographical directory of Celtic musicians.
References
[1] http:/ / www. celticmusicbase. com
21

Xeremiers or colla de xeremiers is a traditional ensemble that consists of flabiol (a five-hole tabor pipe) and
xeremies (bagpipes). Majorca has produced popular singer-songwriters like Maria del Mar Bonet.British DJs like
Paul Oakenfold made the vacationing island of Ibiza a capital of house music, leading to the creation of Balearic
Beat. Francesc Guerau and Antoni Literes are among the best known classical composers of the islands.
References
Antoni Piz: Alan Lomax: Mirades Miradas Glances (Barcelona: Lunwerg / Fundacio Sa Nostra, 2006) ISBN
84-9785-271-0
Basque music
The strict classification of Basque music remains a controversial issue, complicated in part by the growing
diversification of such music, but by and large it is made in the Basque Country, it reflects traits related to that
society/tradition and it is devised by people from the Basque Country.
Traditional music
Basque traditional music is a product of the
region's historic development and its
geographical
location
between
the
Cantabrian mountain range, the Ebro river
and the Pyrenees. Because this area is open
to the wider world, for example through
international pilgrimage on the Way of St
James, many feel that it should not be
considered as having evolved in isolation.
Instruments
Folk instruments widespread in Europe
ceased to be used in some places at some
Txistu ensemble in the streets of Leioa
point of history and only remained in
specific areas, where they took hold and
adopted features and a character associated with the region, e.g. the three-hole pipe or tabor pipe in widespread use
in Europe ultimately resulted in two specific instruments in the Basque Country: the txistu and the xirula.
Accordingly, different instruments may have evolved out of one, such as Navarrese dulzaina and Souletin txanbela,
with slight differences between them.
22
Basque music
23
Most of the instruments that have been

taken up in rural and folk circles do not go
back more than six centuries, some having
been introduced as late as the 19th century,
such as trikiti or txistu, as we know it today
(at any rate, the latter results from a long
evolution). Most Basque instruments
originated outside the Basque Country and
became popular in the territory at some
stage (but the txalaparta is not one of these).
Some traditional Basque instruments are the
following:
Alboka players and a tambourine man playing a tune together
Alboka, a difficult double clarinet played in a circular breathing technique similar to that used for the Sardinian
launeddas.
Txalaparta, a wooden xylophone-like percussion instrument for two players.
Kirikoketa, a wooden percussion device akin to the txalaparta associated with the cider making process.
Toberak, a percussion instrument made of horizontal metal bars.
Txistu, a local pipe.
Drum, called danbolin, and usually accompanying the txistu.
Atabal, a double sided flat drum played together with aerophones.
Xirula, a three-hole flute, shorter and more high-pitched than txistu.
Ttun-ttun, a vertical stringed drum played usually together with the xirula.
Trikiti or eskusoinua, a lively diatonic button accordion.
Tambourine, usually played together with the trikiti.
Dulzaina, a Navarre based pipe belonging to the shawm family.
Blowing horn, an instrument made of ox horn.
Singing tradition
The Basque people are especially given to singing. Basque language has stuck to the oral tradition stronger than
Romance languages, and its literature was first recorded in writing in the 16th century. There are ballads dating from
the 15th century that have been passed from parents to children by word of mouth, e.g. Ozaze Jaurgainian from
Soule, which relates events six centuries ago and has come down to us in different versions (the best known was
popularized by Benito Lertxundi), or Alostorrea, from Biscay. These ballads were crafted and spread by minstrels or
bertsolaris, were kept in popular memory, and were transmitted in the so-called kopla zaharrak, sets of poems with a
characteristic rhythmic pattern that could be sung: this is similar to traditional practices elsewhere in Europe. So, for
example, the first work of literature in Basque Lingu Vasconum Primiti (1545) by Bernard Etxepare shows long
verses that, while deceptively fashioned in metres resembling those used in Romance poetry, follow an internal
rhythmic pattern similar to a kopla, so they can be popularly sung. Even today, it is not unusual to see groups of
people marching around a town at some local festival singing and asking the neighbours for a food, drink or money
donation, while the most famous celebrations following this pattern across the whole Basque Country may be those
taking place on Christmas Eve (Olentzero) and the Saint Agatha's Eve, with singers dressing up in traditional
costumes.
Basque music
It follows that traditional singing is closely related to bertsolaris,

