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THE MOOD OF CANTE JONDO The essential mood of the 'cante', like many American Blues songs, is one of despair and tortured emotions.
This "pena negra", or black sorrow, can be expressed profoundly merely by the mournful repetition of the word "Ay!
The examples on the cassette will through music explain the history, vocal and guitar styles, and various forms of Flamenco, Current Flamenco music, incidentally, contains some 80 different forms, many of which are not danced nor accompanied by guitar.
These latter fall often into the category of "Cante Jondo," or deep song, and it will be the main point of this paper to describe Cante Jondo; all modern Flamenco springs from it, and as the early examples on the cassette attest, bears a strong resemblance to Arabic music.
As a result, most Flamenco dancing is done to this style of music, in particular "Buleras" and "Sevillanas".
One cannot gainsay the art of many of the performers of Cante Chico, in particular Nia de los Peines, who sings a wonderful Bulera on example number eight, She begins the song with a fairly straightforward rendition of the Latin standard "Cielito Lindo", but by second chorus has turned in into a raucous, fiery Flamenco song, saying 'if you think I don't love you, take this knife and plunge it into my heart! Nia de los Peines brings up another vital concept in the art of Flamenco, the quality of voice inherent in most great Cantaores: la voz Affill.
This plucking technique is very similar to the function of the thumb in Flamenco guitar playing.
The singer who portrays "pena negra" must above all have "duende", a word which cannot be adequately translated into English but is essential in conveying the great and terrible art of the Cante, Through "duende", sorrow and tortured emotion accompany the singer coming from, as Lorca says: "distant races, crossing the cemetery of the years".
Again, the "Cana" in example two is perhaps the oldest style of Flamenco we know of: the singer is encouraged by shouts of '01e! I have included a recording of Montoya from the 1930s, accompanying the mournful voice of Antonio Chacn (example no.
l0), and it is not difficult to see the startling difference between this more technically-oriented style and that of the two Spanish pieces listed above.
The Gypsies, who had themselves been expelled from India by Tamerlane in 1400 had gradually moved into this region as well.
Scholars have not come up with a definitive origin of the term "Flamenco." Opinions have ranged from believing the word derives from "of Flanders," to referring to the word "flame." In terms of the "Petenera" (Example 5), which includes verses such as "Dnde vas, bella juda?
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Although true "duende" all too rarely occurs in the recording studio, examples ',4,5,6,7, and 8 on the cassette each contain it, with perhaps Ta Anica la Piriaca (no. NON-JONDO FLAMENCO With the passage of time, other forms of Spanish music interacted with the Cante to form two sub-groups, the "Cante Intermedio" and "Cante Chico", Cante Intermedio most often describes working conditions, and death, but with less of a tragic feel than Cante Jondo, In the Petenera, she is described as "the perdition of men", but we somehow sense that our singer will survive to love again, as opposed to Cante Jondo, in which he would certainly be hearing the death knell.