Music of Spain

Contents Articles Music of Spain

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Music of Andalusia

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Music of Aragon

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Music of Galicia, Cantabria and Asturias

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Music of the Balearic Islands

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Basque music

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Music of the Canary Islands

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Music of Castile and Le€n

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Music of Catalonia

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Music of Extremadura

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Music of Murcia

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Music of Navarre and La Rioja

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Music of Valencia

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References Article Sources and Contributors

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Image Sources, Licenses and Contributors

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Article Licenses License

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Music of Spain

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Music of Spain The music of Spain has a long history and has played an important part in the development of western music, and a particularly strong influence upon Latin American music. Outside of Spain, the country is often associated with traditional styles such as flamenco and classical guitar, but Spanish music is in fact very diverse, reflecting the large cultural differences between regions. The flamenco style, for example, originated in Andalusia in the south of the country, whereas the music traditions in the north-western regions such as Galicia are centered around bagpipes as a result of the Celtic history of the region. Spain played a notable role in the history of western classical music, particularly in the early phase from the 15th to the 17th centuries, from composers like Tom€s Luis de Victoria, the zarzuela of Spanish opera, the ballet of Manuel de Falla, to the classical guitar music of Pepe Romero. Nowadays, like elsewhere, commercial popular music dominates.

The modern classical guitar and its baroque predecessor originated in Spain

Origins of the Music of Spain The Iberian peninsula has long been a melting pot of  different cultural influences, particularly during the first centuries of the Christian era: the Roman culture, which was dominant for several hundred years, brought with it the music and ideas of Ancient Greece; early Christians, who had their own version of the Roman Rite; the Visigoths, Germanic people who overran the Iberian peninsula in the 5th century; Jews of the diaspora; and finally the long-standing influence of the Moors during the 8th - 15th centuries. Hence, there have been more than two thousand years of internal and external influences and developments defining the culture of Spain as it is known today, producing a large number of unique musical traditions.

Early history Isidore of Seville wrote about the local music in the 6th century. His influences were predominantly Greek, and yet he was an original thinker, and recorded some of the first details about the early music of the Christian church. He Cantigas de Santa mar€a, medieval Spain

Music of Spain

1

Music of Spain The music of Spain has a long history and has played an important part in the development of western music, and a particularly strong influence upon Latin American music. Outside of Spain, the country is often associated with traditional styles such as flamenco and classical guitar, but Spanish music is in fact very diverse, reflecting the large cultural differences between regions. The flamenco style, for example, originated in Andalusia in the south of the country, whereas the music traditions in the north-western regions such as Galicia are centered around bagpipes as a result of the Celtic history of the region. Spain played a notable role in the history of western classical music, particularly in the early phase from the 15th to the 17th centuries, from composers like Tom€s Luis de Victoria, the zarzuela of Spanish opera, the ballet of Manuel de Falla, to the classical guitar music of Pepe Romero. Nowadays, like elsewhere, commercial popular music dominates.

The modern classical guitar and its baroque predecessor originated in Spain

Origins of the Music of Spain The Iberian peninsula has long been a melting pot of  different cultural influences, particularly during the first centuries of the Christian era: the Roman culture, which was dominant for several hundred years, brought with it the music and ideas of Ancient Greece; early Christians, who had their own version of the Roman Rite; the Visigoths, Germanic people who overran the Iberian peninsula in the 5th century; Jews of the diaspora; and finally the long-standing influence of the Moors during the 8th - 15th centuries. Hence, there have been more than two thousand years of internal and external influences and developments defining the culture of Spain as it is known today, producing a large number of unique musical traditions.

Early history Isidore of Seville wrote about the local music in the 6th century. His influences were predominantly Greek, and yet he was an original thinker, and recorded some of the first details about the early music of the Christian church. He Cantigas de Santa mar€a, medieval Spain

Music of Spain perhaps is most famous in musical history for declaring that it was not possible to notate sounds, an assertion which revealed his ignorance of the notational system of ancient Greece, suggesting that this knowledge had been lost (or not transported to Spain) by that time. [citation needed ] The Moors of Al-Andalus were usually relatively tolerant of  Christianity and Judaism, especially during the first three centuries of  their long presence in the Iberian peninsula, during which Christian and Jewish music continued to flourish. Music notation was developed in Spain as early as the 8th century (the so-called Visigothic neumes) to notate the chant and other sacred music of the Christian church, but this obscure notation has not yet been deciphered by scholars, and exists only in small fragments. [citation needed ] The music of the early medieval Christian church in Spain is known, misleadingly, as the "Mozarabic Chant", which developed in isolation prior to the Islamic invasion and Codex Las Huelgas, a medieval Spanish music was not subject to the Papacy's enforcement of the Gregorian chant as manuscript, circa 1300 AD. the standard around the time of Charlemagne, by which time the Muslim armies had conquered most of the Iberian peninsula. As the Christian reconquista progressed, these chants were almost entirely replaced by the Gregorian standard, once Rome had regained control of the Iberian churches. The style of Spanish popular songs of the time is presumed to have been heavily influenced by Moorish music, especially in the south, but as much of the country still spoke various Latin dialects while under Moorish rule (known today as the Mozarabic) earlier musical folk styles from the pre-Islamic period continued in the countryside where most of the population lived, in the same way as the Mozarabic Chant continued to flourish in the churches. In the royal Christian courts of the reconquistors, music like the Cantigas de Santa Maria, also reflected Moorish influences. Other important medieval sources include the Codex Calixtinus collection from Santiago de Compostela and the Codex Las Huelgas from Burgos. The so-called Llibre Vermell de Montserrat (red book) is an important devotional collection from the 14th century. [citation needed ]

Renaissance and Baroque Periods In the early Renaissance, Mateo Flecha el viejo and the Castilian dramatist Juan del Encina ranked among the main composers in the post-Ars Nova period. Renaissance song books included the Cancionero de Palacio, the Cancionero de Medinaceli, the Cancionero de Upsala (kept in Carolina Rediviva library), the Cancionero de la Colombina, and the later Cancionero de la Sablonara. The organist Antonio de Cabez•n stands out for his keyboard compositions and mastery. An early 16th-century polyphonic vocal style developed in Spain was closely related to that of the Franco-F lemish composers. Merging Merging of these thes e styles occurred during the period when the Holy Roman Empire and the Burgundy were part of the dominions under Charles I (king of Spain from 1516 to 1556), since composers from t he North of  North of  Europe visited Spain, and native Spaniards travelled within the empire, which extended to the Netherlands, Germany and Italy. Music composed for the vihuela by Luis de Mil€n, Alonso Mudarra and Luis de Narv€ez was one of the main achievements of the period. The Aragonese Gaspar Sanz authored the first learning method for guitar. Spanish composers of the Renaissance included Francisco Guerrero, Crist•bal de Morales, and Tom€s Luis de Victoria (late Renaissance period), all of whom spent a significant portion of their careers in Rome. The latter was said to have reached a level of polyphonic perfection and expressive intensity equal or even superior to Palestrina and Lassus [citation needed ] . Most Spanish composers returned home from travels abroad late in their careers to spread their musical knowledge in their native land, or in the late 16th century to serve at the Court of Philip II.