improvising bards, who even nowadays hold an important status in
Basque culture. They voice the people's concerns by means of a formal
tradition coming from the people (tunes, linguistic devices), and act as
their spokespersons. A considerable corpus of traditional songs was
gathered by Resurreccin Mara de Azkue and Aita Donostia, two
religious scholars interested in Basque folk culture, at the turn of the
20th century; and also later on, in Cancionero popular vasco (1918)
and Euskal Eres-Sorta. Cancionero Vasco (1922), to mention but a few
Children holding hands for dance on the
works. In the present day, the band Hiru Truku (comprising the
traditional Saint Agatha's Eve (Altsasu)
celebrated musicians Joseba Tapia, Ruper Ordorika and Bixente
Martinez) has chosen several ancient songs from all over the Basque Country, updated the music brilliantly and
released them in a number of albums. Another current long-standing and renowned group who elaborate on
traditional songs is Oskorri: The band set about singing traditional songs in public performances previously handing
out to the audience a repertoire bill including the lyrics and encouraging them to sing along. The band has launched a
couple of albums of this kind so far and performed on various tours to public acclaim, becoming especially popular
with middle-aged parents.
A key figure bridging the old singing tradition of Soule and the folk song revival of the 20th century is Pierre
Bordazaharre (19071979), aka Etxahun Iruri. A xirula player and singer, he collected old songs and fashioned new
ones, which eventually caught on and spread, take for instance, Agur Xiberoa. He also contributed to new pastoral
plays in the tradition of Soule, reshaping the pastoral and adding new topics.
There is also a tradition of choral music all over the Basque Country. Church choirs were set up in some towns to
meet the religious musical needs. Yet at the turn of the 20th century some ensembles became established outside the
ecclesiastical context, e.g. the Sociedad Coral de Bilbao (founded in 1886), Orfen Donostiarra (founded in 1897) or
the Coral Santa Cecilia from Donostia (founded in 1928). Later on, other ensembles were formed, such as Oldarra
Abesbatza from Biarritz (founded in 1947), made up of men and sometimes putting on performances as an ochote
(see below),[1] or the reputed Coral Andra Mari from Errenteria, established in 1966, featuring Basque folk music
and Aita Donostia's several scores.[2] Nowadays many minor choral ensembles, largely offering the Basque folk
repertoire, dot the Basque territory. Interestingly, in Bayonne and Donostia a cheerful informal initiative has grown
popular with amateurs in the late noughties, who meet once a month and go bar hopping around the streets of the
respective Old Quarters while singing traditional songs.
Another Basque choral phenomenon is represented by the so-called ochotes, which became popular in the 1930s in
the Bilbao region: Eight men with deep voices, with a marked taste for local and folk subjects, singing in Spanish
and Basque. The may stem from summer ecclesiastic seminaries and they thrived on the warm atmosphere of the
bars after the work shift was over).[3] Eventually a branch of this genre evolved out into bilbainadas (up to the
1960s, nowadays much in decay).
24
Basque music
Composers
The Basque Country has been home to various notable composers, writing mainly in the 20th century. Much in step
with the artistic trends of the first half of the century (painting,...), some of them developed a liking for Basque
customs, manners and subjects.
Juan de Anchieta (14621523): Composer of the Renaissance hailing from the area of Azpeitia.
Santiago de Herdoiza (Durango, c. 1700)
Juan Crisostomo Arriaga (Bilbao, 1806 - Paris, 1826)
Jose Maria Usandizaga (Donostia/San Sebastian, 18871915): He is considered along with J. Guridi the father of
Basque opera. He drew up orchestral and chamber pieces, like the celebrated Cuarteto de cuerda en Sol, Op. 31,
shifting to elaborate zarzuela as well as opera works at the end of his life (Mendi-Mendiyan, 1910: Las
Golondrinas, 1914). He had his increasingly successful career cut short by an early death.
Jesus Guridi (Vitoria-Gasteiz, 1881 - Madrid, 1961): Himself a friend of Usandizaga, whom he met in Paris while
attending the Schola Cantorum, he was appointed manager of Bilbao's Sociedad Coral choir in 1912. Influenced
by Wagner and musicians of the Late Romanticism, he found inspiration and phrases for his compositions in
Basque folklore. His rich musical education enabled him to deal with different types of music, e.g. zarzuela,
opera, compositions for choir as well as religious pieces for organ. Some acclaimed works include El casero
(1926), Diez melodas vascas (1940), La meiga (1929), Seis canciones castellanas (1939) and Sinfona pirenaica
(1945).
Nemesio Otao (Azkoitia, 1880 - San Sebastian, 1956 ): Composer, organist and musicologist. One of the most
important figures in 20th century Spanish music history. Director of the Royal Conservatory of Madrid between
1939 and 1956. Among his most known works is 'Saint Ignatius March' ('Marcha de San Ignacio'), the saint
patron of Biscay and Guipuscoa. In 1894 studied in the Colegio Preceptora de Baliarrain, in which he composed
two of his first Letanas and a Zortziko for piano; he was then only fourteen years old, but already played the
organ in the school Parish. In 1896 he joined the Society of Jesus and began his ecclesiastical studies along with
the music classes. In 1911 he founded the Schola Cantorum at Comillas: His performances in plainsong and
polyphony were highly influential. His works range from popular sacred songs (e.g. Estrella hermosa, Anima
Christi, Baldako) to large-scale choral pieces.
Pablo Sorozabal (Donostia/San Sebastian, 1897 - Madrid, 1988)
Maurice Ravel (Ziburu, 1875 - Paris, 1937): Basque French composer and arranger
Carmelo Bernaola (Otxandio, 1929 - Madrid, 2002)
Francisco Escudero (Donostia/San Sebastian, 19122002), composer of Zigor and Gernika), operas with Basque
librettos
Sebastian Iradier (Lanciego, 1809 - Vitoria-Gasteiz, 1865)
25
Basque music
Basque musical revival

Postwar desolation and first sprouts
In the wake of the Civil War (1936-1937 in the Basque
territory), headway made in the Basque culture in the pre-war
period ground to a halt: Fear grew amidst harsh repression,
famine became an overriding concern, and former cultural
figures died or ran for their lives to exile. As an individual
singing figure of the 40s, 50s and 60s, Luis Mariano and his
powerful tenor voice should be highlighted. Born in Irun and
moving in his 20s to Bordeaux, he jumped onto the Spanish
and international scene with lighthearted songs in Spanish and
French (and, occasionally, in Basque).
After the hardest postwar years, the younger generation set
about putting together duos and small musical groups in
Gipuzkoa and Biscay, who gradually began singing original
tunes in Basque. Notable bands from the 60s include
Urretxindorrak, Enarak, Soroak and Estitxu (female singer
born to fleeing parents near Bayonne). These new bands
sought to take advantage of the regime's increasing
liberalization, despite the fact that major obstacles that still
hindered cultural activity associated with anything Basque.
Benito Lertxundi in 1971
Cultural and political awareness, social rebelliousness and an
urge for action cropped up in succeeding generations, resulting in a new left-leaning Basque nationalist movement.
Music and identity assertion

