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by: Bailey Newton


Bailey Newton
Texas A&M
GPA 3.0
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About this Document

This covers info over Paco de Lucia and his life along with general Flamenco notes (and information that is supposed to be on the quiz)
Music In World Cultures
Dr. Bustos
Class Notes
Music, Anthro, Culture




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This 2 page Class Notes was uploaded by Bailey Newton on Tuesday September 20, 2016. The Class Notes belongs to MUSC/ANTH 324 at Texas A&M University taught by Dr. Bustos in Fall 2016. Since its upload, it has received 4 views. For similar materials see Music In World Cultures in Performing Arts Department at Texas A&M University.

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Date Created: 09/20/16
Music in World Cultures 9/20/16 Flamenco & Paco de Lucia 1 compositional stage Paco’s learning stage. Solo albums (guitar only), with no accompaniment, or any of the creativity that defined his later work. His cleanliness and clarity along with his incredible speed is what set him apart from other flamenco guitarists. He incorporated other styles into his playing; he would play things that other people have played.  In late 1960s- Early 1970s, Paco met Sabicas Buleria, the “King of Flamenco outside of Spain.” Sabicas worked with Joe Beck to create Rock Encounter encuentro con el Rock. Contained South American dance w/Flamenco along with combining rock elements.  “No Flamenco guitarist should ever play anyone else’s music” This inspired Paco to create his own music instead of playing others (Ex: EL Tempul) o Homophonic w/theme and variation (small polyphonic part halfway through the piece where it slows down; around 1:44 in the video on youtube)  Music development- developing a composition to its fullest; expanding the musical motives to create a fully formed musical idea (it isn’t just arbitrary or random, but it creates a formal structure and purpose to the piece) 2 nd Compositional Stage 1980s-1990s John Mclaughlin and others help introduce Paco to jazz and other forms of music which greatly influenced his playing style as he incorporates other styles [see: Gitanos Andulces (Buleria) – One Summer Night]. This period of Paco’s music changed the way Flamenco music was played forever; it is now always influenced by other styles or genres. 3 rdStage 1998-death Melodic Period Camaron and Paco’s mother die in 1998, and it pains Paco greatly. Paco creates a somber piece that mourns his mother. His style changes from showcasing his abilities to bringing Flamenco back to its roots (Bolidias?). He tries to bring it back with his singing, because Paco had been a guitarist that had overshadowed the singing for most of his career as a Flamenco artist. He wasn’t known for his singing, since his guitar playing made his career, but in his final album, he sang in every piece to focus on authenticity (Especially in Lucia) instead of quality of the voice  He changes the feel of his music. People listen to his music for something other than the upbeat sound or the fun feeling. His final album generates more genuine feeling. Even as accompaniment, he always plays a melody.


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