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Music of Spain

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18th to 20th centuries Antonio Soler's Sonata No. 84, an example of Classical era music in Spain

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By the end of the 17th century the "classical" musical culture of Spain was in decline, and was to remain that way until the 19th century. Classicism in Spain, when it arrived, was inspired by Italian models, as in the works of Antonio Soler. Some outstanding Italian composers such as Domenico Scarlatti and Luigi Boccherini were appointed to the Madrid royal court. The short-lived Juan Cris•stomo Arriaga is credited as the main beginner of Romantic sinfonism in Spain. [citation needed ]

Fernando Sor, Dionisio Aguado, Francisco T€rrega and Miguel Llobet are known as composers of guitar music. Fine literature for violin was created by Pablo Sarasate and Jes‚s de Monasterio. Zarzuela, a native form of opera that includes spoken dialogue, is a secular musical genre which developed in the mid-17th century, flourishing most importantly in the century after 1850. Francisco Asenjo Barbieri was a key figure in the development of the romantic Front cover of book: Escuela M•sica seg•n la zarzuela; whilst later composers such as Ruperto Chapƒ, Federico  pr‚ctica moderna published in 1723-1724 Chueca and Tom€s Bret•n brought the genre to its late 19th-century apogee. Leading 20th-century zarzuela composers included Pablo Soroz€bal and Federico Moreno Torroba. Musical creativity mainly moved into areas of popular music until the nationalist revival of the late Romantic era. Spanish composers of this period included Felipe Pedrell, Isaac Alb„niz, Enrique Granados, Joaquƒn Turina, Manuel de Falla, Jes‚s Guridi, Ernesto Halffter, Federico Mompou, Salvador Bacarisse, and Joaquƒn Rodrigo.

Music of Spain

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Music by Region The regions of Spain have distinct cultures, including their own musical traditions. There is also a movement of  singer-songwriters with politically-active lyrics, paralleling similar developments across Latin America and Portugal. The singer and composer Eliseo Parra (b 1949) has recorded traditional folk music from the Basque country and Castile as well as his own compositions inspired from the musical styles of Spain and abroad. Andalusia Though Andalusia is best known for flamenco music, there is also a tradition of gaita rociera (tabor pipe) music in western Andalusia and a distinct violin and plucked-string type of band music known as panda de verdiales in M€laga.

Flamenco dancing in Seville.

Sevillanas is related to flamenco and most flamenco performers have at least one classic sevillana in their repertoire. The style originated as a medieval Castilian dance, called the seguidilla, which was adopted with a flamenco style in the 19th century. Today, this lively couples' dance is popular in most parts of Spain, though the dance is often associated with the city of Seville's famous Easter feria. The region has also produced singer-songwriters like Javier Ruibal and Carlos Cano, who revived a traditional music called copla. Catalan Kiko Veneno and Joaquƒn Sabina are popular performers in a distinctly  Panda de Verdiales in M€laga. Spanish-style rock music, while Sephardic musicians like Aurora Moreno, Luƒs Delgado and Rosa Zaragoza keep Andalusian Sephardic music alive. Aragon Jota, popular across Spain, might have its historical roots in the southern part of Aragon. Jota instruments include the castanets, guitar, bandurria, tambourines and sometimes the flute. Aragonese music can be characterized by a dense percussive element that some have tried to attribute to an influence from the North African Berbers. The guitarro, a unique kind of small guitar also seen in Murcia, seems Aragonese in origin. Besides its music for stick-dances and dulzaina (shawm), Aragon has its own gaita de boto (bagpipes) and chiflo (tabor pipe). As in the Basque country, Aragonese chiflo can be played along to a chicot„n string-drum (psaltery) rhythm.

 Aragonese jota dancing

Music of Spain

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Asturias, Cantabria and Galicia Northwest Spain (Asturias, Galicia and Cantabria) is home to a distinct musical tradition extending back into the Middle Ages. The signature instrument of the region is the gaita (bagpipe), originating from the Celtic influences in the region. The gaita is often accompanied by a snare drum, called the tamboril, and played in processional marches. Other instruments include the requinta, a kind of fife, as well as harps, fiddles, rebec and  zanfona (hurdy-gurdy). The music itself runs the gamut from uptempo muinieras to stately marches. As in the nearby Basque Country, Cantabrian music also features intricate arch and stick dances but the tabor pipe does not play as an important role as it does in Basque music. Traditionally, Galician music included a type of  chanting song known as alalas. Alalas may include instrumental interludes, and are believed to have a very long history, mostly unverified and based on legends. There are local festivals celebrating the pre-Roman Celtic culture of  the region, where Ortigueira's Festival del Mundo Celta is especially important. Drum and bagpipe couples range among the most beloved kinds of Galician music, that also includes popular bands like Milladoiro.  Pandereteiras are traditional groups of  women that play tambourines and sing. The bagpipe virtuosos Carlos N‚…ez and Susana Seivane are especially popular performers. An Asturian gaitera (bagpipe player)

Asturias is also home to popular musicians such as Jos„ †ngel Hevia (another virtuoso bagpiper) and the group Llan de Cubel. Circular dances using a 6/8 tambourine rhythm are also a hallmark of this area. Vocal asturianadas show melismatic ornamentations similar to those of other parts of the Iberian Peninsula. There are many festivals, such as "Folixa na Primavera" (April, in Mieres), "Intercelticu d'Avil„s" (Interceltic festival of Avil„s, in July), as well as many "Celtic nights" in Asturias. Balearic Islands In the Balearic Islands,  Xeremiers or colla de xeremiers are a traditional ensemble that consists of flabiol (a five-hole tabor pipe) and xeremies (bagpipes). Majorca's Maria del Mar Bonet was one of the most influential artists of nova can‡o, known for her political and social lyrics. Tomeu Penya, Biel Majoral, Cerebros Exprimidos and Joan Bibiloni are also popular. Basque Country

Music of Spain The most popular kind of Basque music is named after the dance trikitixa, which is based on the accordion and tambourine. Popular performers are Joseba Tapia and Kepa Junkera. Highly appreciated folk instruments are the txistu (a tabor pipe similar to Occitanian galoubet recorder), alboka (a double clarinet played in circular-breathing technique, similar to other Mediterranean instruments like launeddas) and txalaparta (a huge xylophone, similar to the Romanian toacˆ and played by two performers in a fascinating game-performance). As in many parts of the Iberian peninsula, there are ritual dances with sticks, swords and arches made from vegetation. Other popular dances are the fandango, jota and 5/8 zortziko.

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 Ezpatadantza of the Basque

Country.