Some people from the southern Basque Country fled the territory to the Northern Basque Country and sought refuge.
They left their imprint in the traditional Basque society from the Northern Basque Country, contributing to giving
rise to cultural and political awareness. In this category falls Mixel Labeguerie, who worked and lived in Kanbo, its
mayor for more than a decade (19651980), Councillor General of the department and a founder of Basque
nationalist movement Embata (he walked out later). He had a musical education, soaked up the new European
musical trends, e.g. Brassens, folk music from England and France, and released an album in 1961 with songs that
struck a chord, such as Gu gira Euskadiko, Primaderako liliak, etc.[4] He was to have influence on the new artistic
Basque group "Ez dok amairu" put together in 1965, largely made up of folk singer-songwriters concerned with
Basque culture: Benito Lertxundi, Mikel Laboa (popular song "Txoriak txori"), Xabier Lete, Lourdes Iriondo, etc.
Lourdes Iriondo took to singing accompanied on a guitar for the first time in Basque music, a fact that came in for
much criticism on the grounds that the instrument was alien to the own culture. "Ez dok amairu" broke up in 1972
and its members took up separate paths that eventually have confirmed some of them as acclaimed and key folk
Basque singers up to the 2000s. Along the lines of singer-songwriter style, in a context of social and political unrest,
it is worth mentioning Guk, Larralde eta Etxamendi or the beloved duo Pantxoa eta Peio from the Northern Basque
Country, who provide the musical background for the 70s period of struggle, repression and turmoil. Especially in
the provinces of lava and Navarre, Enrike Zelaia (Altsasu) and Gorka Knrr struck a chord with a more folkloric
and nuanced approach.
26
Basque music
A shift to urban music in times of political transition

Meanwhile, new and more urban style musical ensembles and bands sprang up in the 70s, performing first to other's
songs of the time at summer local festivals. They gradually developed their own repertoire fashioned in line with the
Basque revival and activism (special focus on the lyrics) and ongoing Western musical trends, e.g. folk (Gwendal for
one), progressive rock (Pink Floyd,...). As regards choral bands, Mocedades from Bilbao should be highlighted,
founded in 1967 initially by Amaya Uranga and two sisters of her. They soon gained public notability by ranking
second at the 1973 Eurovision Song Contest. That very year in the same city the prolific Oskorri band (see above)
got together featuring folk music, launching first album in 1976, where they paid homage to poet Gabriel Aresti,
while in the Northern Basque Country Michel Ducau and Anje Duhalde teamed up and put together the first Basque
rock band, the celebrated and politically engag Errobi, releasing album Errobi (1975) to critic and public acclaim,
Bizi bizian ensued. The group disbanded (not definitely) in 1979.
Beginning in the mid-60s, Imanol
Larzabal led a solo career as a
singer/songwriter, featuring a deep voice
as well as a socially committed and poetic
subjects, with the collaboration of
domestic and foreign poets and singers.
He went through a short period in prison
and came back from exile in 1977. Friend
of his and son of emigrant Souletin
parents, Niko Etxart came back to the
Basque Country from Paris with
brand-new ideas about music in 1972, so
Rock band Zamara's live performance
turning into a forerunner of Basque rock
music (Euskal Rock&Roll released in 1979) alongside Errobi, while especially in the traditional Northern Basque
Country some lashed out at his looks, manners and music. He alternately performed onstage in "verbenas" (dancing
music in local festivals) with the band Minxoriak up to the late 80s.
In the area of Mutriku, Itoiz, a milestone in Basque folk-pop music, was formed in 1978, with Juan Carlos Perez as
its lead vocalist and frontman, releasing that very year the critically acclaimed album Itoiz, which contained such
poignant tracks as Hilzori, Lau teilatu etc. Akin ensemble Haizea delivered a couple of good LPs in this period.
The rise of Basque punk music

Up to that point, Basque music bands from the Southern Basque Country resorted to labels from Spain to record and
release their works. Yet at the end of the 70s and notably early in the 80s new regional labels arose (Xoxoa,
Soua...), providing a springboard for small bands that previously found it difficult to see their works published.
At the same time, a whole network of youth squats, the gaztetxes, sprang up all over the Basque Country, so
furnishing small bands with premises to rehearse and a venue to stage concerts, in a way that a younger disaffected
and unruly generation stemming from urban sprawls and towns could find an outlet to voice its protest along the
lines of a punk outlook ("do it yourself"). 1984 is the year for the outbreak of Basque punk rock, or Basque Radical
Rock (Rock Radical Vasco in Spanish).
27
Basque music
28
Some popular bands jumping into the rock scene of the time were
Zarama and Eskorbuto from Santurtzi, rocky Barricada and whimsical
Tijuana in Blue from Pamplona, La Polla Records from Agurain,
Kortatu and Baldin Bada from Irun, Hertzainak, Cicatriz and Potato
from Vitoria-Gasteiz, Jotakie, RIP, Naste Borraste, MCD, BAP, Zer
Bizio, Delirium Tremens, etc. Most of the times Spanish language was
used, sometimes Basque, while other times bands were bilingual.
This new musical trend clashed with the previous singer-songwriter

tradition (generation gap), so much so that both were linked to
different degrees to the leftist and Basque nationalist movement. Meanwhile, Itoiz kept its low-profile musical path
switching to pop in the accomplished album Musikaz blai (three more LP albums followed), featuring internationally
acclaimed songs like To Alice, As Noites da Radio Lisboa or the catchy Marea gora.
Kortatu onstage in their early years
Other bands of the late 80s stack to a different path, gentle and even nave, using Spanish-language lyrics and
combining Spanish and international pop trends, take for instance, Duncan Dhu (with leading figure Mikel
Erentxun), 21 Japonesas or Sanchis y Jocano, bands from the area of Donostia. Duncan Dhu especially attained big
levels of popularity on the Spanish and international pop scene, giving rise to a tradition in ensuing years that was to
be called "Donosti Sound" (Le Mans, La Oreja de Van Gogh,...).
Current popular music

