Flamenco invites us to ask questions, to reflect. Perhaps because of its intrinsic call to participation—its power to incite, to exhort, and the longing it awakens—we often find ourselves wondering about the performing guidelines and creative processes that underpin this music. In other words, we seek to understand everything that ultimately enables such spontaneous participation.

Although flamenco is considered a form of oral tradition, its teaching has traditionally been tacit, that is, it has been transmitted visually and, above all, aurally, seldom making explicit reference to the countless codes and conventions it contains. As a result, flamenco frequently feels dauntingly cryptic, particularly for newcomers who approach it from the perspective of Western culture, shaped by written transmission.

Through careful listening and the combination of multiple focus of attention, this audiovisual lecture explores flamenco’s grammar and syntax, in order to identify its most idiosyncratic elements. In our belief, “thinking about flamenco” in this way may also enrich the contemporary development of flamenco creativity.

00'00" Introduction: the oral tradition in flamenco

06'25" Lecture goals and structure

08'13" Listening activation: the lyrics (alegrías versus cantiñas)

16'24" Listening activation: the compás (Fandango Abandolao and Fandango de Huelva)

22'25" Palmas al golpe (example from the film María de la O)

26'34" Active listening through the analysis of an audiovisual example

29'52" The common lyrics unfolding of the Alegría, the Fandango, and the Jota

32'50" Rhythmic-harmonic analysis: the link between the Jota and the Fandango and Alegría

47'00" Rhythmic-harmonic analysis: the link between the Jota and the Bulería

51'00" Conclusions: common traits of flamenco and the Jota

1h 00'45" Question Time