Basques on both sides of the Spanish-French border have been known for their singing since the Middle Ages, and a surge of Basque nationalism at the end of the 19th century led to the establishment of large Basque-language choirs that helped preserve their language and songs. Even during the persecution of the Francisco Franco era (1939 € 1975), when the Basque language was outlawed, traditional songs and dances were defiantly preserved in secret, and they continue to thrive despite the popularity of commercially-marketed pop music. Canary Islands In the Canary Islands, Isa, a local kind of Jota, is now popular, and Latin American musical (Cuban) influences are quite widespread, especially with the charango (a kind of guitar). Timple, the local name for ukulele / cavaquinho, is commonly seen in plucked-string bands. A popular set on El Hierro island consists of drums and wooden fifes (pito herre…o). The tabor pipe is customary in some ritual dances on the island of Tenerife. Castile, Madrid and Le€n A large inland region, Castile, Madrid and Leon were Celtiberian country before its annexation and cultural latinization by the Roman Empire but it is extremely doubtful that anything from the musical traditions of the Celtic era have survived. Ever since, the area has been a musical melting pot; including Roman, Visigothic, French, Italian, Gypsy, Moorish, and Jewish influences but the most important influences are the longstanding and continuing ones from the surrounding Spanish regions as well as from Portugal to the west. Areas within Castile and Le•n generally tend to have more musical affinity with neighbouring regions than with other, more distant, parts of  Castile and Le•n. This has given the region a locally diverse musical tradition.

Children in Castilian folk costume in Soria, Castile.

Jota is popular, but is uniquely slow in Castile and Le•n, unlike its more energetic Aragonese version. Instrumentation also varies much from the one in Aragon. Northern Le•n, that shares a language relationship with a region in northern Portugal and the Spanish regions of Asturias and Galicia, also shares their musical influences. Here, the gaita (bagpipe) and tabor pipe playing traditions are prominent. In most of Castile, there is a strong tradition of dance music for dulzaina (shawm) and rondalla groups. Popular rhythms include 5/8 charrada and circle dances, jota and habas verdes. As in many other parts of the Iberian peninsula, ritual dances include paloteos (stick

Music of Spain dances). Salamanca is known as the home of tuna, a serenade played with guitars and tambourines, mostly by students dressed in medieval clothing. Madrid is known for its chotis music, a local variation to the 19th-century schottische dance. Flamenco, although not considered native, is popular among some urbanites but is mainly confined to Madrid. Catalonia Though Catalonia is best known for sardana music played by a cobla, there are other traditional styles of dance music like ball de bastons (stick-dances), galops, ball de gitanes. Music is at the forefront in cercaviles and celebrations similar to Patum in Berga. Flabiol (a five-hole tabor pipe), gralla or dol‡aina (a shawm) and sac de gemecs (a local bagpipe) are traditional folk instruments that make part of some coblas. Catalan gipsies created their own style of rumba called rumba catalana which is a popular style that's similar to flamenco, but not technically part of the flamenco canon. The rumba catalana The Sardana of Catalonia originated in Barcelona when the rumba and other Afro-Cuban styles arrived from Cuba in the 19th and early 20th centuries. Catalan performers adapted them to the flamenco format and made it their own. Though often dismissed by aficionados as "fake" flamenco, rumba catalana remains wildly popular to this day. The havaneres singers remain popular. Nowadays, young people cultivate Rock Catal‰ popular music, as some years ago the Nova Can‡• was relevant. Extremadura Having long been the poorest part of Spain, Extremadura is a largely rural region known for the Portuguese influence on its music. As in the northern regions of Spain, there is a rich repertoire for tabor pipe music. The zambomba friction-drum (similar to Portuguese sarronca or Brazilian cuica) is played by pulling on a rope which is inside the drum. It is found throughout Spain. The jota is common, here played with triangles, castanets, guitars, tambourines, accordions and zambombas. Murcia Murcia is a region in the south-east of Spain which, historically, experienced considerable Moorish colonisation, is similar in many respects to its neighbour, Andalusia. The guitar-accompanied cante jondo Flamenco style is especially associated with Murcia as are rondallas, plucked-string bands. Christian songs, such as the Auroras, are traditionally sung a cappella, sometimes accompanied by the sound of church bells, and cuadrillas are festive songs primarily played during holidays, like Christmas.

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Music of Spain Navarre and La Rioja Navarre and La Rioja are small northern regions with diverse cultural elements. Northern Navarre is Basque in language, while the Southern section shares more Aragonese features. The jota is also known in both Navarre and La Rioja. Both regions have rich dance and dulzaina (shawm) traditions. Txistu (tabor pipe) and dulzaina ensembles are very popular in the public celebrations of Navarre. Valencia Traditional music from Valencia is characteristically  Ioaldunak dancers of Navarre. Mediterranean in origin. Valencia also has its local kind of  Jota. Moreover, Valencia has a high reputation for musical innovation, and performing brass bands called bandes are common, with one appearing in almost every town. Dol‡aina (shawm) is widely found. Valencia also shares some traditional dances with other Iberian areas, like for instance, the ball de bastons (stick-dances). The group Al Tall is also well-known, experimenting with the Berber band Muluk El Hwa, and revitalizing traditional Valencian music, following the Riproposta Italian musical movement.

Popular music Although Spanish pop music is currently flourishing, the industry suffered for many years under Francisco Franco's regime, with few outlets for Spanish performers during the 1930s through the 1970s. Regardless, American and British music, especially rock and roll, had a profound impact on Spanish audiences and musicians. The Benidorm International Song Festival, founded in 1959 in Benidorm, became an early venue where musicians could perform contemporary music for Spanish audiences. Inspired by the Italian San Remo Music Festival, this festival was followed by a wave of similar music festivals in places like Barcelona, Majorca and the Canary Islands. Many of the major Spanish pop stars of the era rose to fame through these music festivals. An injured Real Madrid player-turned-singer, for example, became the world-famous Julio Iglesias. During the 1960s and early 1970s, tourism boomed, bringing yet more musical styles from the rest of the continent and abroad. However, it wasn't until the 1980s that Spain's burgeoning pop music industry began to take off. During this time a cultural reawakening known as  La Movida Madrileƒa produced an explosion of new art, film and music that reverberates to this day. Once derivative and out-of-step with Anglo-American musical trends, contemporary Spanish pop is as risky and cutting-edge as any scene in the world, and encompasses everything from shiny electronica and Eurodisco, to homegrown blues, rock, punk, ska, reggae and hip-hop to name a few. Artists like Enrique Iglesias or Alejandro Sanz have become successful internationally, selling million of albums worldwide and winning major music awards such as the coveted Grammy Award.

Ye-Y• From the English pop-refrain words "yeah-yeah",  ye-y„ was a French-coined term which Spanish language appropriated to refer to uptempo, "spirit lifting" pop music. It mainly consisted of fusions of American rock from the early 1960s (such as twist) and British beat music. Concha Velasco, a talented singer and movie star, launched the scene with her 1965 hit "La Chica Ye-Y„", though there had been hits earlier by female singers like Karina (1963). The earliest stars were an imitation of French pop, at the time itself an imitation of American and British pop and rock. Flamenco rhythms, however, sometimes made the sound distinctively Spanish. From this first generation of  Spanish pop singers, Rosalƒa's 1965 hit "Flamenco" sounded most distinctively Spanish.