End of punk and new trends
In 1990, Basque-language public radio station Euskadi Gaztea was
born, intending to target the youth in a young, dynamic and informal
manner, besides adding information, dealing with subjects Basque
young people may be interested in and encouraging Basque groups.
Basque music definitely opened its mind to trends all over the world.
The flagship Basque rock band Kortatu broke up in 1988 (live album
Azken guda dantza), and soon after brothers Muguruza put together
project Negu Gorriak. They showed a different outlook compared to
previous band Kortatu: The new band sang entirely in Basque, their approach was more hedonistic and showed a
taste for rap, an attitude displayed in a video clip (Radio Rahim) that conjures up American hip-hop manners. Punk
style fell much in decay, while reggae as well as hardcore took over, e.g. Anestesia, Etsaiak, Sociedad Alkoholika,
Su Ta Gar (heavy), etc. M-ak launched its best album Barkatu ama to critical acclaim, featuring styles ranging from
hardcore to gentle tracks.
A Negu Gorriak concert in Pamplona (1992)
Basque music
29
Folk and triki pop music

Early in the 90s, younger generations took up folk again, finding a
public that was eager to listen to milder tunes in Basque, e.g. Sorotan
Bele, Mikel Markez, etc. Trikiti schools finally bore fruit in the 90s:
The novelties brought about by the duo Tapia eta Leturia and Kepa
Junkera confirmed them as compelling folk references in the Basque
Country and even abroad. Novel trikiti duos tried new ways that caught
on, sometimes setting up bands including bass guitar and drums
besides the set pair of diatonic button accordion and tambourine (triki
pop), e.g. Maixa eta Ixiar, Alaitz eta Maider, Gozategi. They usually
offered a cheerful repertoire, with Gozategi's song Nirekin
("Emoixtaxux muxutxuek...") hitting the summer charts in 2000
beyond language boundaries.
Trikiti player Joseba Tapia
Specialization and diversification

Rock band Hertzainak disbanded in 1993, while its members followed
their own projects. Hertzainak frontman and controversial singer Gari
started up a solo and very personal career with some accomplished
songs that has established him as a compelling reference in Basque
music, while Josu Zabala collaborated with other singers and a
bertsolari group project, i.e. the original brass band Karidadeko Benta
(first album 2003). Power pop band Urtz, formed in 1988, dealt with
Skalariak in a 2006 concert
personal stories that slightly differed from the still prevailing protest
topics and harsh language of the late 80s, besides featuring an unprecedented chorus line that delivered some
charming, upbeat and catchy songs. The band broke up in the early 2000s, but staged a comeback in 2013.
In step with the hardcore punk tradition, the band Berri Txarrak from Lekunberri got together in 1994, releasing
various albums (latest album Haria -2011-) and touring on Europe, where they come in for good reviews and
gradually get a reputation that earned them performances and collaborations with important figures of indie rock all
over the world.
The band PiLT (Mungia), who showed a taste for metal and hard sounds (Clawfinger, Soundgarden), jumped into
spotlight in 1995 after winning the bootleg contest "Gaztea Sariak" granted by radio station Euskadi Gaztea, while
the definite hit came in 1996 with single Hil da jainkoa, earning them widespread recognition.[5] Likewise heavy
metal band Latzen came to public prominence after winning with the popular ballad Laztana the 1997 edition of the
"Gaztea Sariak".
The bands Skalariak (1994) and Betagarri (1992) took over the ska tradition, offering boogie inciting and swinging
live concerts. In step with other multicultural experiences, such as Fermin Muguruza from Negu Gorriak or festive
Joxe Ripiau to highlight but a few, in 2003 members of Etsaiak put together Pin pan pun band, a band with good
connections in Latin America, releasing in 2005 the DVD Kuba-Mexiko Rock Tour 04, which bore witness to their
experience and live powerful concerts. Etsaiak got together again in 2008 (launched album Apurtu arte).[6] In the
French Basque Country, the festive band Sustraia attained great popularity after 15 years on the road, while the
sudden death of charismatic frontman Patrick Mixelena in January 2009, a.k.a. Mixu, made the group's future
uncertain.
The band hailing from Zarautz Delorean does electronic&rock with enthralling and trance raising live performances.
Other rock bands on the rise in 2008: Surfing Kaos (Donostia), We Are Standard (Getxo), Kaotiko (Agurain), The
Basque music
30
Uskis (Elantxobe), Atom Rhumba (Bilbao), Ken 7 (Gernika), Capsula (Bilbao)...

Doctor Deseo was set up in Bilbao in 1986, releasing thereafter various albums during a period that spans more than
20 years. They deal with everyday and personal subjects in a rather poetic manner. Fito y los Fitipaldis (Bilbao) was
formed in 1998 by Platero y T's frontman Fito Cabrales, comprising a variety of styles ranging soul, blues, swing,
flamenco, tex-mex or Hawaiian guitars. The project kicked off with A puerta cerrada (40,000 albums sold so far)
and grew steadily in popularity, one of the latest hit song being Rojitas las orejas.[7]
In Donostia, youths from university gathered together in the mid-90s to
rehearse. Yet they were in need of a singer for the band, so they fixed
up a casting meeting with Amaia Montero that resulted in the creation
of La Oreja de Van Gogh, who after launching album Dile al sol took
off boosted by Amaia's mighty voice and catchy soft tunes trimmed
with beautiful arrangements. New hit songs and albums followed.
La Oreja de Van Gogh live
Singer-songwriters and gentle music

