Originally presented in 2019 as a PhD dissertation, which earned the Extraordinary Doctorate Award from the Autonomous University of Barcelona UAB), this volume offers a comprehensive study of flamenco hand clapping as both a musical language and a cultural expression. Focusing on the analysis of its percussive technique and repertoire, the book first examines the anthropological and cultural dimensions of hand clapping, including its role in spontaneous flamenco celebrations such as corros (rings or circles). It also delves into the use of palmas in other musical traditions, namely from the Persian Gulf (Kuwait), the Atlas Mountains (Morocco), and the Sea Islands of Georgia (USA).

From a musicological perspective, the study addresses the basic or monorhythmic palmas separately from polyrhythmic or choral palmas, the latter being where flamenco hand clapping has achieved the highest levels of efficiency and expressiveness. In the monorhythmic context, the book explores traditional and modern bases de palmas or main clapping patterns, the various ways of coordinating footwork while hand clapping, and the counts or numerical sequences traditionally used to verbalize flamenco compases or metric cycles. In the polyrhythmic aspect, it analyzes and classifies the most common models for organizing clapping choirs or ensembles—considering the hierarchy and the more open or closed relationship between clapping voices—as well as technical resources such as the doble contra and the redoble.

The book also examines organological aspects of hand clapping, including the timbre or tonal color of claps in their two main forms—muffled and open—and the textural contrasts between the more spontaneous and open character of traditional palmas and the more systematic or monotonous nature of modern palmas. It also delves into musical nuance, highlighting the critical role of the palmero’s or hand clapper’s sensitivity in providing all kinds of nuances. Lastly, this volume assesses the impact of technology on flamenco palmas, particularly the digitization of recording systems and the use of the digital metronome or click track. The analysis is enriched with numerous testimonials from professionals, offering the perspective of practitioners in a field traditionally shrouded in anonymity. It also includes a wealth of examples drawn from both historical and modern phonography, alongside the results of two studio recording sessions with professional palmeros.

Cover photo: Ana Palma