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Music of Spain

Performers Some of Spain's most famous musicians and bands are: Cantautores

Š Š Š Š Š Š Š Š Š Š Š Š Š

Luis Eduardo Aute Cecilia Braulio Garcƒa Pedro Guerra Paco Ib€…ez Jos„ Antonio Labordeta Lluƒs Llach Jos„ Luis Perales Rosana Arbelo Joaquƒn Sabina Ismael Serrano Joan Manuel Serrat Vƒctor Manuel

Electropop bands Š Š Š Š

Aviador Dro Fangoria Hidrogenesse The Pinker Tones

 Flamenco, New Flamenco or copla singers, guitarists and bands

Š Š Š Š Š Š Š Š Š Š Š Š

Andy y Lucas Concha Buika El Fary Camar•n de la Isla Rocƒo Jurado Ketama Paco de Lucƒa Pepe de Lucƒa Antonio Molina Enrique Morente Ojos de Brujo Isabel Pantoja

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Music of Spain Pop music or ballad singers and bands Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

Alaska y Dinarama Alejandro Sanz Ana Torroja †lex Ubago Amaia Montero David Bisbal David Bustamante Caf„ Quijano Chenoa Conchita Sergio Dalma D‚o Din€mico Edurne El Sue…o de Morfeo Estopa Enrique Iglesias Julio Iglesias La Quinta Estaci•n Rosa L•pez Mecano M•nica Naranjo Nena Daconte Presuntos Implicados Raphael Paloma San Basilio Marta S€nchez Hugo Salazar Pablo Alboran David DeMaria D'Nash

Pop rock or Rock singers and bands Š Š Š Š Š Š Š Š Š Š Š Š Š Š

Amaral Bebe Enrique Bunbury Celtas Cortos Dover Duncan Dhu El Canto del Loco El ‹ltimo de la Fila Fito & Fitipaldis H„roes del Silencio Hombres G Jarabe de Palo F•rmula V La Oreja de Van Gogh

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Music of Spain Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

Loquillo Los Bravos Los Rodrƒguez Los Toreros Muertos Mocedades Mojinos Escozƒos Nacha Pop Pereza Pignoise Radio Futura Miguel Rƒos Siniestro Total Tequila Triana Van Tard

Hard Rock or Heavy Metal bands Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

MŒgo de Oz †ngeles del Infierno †ngelus Ap€trida Avalanch Avulsed Bar•n Rojo Barricada Bella Bestia Centinela Extremoduro Haemorrhage Hamlet Le…o Lujuria Los Suaves Nahemah Ob‚s Panzer Platero y T‚ Reincidentes Saratoga Soziedad Alkoholika Stravaganzza Tierra Santa Warcry Zarpa

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Music of Spain King Of The Dance Š Soraya Arnelas Hip hop bands Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

La Excepci•n Violadores del Verso La Mala Rodrƒguez SFDK El Chojin Tote King Falsalarma Nach Chirie Vegas Xcese Mitsuruggy Primer Dan L€tex Diamond Trad Montana Sholo Truth Duo kie el Porta Dareysteel Zpu Dogman crew

Other genres Š Paloma Berganza (chanson singer) Š Rocƒo D‚rcal (ranchera singer) Also from Spain was the famous trio of singing clowns Gaby, Fof• y Miliki.

References Š Fairley, Jan "A Wild, Savage Feeling". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East , pp 279 € 291. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0 Š Fairley, Jan with Manuel Domƒnguez. "A Tale of Celts and Islanders". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East , pp 292 € 297. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0 Š  Alan Lomax: Mirades Miradas Glances. Photos and CD by Alan Lomax, ed. by Antoni Piz‰ (Barcelona: Lunwerg  / Fundacio Sa Nostra, 2006) ISBN 84-9785-271-0

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External links Š Š Š Š Š Š Š Š Š

(French) Audio clips: Traditional music of Spain.

[1]

Mus„e d'Ethnographie de Genve. Accessed November 25,

2010. MIDI samples of traditional music from the Iberian peninsula [2] and Extended version [3] AlejandroSanz4EnglishSpeakers [4] A collection of translated songs from one of Spain's most famous singers. Bloomingdale School of Music Piano Project: Sonidos de Espana/Music of Spain [5] - extensive monthly features on the history of Spanish music. Spanish language music [6] Traditional and contemporary Spanish-language music, with genre descriptions, representative artists, CDs & audio samples. Learn Spanish with songs [7] Morkol will help you to learn Spanish with songs. Listen to the songs while you read the lyrics. Spainmusictv.com [8] Spanish music videos Spanish Folk Music in Havana (Photo Album) [9] Encyclopedia of Spanish Music (16th to 19th centuries) [10] • A request for comment about this template (Template:Europe topic) is currently held. •

References [1] http:/   / www.ville-ge.ch/ meg/ musinfo_ph. php?what=pays=Espagne&debut=0&bool=AND [2] http:/   / www.interacesso.pt/ web/ wencesmc [3] http:/   / www.geocities.ws/ iberiamidi [4] http:/   / www.alejandrosanz4englishspeakers.com [5] http:/   / www.bsmny.org/ features/ pianoproject08/ index.php [6] http:/   / www.vistawide.com/ spanish/ spanish_music. htm [7] http:/   / www.morkol.com/ index.php/ artistas/ videos_letras_canciones/ ?id=132 [8] http:/   / www.spainmusictv.com [9] http:/   / www.havanatimes.org/ ?p=20846 [10] http:/   / www.musicadehispania.net

Music of Andalusia

Music of Andalusia The Music of Andalusia is fundamentally western and has itself had a strong influence on western music generally but it has also been influenced by diverse non-Western influences, most notably Romani, Moorish and Sephardic Jewish.

Influence of Andalusian music Andalusia was probably the main route of transmission of a number of Near-Eastern musical instruments used in classical music; the rebec (ancestor of violin) from the rebab, the guitar from qitara and naker from naqareh. Further terms fell into disuse in Europe; adufe from al-duff , alboka from al-buq, anafil from al-nafir , exabeba from al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, sonajas de az•far from sunuj al-sufr , the conical bore wind instruments, the xelami from the sulami or  fistula (flute or musical pipe), the shawm and dulzaina from the reed instruments  zamr and al-zurna, the gaita from the  Rhaita, rackett from iraqya or iraqiyya, geige (German for a violin) from ghichak and the theorbo from the tarab. According to historic sources, William VIII, the father of William, brought to Poitiers hundreds of Muslim prisoners.[1] Trend [2] acknowledges that the troubadors derived their sense of form and the subject matter of their poetry from Andalusia. The hypothesis that the troubador tradition was created, more or less, by William after his experience of Moorish arts while fighting with the Reconquista in Spain was also championed by Ram•n Men„ndez Pidal in the early twentieth-century, but its origins go back to the Cinquecento and Giammaria Barbieri (died 1575) and Juan Andr„s (died 1822). Meg Bogin, English translator of the female troubadors, also held this hypothesis. [3] Certainly "a body of song of comparable intensity, profanity and eroticism [existed] in Arabic from the second half  of the 9th century onwards." [4] Grove Dictionary of Music and Musicians, edited Andalusia is a modern autonomous community of Spain that is best known for flamenco, a form of music and dance that is mostly performed by Andalusian people. Improvised flamenco songs of ancient Andalusian origin are called cante jondo, and are characterized by a reduced tonal ambiance, a strict rhythm, baroque ornamentation and repetition of notes. Cante jondo is sung by a single singer (cantaor ).