The singer-songwriter approach that waned in the late
80s shows presently a sound condition in the Basque
scene, with some very outstanding figures, like
poignant Anari, renowned for her intense,
heartbreaking voice and songs, who is now taking off
(live recording Anari Kafe Antzokian Zuzenean
released in 2008). Other singer-songwriters include
Petti, from Bera (Navarre), with four albums published
up to 2008, or the bertsolari Mikel Urdangarin,
featuring somewhat melancholic songs often
accompanied on string and brass instruments.
Following the folk and singer-songwriter tradition,
Jabier Muguruza (born 1960) took up a solo career in
1994 after quitting other projects (Les Mecaniciens,...).
The veteran musician composes and performs personal, mild songs with strong broody and literary lyrics.
Meanwhile, some renowned figures of Basque folk music have kept on performing and creating, e.g. Benito
Lertxundi, or Oskorri (fresh album Banda band in 2007, about to celebrate the ensemble's 35 anniversary). The
celebrated singer-songwriter Mikel Laboa, considered a godfather of modern Basque music, died in December 2008.
Anari at the youth squat of Ordizia
The ensemble Bidaia [8], i.e. the couple Mixel Ducau and Caroline Phillips, offers gentle and elaborate folk music,
while percussionist Benat Achiary (born 1947) provides an experimental approach, often featuring improvised
passages in his performances (several albums released in the 90s). Amaia Zubiria (born 1947 in Zubieta -Gipuzkoa-),
who has occasionally collaborated with him, holds a long and prolific career in the Basque song panorama: She came
to the spotlight with progressive-folk group Haizea, having published some solo albums since and featuring a very
pure mezzo-soprano voice. Her latest work is the album Nabil (2008).[9]
Basque music
31
Samples
A footage of Saint Agatha's Eve [10]
References
[1] Site in Basque and Spanish
[2] Site in Basque and Spanish
[3] Site in Spanish
[4] Site in Basque
[5] Site in Spanish
[6] Site in Basque
[7] Site in Spanish
[8] http:/ / www. bidaia. com
[9] Site in Spanish
[10] http:/ / uk. youtube. com/ watch?v=SypsdbSgbfk& feature=related
Further reading
Khteian-Keeton, Teddy (1994). Guide to Basque Music. Idaho Arts Archives & Research Center Filer P.
ISBN0-9675042-0-1.
Martija, Jos Antonio Aran (1985). Basque Music. Basque Government. ISBN84-7568-071-2.
External links
Basque Music and Art (Buber's Basque Page) (http://www.buber.net/Basque/Music/)
Free scores of Basque music in the Choral Public Domain Library (ChoralWiki)
Badok, information on Basque music run by the daily newspaper [[Berria (http://www.badok.info/)]]
Music of Basque regions

General topics
Alboka
Musicians
Trikitixa
Txistu
Regional music
French music
Spanish music
v
t
e (http:/ / en. wikipedia. org/ w/ index. php?title=Template:Basque_music& action=edit)

The music of the Canary Islands reflects its cultural heritage. The islands used to be inhabited by the Guanches
which are related to Berbers; they mixed with Spaniards, who live on the islands now. A variant of Jota is popular, as
is Latin music, which has left its mark in the form of the timple guitar. There has been a strong connection with
Cuban music, Venezuelan, Puerto Rican, and other Caribbean countries both through commerce and migration.
Popular dances from the Canary Islands include:
Isas
Tajaraste
Baile del Candil
Baile de Cintas
Danza de Enanos
El Santo Domingo
Tanganillo
Folias
Malaguea
Of these, the Isas, a local variation of Jota are the most well-known and characteristic of the Canary Islands. They
are graceful music, with a lot of variation among islands. In some places, a captain leads the dance and organizes
others in a chain as the dance grows more and more complex.
Rondalla arrangements are very common. Instruments include charangas, timples (similar to a cavaquinho / ukulele),
castanets, panderetas, lauds and guitars. A peculiar ensemble in El Hierro island is made of pito herreo players (a
wooden transverse flute) and drums. Some ritual dances in Tenerife island are led by a tabor pipe player. Joyful
music for carnival lies to a big extent on brass bands and Latin American patterns.
Canarian musicians
Brandania
Pedro Guerra
Rosana
32

Central Spain includes the cultural melting pot of Madrid and Castile. A down-tempo version of jota is common, as
well as other dances as fandango, habas verdes, 5/8 charrada. Bagpipes are still used in northern Len and Zamora
provinces. Tabor pipe (in Len) and dulzaina (shawm) enjoy rich repertoires. The city of Madrid is known for
keeping its own version of chotis music. Salamanca is home to tuna, a form of serenade played on guitar, bandurria
and tambourine, traditionally by students in medieval clothing.
Castilian dances include:
Agudo
Agudillo
Charrada
Fandango
Jota
Jotilla
Habas verdes
Rebolada
The Province of Len is dominated by palatial dances that are extremely complex:
Baile a lo Alto
Baile del Pandero
Danza de las Doncellas Cantadoras
Danza de la Muerte
El Corrido
La Giraldilla
Los Mandiles
Zapateta
33
Music of Catalonia
34
Music of Catalonia
The Catalan / Valencian
cultural domain
The pipe organ at Santa Maria del Mar, Barcelona
v
t
e [1]
The music of Catalonia comprises one of the oldest documented musical traditions in Europe[citation needed], and has
displayed a rich musical culture continuously for at least two thousand years[citation needed].
History
In the Middle Ages, Barcelona and the surrounding area were relatively prosperous, and both music and arts were
cultivated actively. Catalonia and adjacent areas were the home for some troubadours, the itinerant
composer-musicians whose influence and aesthetics was decisive on the formation of late medieval secular music,
and who travelled into Italy and Northern France after the destruction of Occitanian culture by the Albigensian
Crusade in the early 13th century. The so-called Llibre Vermell de Montserrat (red book of Montserrat) stands as an
important source for 14th century music.
Renaissance polyphony flourished in Catalunya, though local composers never attained the fame of either the
Spanish composers to the South and West or the French composers to the North. Joan Pau Pujol wrote four books of
polyphonic masses and motets for the patron saint of Barcelona, St. George.
Performances of opera, mostly imported from Italy, began in the 18th century, but some native operas were written
as well, including three by Isaac Albniz and seven by Enrique Granados. The Barcelona opera house, Gran Teatre
del Liceu, which opened in 1847, remains one of the most important in Spain; in addition, in the mid-19th century
the first Barcelona Philharmonic Society was founded for the performance of orchestral music. Several symphonic
orchestras exist in Catalunya today, including the Barcelona Orchestra.
Around the beginning of the 20th century, two Catalan composers--Enrique Granados and Isaac Albnizbecame
the most famous composers in Spain. Francisco Trrega and Miguel Llobet expanded the technical possibilities of
guitar. Their music remains in the standard classical repertory today. Cellist Pablo Casals (known in Catalonia by his
Catalan name, Pau Casals) is admired as an outstanding player. Federico Mompou (18931987) is known for his
delicate piano works, which often have a Catalan flavor. He spent most of his life in Paris, returning to his native
Barcelona only during and after World War II.
A tradition of Catalan lieder also developed, following Spanish art songs. These have been performed and promoted
by Catalan artists, including a Catalan folksongs album by Los Angeles (1991), and an album of more classical
songs by Jos Carreras (1991).
Music of Catalonia
35
Folk and popular music

