Flamenco guitar constitutes an instrumental idiom of remarkable richness and contemporary vitality. As a musical tradition, its status is unique in that while its origins lie in vernacular music and its practitioners articulate little in the way of a standardized theory, it embodies a degree of technical virtuosity and sophistication comparable to that of a classical art form. Flamenco can be seen as comprising song (cante), dance (baile), and guitar playing (toque). The status of guitar music within this framework is ambiguous and contradictory. Flamenco, in its origins, basic structure, and traditional aesthetic orientation, is primarily vocal music, to which guitar accompaniment is a secondary (and occasionally even dispensable) addition. Nevertheless, the guitar has come to play an increasingly prominent role in accompaniment, and flamenco solo guitar has emerged as an independent idiom that has achieved greater international renown than vocal flamenco. This essay provides a brief historical and stylistic overview of flamenco guitar, outlining its distinctive features and its unique status within flamenco and world music as a whole.

Keywords: flamenco, guitar