Structure There are two forms of flamenco songs: cante jondo and cante chico. Cante jondo are slower and usually feature sad lyrics about disappointed love or death, while cante chico are much quicker, more popular and dance-oriented. The concept of duende is very important in flamenco. Loosely, defined, duende is a spiritual or emotional bond between the performer and audience, created by the performer's intense concentration and passion. There are multiple styles ( palos) of flamenco, including: Š Š Š Š Š Š Š Š Š

fandango fandangos de Huelva granadƒnos - from Granada malague…as - from M€laga saeta sevillana siguiriyas soleares Tangos

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Music of Andalusia The guitar is a vital instrument to flamenco; it marks the measure of a song, and is frequently used in expressive solos during which the guitarist will improvise short variations called  falsetas. Ram•n Montoya was the most influential early guitarist, known for having solidified the guitar as a solo instrument. His successors included Manolo Sanl‚car and Paco de Lucƒa.

History The golden age of flamenco is said to be 1869 to 1910, later becoming more and more popularized internationally and influenced by South American music, especially the tango. Musicians from the golden age performed at bars called caf„ cantantes, such as Caf„ de Chinitas in M€laga, which was made famous by the poetry of Garcƒa Lorca. Other musicians of the early 20th century include Manolo Caracol, who walked from Jerez to participate in a cante  jondo competition, which he won. Though the golden age had long since passed, the 1950s saw flamenco achieving increased respectability in Spain. Hispavox, a Spanish record label, released  Antolog€a del Cante Flamenco in 1956; the recording's collection of most all of the greatest flamenco singers was very popular. In 1956, the first national cante jondo competition was held in Cordoba, followed by a Chair of Flamencology being established at Jerez in 1958. In the late 1950s and early 1960s, Antonio Mairena and similar artists kelped kickstart a flamenco revival as American and British rock began dominating the Spanish music scene. Emerging from this, Camar•n de la Isla became one of the most popular and critically acclaimed performers of the century. His 1969 debut Con la Colaboracion Especial de Paco de Lucia inspired a new generation of performers that invented Nuevo Flamenco. In the 1970s and 80s, salsa, blues, rumba and other influences were added to flamenco, along with music from Morocco and India. Ketama's 1988 debut,  Ketama, was especially influential. At the beginning of the 1990s, the Madrid label Nuevos Medios became closely associated with the new flamenco fusion music, which came to be called nuevo flamenco.

References [1] [2] [3] [4]

M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad). J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause Reprint) Bogin, Meg. The Women Troubadours. Scarborough: Paddington, 1976. ISBN 0-8467-0113-8. "Troubadour"

^ HaŽm Zafrani (2002). Juifs d'Andalousie et du Maghreb . Maisonneuve & Larose. p. 228. ISBN 978-2-7068-1629-1. ^ Rachid Aous; Mohammed Habib Samrakandi (2002). Musiques d'Alg„rie . 47. Presses Univ. du Mirail. ISBN 978-2-85816-657-2. ^ Marƒa Rosa Menocal; Raymond P. Scheindlin; Michael Anthony Sells (2000). The literature of Al-Andalus . title=Cambridge history of Arabic literature. 4 Arabic literature to the end of  the Umayyad period (illustrated ed.). Cambridge University Press. pp. 72 € 73. ISBN 978-0-521-47159-6. ^ Arab-Andalusian Music of Morocco during the Centuries / scientific publication of D. Eisenberg (Hispanic Journal of Philosophy 1988) ^ (Farmer 1978, p. 137) ^ (Farmer 1978, p. 140) ^ (Farmer 1978, pp. 140 € 1) ^ (Farmer 1978, p. 141) ^ (Farmer 1978, p. 142) ^ (Farmer 1978, p. 143) ^ (Farmer 1978, p. 144) ^ M. Guettat (1980), La Musique classique du Maghreb (Paris: Sindbad). ^ J. B. Trend (1965), Music of Spanish History to 1600 (New York: Krause Reprint) ^ Bogin, Meg. The Women Troubadours. Scarborough: Paddington, 1976. ISBN 0-8467-0113-8. ^ "Troubadour", Grove Dictionary of Music and Musicians, edited by Stanley Sadie, London: Macmillan Press

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Music of Andalusia

External links Other Examples of Music From Andalusia Š Juifs et musique Arabo Andalouse 1 (http:/  / www.youtube.com/ watch?v=UY5HWB9Qvzo&feature=related) Š Juifs et musique Arabo Andalouse 2 (http:/  / www.youtube.com/ watch?v=rOH-Q9e9QDE&NR=1)

Bibliography Š Farmer, Henry George (1978). Historical facts for the Arabian musical influence (http:/  / books.google.com/  ?id=OTsTS87nBgAC). Ayer Publishing. ISBN 978-0-405-08496-6.

Music of Aragon The music of Aragon, like its culture, has through history absorbed Roman, Celtic, Moorish and French influences. Traditional instruments include bagpipes, drums, flutes, tambourines, rattles and, perhaps most distinctively, the guitarro and bandurria. Jota (music) is probably the best-known style of music from Aragon. While regionally emblematic to Aragon, the Jota is also danced in most regions of Spain, unlike for instance flamenco which until recently was uniquely regional to Andalucia and some neighbouring areas. The Jota is played instrumentally, danced, and sung. Other genres of traditional Aragonese music include albadas and rondas. Some of the most notable Spain cupletistas were born in Aragon in the first decades of the 20th century. Raquel Meller became a major international star. Other important cupletistas included Preciosilla, Paquita Escribano, Matilde Arag•n, Mercedes Ser•s, one of the creators of the Catalan couplet, Ofelia de Arag•n and Elvira de Amaya. Recent artists with folk influences include Jos„ Antonio Labordeta, La Bullonera or Joaquƒn Carbonell. In Pop and Rock music, the most popular groups have been H„roes del silencio and Amaral.

References

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Music of Galicia, Cantabria and Asturias

Music of Galicia, Cantabria and Asturias The traditional music of Galicia and Asturias, located along Spain's north-west Atlantic coast, are highly distinctive folk styles that have some similarities with the neighbouring area of Cantabria. The music is characterized by the use of bagpipes.