Originally from the Northern areas, Sardanes are popular dances, were especially widespread at the end of the 19th
century. Currently, two main types, the original sardana curta (short sardana) style and more modern sardana llarga
(long sardana), are very popular. Sardanas are danced in a circle dance. Other more strange sardanes are sardana de
llument and sardana revessa.
The sardana's music (msica de cobla, in Catalan) is played by an 11-piece band called a cobla, that includes genuine
folk instruments such as the flabiol (tabor pipe) and tambori, tenora, tible which are also used in other regions of
Spain. Coblas also frequently play as concert bands without the dance.
Other popular music are the ball de bastons (stick dances), galops, espunyolets, ball de panderetes, ball de gitanes
and the music of gralla (music) (a kind of Catalan shawm)and drums used in cercaviles or by colles diableres,
etcetera (there are so many dances and instruments like sac de gemecs similar to the Bagpipes,...)
In areas around the river Ebre, the jota is a popular dance.
Sung in both Catalan and Spanish, Havaneres have been very popular at parties since the end of the 19th century
when sailors returned from the War of the Cuban Independence.
In the last half century, the rumba catalana genre has spread in Catalunya, played mostly by Gypsies, including
popular performers like Peret and Gato Prez.
During the end of the Franco period, a movement known as Nova Can emerged. Nova Can singers sang in
Catalan, denouncing the official oppression of the language. The pioneering group of singer-songwriters Els Setze
Jutges was founded in 1961 in Barcelona and came to include several singers from Catalonia, including Joan Manuel
Serrat and Llus Llach, as well as members from the Balearic Islands and Valencian Community. Grup de Folk and
Esquirols were other notable can groups.
In the last 20 years, rock and roll has become popular, and a Catalan scene called rock catal has appeared. Some
very popular groups are Lax'n'Busto, Sau, Els Pets or Sopa de Cabra.
In the wake of Mano Negra and Manu Chao's success, Catalonia has also produced a number of popular fusion and
world music bands, such as Dusminguet or Cheb Balowski. Ojos de Brujo, a band from Barcelona merging
traditional flamenco with hip-hop, has also become popular.
Singing in Catalan has received a boost in the 21st due to the success of lots of Catalan indie bands that are springing
up in many genres, such as pop (Antnia Font, Manel, Els Amics de les Arts, Mishima, Sanjosex), hip-hop (At
Versaris, Guillamino), and so on.
References and further reading

"Spain", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan
Publishers Ltd., 1980. ISBN 1-56159-174-2
External links
Scores for gralla [2]
MIDI files of folk songs collected by Palmira Jaquetti, Joan Toms and Joan Amades [2]
A request for comment about this template (Template:Europe topic) is currently held.
Music of Catalonia
References
[1] http:/ / en. wikipedia. org/ w/ index. php?title=Template:Catalan/ Valencian_cultural_domain& action=edit
[2] http:/ / gralla. skamot. com/
Music of Extremadura
Extremadura is a region in Spain near Portugal. Its folk music can be characterized by a melancholy sound, and
Portuguese influences, as well as the predominance of the zambomba drum (similar to Brazilian cuica), which is
played by pulling on a rope which is inside the drum. There is also a rich repertoire of gaita (local name for a tabor
pipe) music. Popular songs include: de ronda; de bodas; de quintos; de Nochebuena. Jota is also common, here
played with triangles, castanets, guitars, tambourines, accordions and zambombas.
There are few ethnomusicological recordings of Extremaduran music, with the most influential and well-known
being by American researcher Alan Lomax. Lomax went to Spain in 1952-3 to avoid persecution as a Communist
and found some hostility from Spanish researchers, then in a period of great political upheaval. Lomax and his
assistant, Jeanette Bell, did much of their recording in secret. A research centre for Spanish folk music existed in
Extremadura before the Civil War, but details of its collection appear to have been lost.
Extremadura has long been one of the poorest regions in the country. As a result, many of its people left to Latin
America during the colonial era (1492-1820s), leaving a mark on Latin music.
Traditional Extremaduran dances include:
El baile de la pata
El perantn
El pindongo
El son brincao
El son llano
La Zajarrona
Discography
"The Spanish Recordings: Extremadura" (Various artists) (collected by Alam Lomax) (Rounder, 2002)
References
External references
Music of Extremadura (http://www.paseovirtual.net/musica/)
36
Music of Murcia
Music of Murcia
Murcia is a region in the South East of Spain with many external influences varying from the ancient Moors that
occupied the area for centuries to the adjacent Communities (Andalusia, Castilla La Mancha, etc.). Its music is
determined by the heavy use of string instruments as the bandurria or the Spanish guitar and percussion instruments
like the castanets ("castauelas" or "postizas") and the tambourine.
Murcian music is most notably represented by the religious Auroras songs, which are derived from La Mancha and
Andalusian folk music. They include a cappella chants, sometimes accompanied by church bells. They are often
performed in small paths in orchards at night.
Cuadrillas are festive songs traditionally sung by reduced collectives with jobs like harvesters ("segaores" [sic]) or
builders ("albailes"), but now they are performed at celebrations and holidays, especially on Christmas by reduced
bands with occasional dancing.[1] The Fandango Murciano is a well-known variation of the Andalusian fandango
characterized by long extensions of the voice. Jos Verd's Cantos populares de Murcia is a well-known collection
of Murcian songs.
References
[1] http:/ / www. lomejordemurcia. com/ lmdm_musica. htm
External links
Webpage of a Murcian Traditional Folk Music Festival (http://www.fiestadelascuadrillas.com/) (In Spanish)
Music of Navarre and La Rioja