History It had long been thought that Galician and Asturian music might owe their roots to the ancient Celtic history of the region, in which it was presumed that some of this ancient influence had survived despite the long evolution of the local musical traditions since then, including centuries of Roman and Germanic influences. Whether or not this is the case, much modern commercial Galician and Asturian traditional and folk-rock of recent years has become strongly influenced by modern Irish, Scottish and Welsh "folk" styles. Galicia is nowadays a strong player on the international Celtic folk scene. As a result, elements of the Galician gaiteiros pre-industrial Galician tradition have become integrated into the modern Celtic folk repertoire and style. Many, however, claim that the "Celtic" appellation is merely a marketing tag; the well known Galician bagpipe player Susana Seivane, said "I think [the 'Celtic' moniker is] a label, in order to sell more. What we make is Galician music". In any case, due to the Celtic brand, Galician music is the only non-Castilian-speaking music of  Spain that has a significant audience beyond the country's borders. Some Galicians and Asturians have complained that the "Celtic boom" was the final death blow to once highly distinctive musical traditions. Celtic culture is known to have extended over a large part of the Iberian Peninsula as early as 600BC. During the 2nd and 1st centuries BC, the Roman Empire slowly conquered Iberia, which they called Hispania. The Celtic regions put up a long and fierce struggle to maintain their independence but were eventually subdued. In the centuries that followed, the language of the Romans, Latin, came to gradually supplant nearly all the earlier languages of the peninsula, including all Celtic languages, and is the ancestor of all the current languages of Spain and Portugal, including Galician and Astur-Leonese-Mirandese but not Ba sque. The departure of the Romans in the 5th century led to the invasions of Germanic tribes. The Suebi people conquered the northwest but the poor documentation from the period has left their cultural impact on the region unclear. In the 6th century, a final small Celtic influx arrived from Britain; the Britons were granted their own diocese, Britonia, in northern Galicia. Galicia was then taken over by the Visigothic Kingdom when the Suebian kingdom fell apart. Galicia came under the control of the Moors after they defeated the Visigoths in 717 but Moorish rule was little more than a short lived military occupation, although an indirect Moorish musical influence arrived later, through Christian troubadours. Moorish rule ended after two decades when the their garrison was driven out by a rebellion in 739. The region was incorporated into the Kingdom of Asturias and, after surviving the assaults of the Moors and Vikings, became the springboard for the Reconquista. In 810, it was claimed that the remains of Saint James, one of the apostles, had been found at a site which soon became known as Santiago de Compostela. It became Europe's premier pilgrimage destination in the Middle Ages. This is assumed to have had a significant effect on the folk culture of the area, as the pilgrims brought with them musical instruments and styles from as far afield as Scandinavia and Hungary.

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Music of Galicia, Cantabria and Asturias Like the earlier periods, little is known about musical traditions from this era. Just a few manuscripts from the time are known, such as those by the 13th-century poet and musician Martƒn Codax, which indicate that some of the distinctive elements of today's music, such as the bagpipes and flutes, were common at the time. The Cantigas de Santa Maria, a collection of manuscripts written in old Galician, also show illustrations of people playing bagpipes.

Revival The Galician folk revival drew on early 20th century performers like Perfecto Feijoo, a bagpipe and hurdy-gurdy player. The first commercial recording of Galician music had come in 1904, by a corale called Aires d'a Terra from Pontevedra. The middle of the century saw the rise of Ricardo Portela, who inspired many of the revivalist performers, and played in influential bands like Milladoiro. During the regime of Francisco Franco, honest displays of  folk life were appropriated for politicised spectacles of  patriotism, causing a sharp decline in the popularity of the traditional styles in favour of modern music. When Franco's regime ended in 1975, Galician and Asturian music experienced a strong revival and recordings flourished. The establishment of the Festival Internacional do Mundo Celta (1977), which helped establish some Galician bands. Aspiring performers began working with bands like Os Areeiras, Os Rosales, Os Campaneiros and Os Irm€ns Garceiras, learning the folk styles; others went to the renowned workshop of  Asturian folk dancers Ant•n Corral at the Universidade Popular de Vigo. Some of these musicians then formed their own bands, like Milladoiro. In the 1980s and 1990s, some Galician and Asturian performers began to win fame within Spain and the international Celtic folk scene. Galician musicians of this period included Uxƒa, a singer originally with the band Na L‚a, whose 1995 album  Estou vivindo no ceo and a subsequent collaboration with Sudanese singer Rasha, gained her an international following. The appearance of Fƒa na Roca, (that means "Spin in the spinning wheel") was undoubtedly one of the key events of the Galician musical scene in the 90's. Fƒa na Roca was also the name of their debut album released in 1993. Its mixture of tradition and modernity led BBC to choose the music of this album as the soundtrack of the TV program that broadcast the Galician image to Europe in the 1993 Xacobeo Celebration (Santiago de Compostela's Holy Year). It was Carlos N‚…ez, however, who has done the most to popularize Galician traditions. His 1996  A irmandade das estrelas sold more than 100,000 copies and saw major media buzz, partially due to the collaboration with well-known foreign musicians like La Vieja Trova Santiaguera, The Chieftains and Ry Cooder. His follow-up, Os amores libres, included more fusions with flamenco, Celtic music (especially Breton) and Berber music. Other modern Galician bagpipe players include Xos„ Manuel Budi…o and Susana Seivane. Seivane is especially notable as the first major female player, paving the way for many more women in a previously male-dominated field. Galicia's most popular singers are also mostly female, including Uxƒa, Sonia Lebedynski and Mercedes Pe•n. A revival of traditional Asturian music also occurred during this period. Artists such as the popular bagpiper Hevia and music groups such as Llan de cubel and Tejedor helped to bring attention to Asturian folk music both within Asturias itself, and in the wider realm of the "Celtic" and world music scenes. Musicians from Asturias have become increasingly prominent at events such as the Festival Interceltique de Lorient in France.

18

Music of Galicia, Cantabria and Asturias

19

Traditional instruments Traditional instruments in Galicia, Asturias and Cantabria include the well-known gaita, a kind of bagpipe, as well as an array of  percussion and wind instruments. Wind instruments Folk wind instrument of the area include the  pitu, a kind of  conical-bored shawm with seven holes in the front and one in the back, which is played in a similar manner to the bagpipe chanter. While it was traditionally made in E-flat, the instrument has been revitalized by Ant•n Corral, who makes them in D. A transverse flute with six holes is called a requinta; it is similar to the fife. It is usually in G, or sometimes a high C. Other wind instruments include chifre, ocarina and the imported clarinet and accordion. Cantabria has a rich dance repertoire for soprano clarinet, also known as  pitu or requinto (not to be confused with the requinta  fife). String instruments

Cantabrians with pitu and tamboril

Plucked stringed instruments are common throughout Spain and Portugal, but they were proscribed in Galician or Asturian commercial folk music until recent years. Modern guitarists like Xes‚s Pimentel often use strong flamenco influences in their sound. The violin has a long tradition in the area, common since the early 20th century, when blind fiddlers [citation needed ]traveled to fairs to play traditional and self-composed songs, as well as pieces by composers like Sarasate. The hurdy gurdy ( zanfona) has been played in the area for many centuries, but had mostly died out by the middle of the 20th century before being revived by Faustino Santalices, Xos„ Lois Rivas and the like. Though the instrument is now more closely associated with French music, the first recordings of the hurdy gurdy were by Galician Perfecto Feijoo in 1904. Harps had been used in the Middle Ages, but were not revived until the 1970s, when Emilio Cao used the instrument to accompany his compositions. Modern harpists have been encouraged by the use of the Celtic harp in Scotland, Ireland and Brittany, and include Quico Comesa…a and Rodrigo Romanƒ. Percussion Percussion instruments include the tamboril, a snare drum that hangs from the player's belt and is played with two sticks. It is small, natural-skinned and features snares made usually of gut. Along with the bombo, a bass drum played with one stick, the tamboril is typically found as accompaniment to bagpipes. The  pandeiro (Asturian:  panderu) is a double-faced, square frame drum, similar to the Portuguese and Castilian adufe. It usually contains some beans that rattle inside. It is often played alongside the  pandeireta, a large tambourine, in small groups or by a single female singer. A pair of vieira shells (cunchas) are rubbed together, and accompany dancing. Tarraƒolas (Asturian and Spanish: tejoletas) are strips of wood held between the fingers. Charrasco consists of a pole with a frame on the top adorned with tambourine rattles; it is played by rubbing a string along the pole with a stick. Other percussion instruments are canaveira and carraca.

Music of Galicia, Cantabria and Asturias Gaita Outside of Galicia and Asturias, bagpipes are also traditionally played in other parts of Spain, including Aragon, Catalonia, Le•n, Majorca, Zamora and in Portugal in Minho, Tr€s-os-Montes and Estremadura. The term gaita may refer to a variety of different pipes, shawms, recorders, flutes and clarinets in different areas of Spain and Portugal. Records show that the gaita was already common in the 13th century but suffered a decline in popularity in the 17th and 18th centuries until the 19th century renaissance of the instrument. The early 20th century saw another decline. Then, beginning in about the 1970s, a roots revival heralded another rebirth. The folk revival may have peaked in the late 1990s, with the release of acclaimed albums by Galician Carlos N‚…ez ( A Irmandade Das Estrelas) and Asturian Hevia (Tierra De Nadie). Both releases broke records, and Tierra De Nadie sold more than a million copies. In the 18th century, an important teaching school was opened in Asturias, created by Jos„ Remis Vega. Musicians of  that era included the legendary Ram•n Garcƒa Tuero, while the 20th century produced performers like Vega's son, Jos„ Remis Ovalle and Jos„ Antonio Garcƒa Su€rez. The best-known modern Asturian player is Hevia, whose 1998 Tierra De Nadie was a landmark recording that smashes record sales and became the darling of the Spanish music media. Other modern performers and bands include Tejedor and Xuacu Amieva. Traditional use include both solo performances or with a snare-drum known as tamboril (a wooden natural-skinned drum with gut snares), and the bombo, a bass drum. Galician bagpipes come in three main varieties, though there are exceptions and unique instruments. These include the tumbal (B-flat), grileira (D) and redonda (C). Asturian bagpipes are usually played along with a tambor (snare drum). Asturian bagpipes usually have only one drone and follow a different fingering pattern. Description

The player inflates the bag using his mouth through a tube fitted with a non-return valve. Air is driven into the chanter (Galician:  punteiro; Asturian:  punteru) with the left arm controlling the pressure inside the bag. The chanter has a double reed similar to a shawm or oboe, and a conical bore with seven finger-holes on the front. The bass drone (ronco or ronc…n) is situated on the player's left shoulder and is pitched two octaves below the key note of the chanter; it has a single reed. Some bagpipes have up to two more drones, including the ronquillo or ronquilla, which sticks out from the bag and plays an octave above the ronco, or the smaller chill…n. This two extra drones are placed by the right arm of the player. The finger-holes include three for the left hand and four for the right, as well as one at the back for the left thumb. The chanter's tonic is played with the top six holes and the thumb hole covered by fingers. Starting at the bottom and (in the Galician fingering pattern) progressively opening holes creates the diatonic scale. Using techniques like cross-fingering and half-holding, the chromatic scale can be created. With extra pressure on the bag, the reed can be played in a second octave, thus giving range of an octave and a half from tonic to top note. It is also possible to close the tone hole with the little finger of the right hand, thus creating a semitone below the tonic. Songs

Tunes using the gaita are usually songs, with the voice either accompanying the instrumentation or taking turns with it. The most common type is the muiƒeira, found in both Asturias and Galicia, a sprightly 6/8 rhythm. Other 6/8 Galician tunes use different steps; they include the carballesa, ribeirana, redonda, chouteira and contrapaso. The asturian alborada usually-instrumental tune, most often in 2/4, though sometimes 3/4, and is characterized by a series of descending turning phrases. It is used to begin a day's celebrations, and is played at sunrise. Russian composer Nikolai Rimsky-Korsakov included three asturian movements (two  Alboradas and one  Fandango  Asturiano) in his famous orchestral work Capriccio espagnol, Op. 34, written in 1887. The foliada is a joyful 3/4 jota-type song, often played at romer€as (community gatherings at a local shrine).

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Music of Galicia, Cantabria and Asturias

Songs The oldest and best-known form of Galician music is the alal‚, a form of chanting that has been associated with Galician nationalism. They share characteristics with Celtic nations as well as Castilian, German, Arab and other Mediterranean-area peoples. Their origin is shrouded in mystery, with some scholars asserting Gregorian chants as a major source, while others fancily point to Greek or Phoenician rowing songs called alelohu€as.  Alal‚s are arhythmic, and based on a single, short theme that repeats the melody, separated by instrumental bagpipes

or a cappella interludes. Melodies are based on a continuous drone and are almost always diatonic. Over time, alalas have adapted to include choral polyphony which has added harmony and rhythms (most typically in 2/4 or 3/4 time) to the tradition. A distinct feature of alalas is that the first cadence is also the last. They end in an enlarged coda that fades into a sustained and undefined sound. In contrast to the typically slow alal‚ there are also swift songs called  pandeirada. Marching tunes (Galician: ruadas, Asturian:  pasuc‚is, Spanish:  pasacalles) are also known, as well as the local variation of jota. Other Asturian dances include salt…n, diana, respingu,  pericote,  fandango,  pasodoble, marcha procesional, rebudixu, corri-corri, baile de los pollos, giraldilla and xiring†elu.

Dances is the term for social dances, though there are also weapon dances like danzas de palillos (stick dances), danzas de espadas (sword dances) and danzas de arcillos (dances with decorated arches) a hallmark of Cantabrian folk tradition. Other popular dance songs in the area include the  jota,  pasacorredoiras ( pasacalles, Asturian:  pasuc‚is), and the imported  fandango, mazurka, polka, rumba and  pasodoble.  Baile

References Š Cronshaw, Andrew. "Celtic Iberia". 2001. In Mathieson, Kenny (Ed.), Celtic music, pp. 140 € 175. Backbeat Books. ISBN 0-87930-623-8 Š Celtic Music Base [1], large biographical directory of Celtic musicians.