Navarre and La Rioja are relatively small regions bordered by Aragon and the Basque Autonomous Community. For
this reason, they share much of the music found in those two regions. The jota is common in these two regions.
37
Music of Valencia
Music of Valencia
The Music of Valencia in eastern Spain is rich and diverse, due to different external influences. It can be broadly
divided into two categories: traditional and contemporary music.
Traditional Music
All the surrounding country is known for its own variety of Jota and a rich dolaina (shawm) tradition. Brass bands
are found in almost every village in the region. The Muixeranga, a street festival, is an important tradition that
originated in Valencia.
Religious and work songs are common in Valencia, many are performed with accompaniment. El Misteri d'Elx is an
old, religious musical play that dates back to medival times. Havaneres are popular all along the Valencian coast.
Valencian dances include:
Brlea
Fandango of Albaida
El Ball del Danzants
El Ball dels Oficis
Los Alcides
Els Bastonets
Els Porrots
Paloteo of Requena
Valencian Jota
Contemporary Music
In the nineteen eighties Bakalao was the dominant dance music form that appeared in the club scene of the city and
the surrounding community. While pop and rock are forms enjoyed and played by local musicians there is a strong
tendency towards electronica in the region. In the nineties Techno music continued to be a string favourite in the area
with the heavier schrantz influence from northern Europe emerging in the early two thousands. Today minimal
techno is popular and more recently the Trip-Tek style as attributed to outfits such as Electrika-MixTek.
Valencian/Catalan Rock and Ska music is also common all throughout the autonomous community of Valencia.
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Music of Spain Source: http://en.wikipedia.org/w/index.php?oldid=599772727 Contributors: 16@r, 21655, 4meter4, Adam Bishop, Adambro, Aisteco, Ajd, Alansohn, Alexf, AlexiusHoratius,
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Music of Andalusia Source: http://en.wikipedia.org/w/index.php?oldid=589837560 Contributors: AdamSolomon, Ajd, Aziz1005, Bkwillwm, Bolivian Unicyclist, CultureDrone, Diyetre,
FordPrefect42, Gortu, Hameryko, J04n, Jagged 85, James McNally, Joseph Solis in Australia, Magicmonster, Meelar, Niceguyedc, Nrgsave, Nrswanson, Paddles, Phuzion, Provocateur, Raymond
Cruise, Rcsprinter123, Shimeru, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Zigger, Zouavman Le Zouave, 16 anonymous edits
Music of Aragon Source: http://en.wikipedia.org/w/index.php?oldid=595146955 Contributors: Ahoerstemeier, Angr, Antandrus, Bjmspangler, Charles Matthews, Closeapple, Deville, Ecelan,
Eep, Estrolicador, Jotamar, MatthewVanitas, Mick Knapton, Mtd2006, Nrswanson, Raymond Cruise, Rosiestep, Slysplace, TUF-KAT, Template namespace initialisation script, Texture,
Voceditenore, Walden, Waninoco, Woohookitty, 11 anonymous edits
Music of Galicia, Cantabria and Asturias Source: http://en.wikipedia.org/w/index.php?oldid=582905749 Contributors: Arjayay, Auslli, Bgperes, Black Falcon, Bogdangiusca, Bolivian
Unicyclist, CALR, Caghulo, Chris the speller, ClaretAsh, Dagestan, Dakart, Dancingbrook, Denisarona, Dimitrii, Drpickem, Ferdinand Pienaar, Flauto Dolce, Geofferybard, Gnomeselby,
Hajenso, Hmains, IANVS, JaGa, Jailender, Jamespeterka, John of Reading, Jorge Stolfi, Kaal, Khazar2, Kman543210, Krakkos, Lazloholifeld, Mandarax, Mgclap, Mick Knapton, Missmarple,
Nick Number, Nrswanson, OffsBlink, Ogg, PTSE, Paddles, Politono, Provocateur, R'n'B, Ravenloft, Raymond Cruise, Responsible?, Rjwilmsi, Rocastelo, Scottbell, Search4Lancer, Stoni,
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Music of the Balearic Islands Source: http://en.wikipedia.org/w/index.php?oldid=370444114 Contributors: Bonafides1, GraemeL, Jahsonic, Musiceditor, Nrswanson, Peripitus, PigFlu Oink,
Raymond Cruise, Rosiestep, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, 5 anonymous edits
Basque music Source: http://en.wikipedia.org/w/index.php?oldid=592489856 Contributors: Akerbeltz, Akldawgs, Alaiasmom, Alfanje, Badagnani, BorkaLerdo, Briaboru, Canis Lupus, Capmo,
Chubbles, Closedmouth, CommonsDelinker, D6, DanMS, Deipnosophista, Dthomsen8, Eignatus, Error, Gadfium, Gongshow, Heironymous Rowe, Hmains, Hontza, Inhumer, Iaki LL, J4vier,
Jeff3000, Joannaguy, Joebengo, John of Reading, Kman543210, Kotra, Life of Riley, La357, Narssarssuaq, Nrswanson, Pekinensis, Peter Karlsen, Psiphim6, Raymond Cruise,
RenamedUser01302013, Rjwilmsi, Rsanchezsaez, Shukare, Sister Ray Pr, Sjheiss, TUF-KAT, Template namespace initialisation script, Wahoofive, Waninoco, Wmahan, Xobxela, 43 anonymous
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Music of the Canary Islands Source: http://en.wikipedia.org/w/index.php?oldid=564039221 Contributors: ClaretAsh, Ginsuloft, Gurch, Isinbill, Khalid hassani, MartinRe, Mild Bill Hiccup,
Neelix, Nrswanson, Raymond Cruise, Rjwilmsi, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Zarcadia, 9 anonymous edits
Music of Castile and Len Source: http://en.wikipedia.org/w/index.php?oldid=573364720 Contributors: Colonies Chris, Dagestan, DanMS, Diabolic.Insidious, Flauto Dolce, Gaius Cornelius,
JaGa, Javierllorente, Jorge Stolfi, Mick Knapton, Nikai, Nrswanson, Raymond Cruise, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Woohookitty, 4 anonymous
edits
Music of Catalonia Source: http://en.wikipedia.org/w/index.php?oldid=596819323 Contributors: Andreditor, Antandrus, Asterion, BanyanTree, C.Fred, Dakart, Davyzena, Deville,
Estrellador*, Funandtrvl, Gaius Cornelius, GoingBatty, HarryHenryGebel, Hmains, In ictu oculi, Independncia, Jarashi, Jey86, Joan sense nick, Kallionae, Khazar2, Llull, MatthewVanitas,
Maximus Rex, MegX, Moeron, Mountolive, Neelix, Nrswanson, Ntsimp, Open2universe, P0mbal, Pmacfar, Raymond Cruise, Rsholmes, SMP, Sam Hocevar, Simpleflower, TUF-KAT, Template
namespace initialisation script, Voceditenore, Waninoco, Xnuala, 51 anonymous edits
Music of Extremadura Source: http://en.wikipedia.org/w/index.php?oldid=491640063 Contributors: Gotin171, JeepdaySock, Jezhotwells, Joel7687, JohnCD, Nikai, Nrswanson, Ogg,
Raymond Cruise, Sin-man, TUF-KAT, TXLonghorn, Template namespace initialisation script, Voceditenore, Waninoco, 10 anonymous edits
Music of Murcia Source: http://en.wikipedia.org/w/index.php?oldid=569372295 Contributors: AvicAWB, Endomion, Magioladitis, Mar bells87, Meelar, Nrswanson, Raymond Cruise,
Rjwilmsi, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Woohookitty, 2 anonymous edits
Music of Navarre and La Rioja Source: http://en.wikipedia.org/w/index.php?oldid=520573553 Contributors: Bruce1ee, Isilanes, Iaki LL, Jeff3000, Joebengo, Nrswanson, Raymond Cruise,
TUF-KAT, Voceditenore, 4 anonymous edits
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Guide to the Diverse Regional Music Traditions of Spain

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Guide to the Diverse Regional Music Traditions of Spain

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Contents

Music of Galicia, Cantabria and Asturias

Music of the Balearic Islands

Music of the Canary Islands

Music of Castile and Len

Music of Navarre and La Rioja

Image Sources, Licenses and Contributors

The modern classical guitar and its baroque

Origins of the Music of Spain

Renaissance and Baroque Periods

18th to 20th centuries

Problems playing this file? See media help.

Fernando Sor, Dionisio Aguado, Francisco Trrega and Miguel Llobet

Flamenco dancing in Seville.

Sevillanas is related to flamenco and most flamenco performers have at

Aragonese jota dancing

Asturias, Cantabria and Galicia

The most popular kind of Basque music is named after the

Ezpatadantza of the Basque Country.

Castile, Madrid and Len

Children in Castilian folk costume in Soria, Castile.

Navarre and La Rioja

Luis Eduardo Aute

Flamenco, New Flamenco or copla singers, guitarists and bands

Pop music or ballad singers and bands

Pop rock or Rock singers and bands

Hard Rock or Heavy Metal bands

King Of The Dance

Hip hop bands

Influence of Andalusian music

M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad).

Music of Galicia, Cantabria and Asturias

Music of Galicia, Cantabria and Asturias

Music of Galicia, Cantabria and Asturias

Music of Galicia, Cantabria and Asturias

Cantabrians with pitu and tamboril

Music of Galicia, Cantabria and Asturias

Music of Galicia, Cantabria and Asturias

Music of the Balearic Islands

Music of the Balearic Islands

Most of the instruments that have been

Alboka players and a tambourine man playing a tune together

It follows that traditional singing is closely related to bertsolaris,

Basque musical revival

Music and identity assertion

A shift to urban music in times of political transition

The rise of Basque punk music

This new musical trend clashed with the previous singer-songwriter

Current popular music

Folk and triki pop music

Trikiti player Joseba Tapia

Specialization and diversification

Uskis (Elantxobe), Atom Rhumba (Bilbao), Ken 7 (Gernika), Capsula (Bilbao)...

La Oreja de Van Gogh live

Singer-songwriters and gentle music

Music of Basque regions

Music of the Canary Islands

Music of the Canary Islands

Music of Castile and Len

Music of Castile and Len

The pipe organ at Santa Maria del Mar, Barcelona

Folk and popular music