References [1] http:/   / www.celticmusicbase.com

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Music of the Balearic Islands

Music of the Balearic Islands or colla de xeremiers is a traditional ensemble that consists of flabiol (a five-hole tabor pipe) and xeremies (bagpipes). Majorca has produced popular singer-songwriters like Maria del Mar Bonet.British DJs like Paul Oakenfold made the vacationing island of Ibiza a capital of house music, leading to the creation of Balearic Beat. Francesc Guerau and Antoni Literes are among the best known classical composers of the islands.

 Xeremiers

References Š Antoni Piz‰: Alan Lomax: Mirades Miradas Glances (Barcelona: Lunwerg / Fundacio Sa Nostra, 2006) ISBN 84-9785-271-0

Basque music The strict classification of Basque music remains a controversial issue, complicated in part by the growing diversification of such music, but by and large it is made in the Basque Country, it reflects traits related to that society/tradition and it is devised by people from the Basque Country.

Traditional music Basque traditional music is a product of the region's historic development and its geographical location between the Cantabrian mountain range, the Ebro river and the Pyrenees. Because this area is open to the wider world, for example through international pilgrimage on the Way of St James, many feel that it should not be considered as having evolved in isolation. Instruments Folk instruments widespread in Europe ceased to be used in some places at some Txistu ensemble in the streets of Leioa point of history and only remained in specific areas, where they took hold and adopted features and a character associated with the region, e.g. the three-hole pipe or tabor pipe in widespread use in Europe ultimately resulted in two specific instruments in the Basque Country: the txistu and the xirula. Accordingly, different instruments may have evolved out of one, such as Navarrese dulzaina and Souletin txanbela, with slight differences between them.

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Basque music

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Most of the instruments that have been taken up in rural and folk circles do not go back more than six centuries, some having been introduced as late as the 19th century, such as trikiti or txistu, as we know it today (at any rate, the latter results from a long evolution). Most Basque instruments originated outside the Basque Country and became popular in the territory at some stage (but the txalaparta is not one of these). Some traditional Basque instruments are the following:

Alboka players and a tambourine man playing a tune together

Š Alboka, a difficult double clarinet played in a circular breathing technique similar to that used for the Sardinian launeddas. Š Txalaparta, a wooden xylophone-like percussion instrument for two players. Š Kirikoketa, a wooden percussion device akin to the txalaparta associated with the cider making process. Š Toberak, a percussion instrument made of horizontal metal bars. Š Txistu, a local pipe. Š Drum, called danbolin, and usually accompanying the txistu. Š Atabal, a double sided flat drum played together with aerophones. Š Xirula, a three-hole flute, shorter and more high-pitched than txistu. Š Ttun-ttun, a vertical stringed drum played usually together with the xirula. Š Trikiti or eskusoinua, a lively diatonic button accordion. Š Tambourine, usually played together with the trikiti. Š Dulzaina, a Navarre based pipe belonging to the shawm family. Š Blowing horn, an instrument made of ox horn. Singing tradition The Basque people are especially given to singing. Basque language has stuck to the oral tradition stronger than Romance languages, and its literature was first recorded in writing in the 16th centu ry. There are ballads dating from the 15th century that have been passed from parents to children by word of mouth, e.g. Ozaze Jaurgainian from Soule, which relates events six centuries ago and has come down to us in different versions (the best known was popularized by Benito Lertxundi), or  Alostorrea, from Biscay. These ballads were crafted and spread by minstrels or bertsolaris, were kept in popular memory, and were transmitted in the so-called kopla zaharrak , sets of poems with a characteristic rhythmic pattern that could be sung: this is similar to traditional practices elsewhere in Europe. So, for example, the first work of literature in Basque  Lingu‡ Vasconum Primiti‡ (1545) by Bernard Etxepare shows long verses that, while deceptively fashioned in metres resembling those used in Romance poetry, follow an internal rhythmic pattern similar to a kopla, so they can be popularly sung. Even today, it is not unusual to see groups of  people marching around a town at some local festival singing and asking the neighbours for a food, drink or money donation, while the most famous celebrations following this pattern across the whole Basque Country may be those taking place on Christmas Eve (Olentzero) and the Saint Agatha's Eve, with singers dressing up in traditional costumes.

Basque music It follows that traditional singing is closely related to bertsolaris, improvising bards, who even nowadays hold an important status in Basque culture. They voice the people's concerns by means of a formal tradition coming from the people (tunes, linguistic devices), and act as their spokespersons. A considerable corpus of traditional songs was gathered by Resurrecci•n Marƒa de Azkue and Aita Donostia, two religious scholars interested in Basque folk culture, at the turn of the 20th century; and also later on, in Cancionero popular vasco (1918) and Euskal Eres-Sorta. Cancionero Vasco (1922), to mention but a few Children holding hands for dance on the works. In the present day, the band Hiru Truku (comprising the traditional Saint Agatha's Eve (Altsasu) celebrated musicians Joseba Tapia, Ruper Ordorika and Bixente Martinez) has chosen several ancient songs from all over the Basque Country, updated the music brilliantly and released them in a number of albums. Another current long-standing and renowned group who elaborate on traditional songs is Oskorri: The band set about singing traditional songs in public performances previously handing out to the audience a repertoire bill including the lyrics and encouraging them to sing along. The band has launched a couple of albums of this kind so far and performed on various tours to public acclaim, becoming especially popular with middle-aged parents. A key figure bridging the old singing tradition of Soule and the folk song revival of the 20th century is Pierre Bordazaharre (1907 € 1979), aka Etxahun Iruri. A xirula player and singer, he collected old songs and fashioned new ones, which eventually caught on and spread, take for instance,  Agur Xiberoa . He also contributed to new pastoral plays in the tradition of Soule, reshaping the pastoral and adding new topics. There is also a tradition of choral music all over the Basque Country. Church choirs were set up in some towns to meet the religious musical needs. Yet at the turn of the 20th century some ensembles became established outside the ecclesiastical context, e.g. the Sociedad Coral de Bilbao (founded in 1886), Orfe•n Donostiarra (founded in 1897) or the Coral Santa Cecilia from Donostia (founded in 1928). Later on, other ensembles were formed, such as Oldarra Abesbatza from Biarritz (founded in 1947), made up of men and sometimes putting on performances as an ochote (see below),[1] or the reputed Coral Andra Mari from Errenteria, established in 1966, featuring Basque folk music and Aita Donostia's several scores. [2] Nowadays many minor choral ensembles, largely offering the Basque folk repertoire, dot the Basque territory. Interestingly, in Bayonne and Donostia a cheerful informal initiative has grown popular with amateurs in the late noughties, who meet once a month and go bar hopping around the streets of the respective Old Quarters while singing traditional songs. Another Basque choral phenomenon is represented by the so-called ochotes, which became popular in the 1930s in the Bilbao region: Eight men with deep voices, with a marked taste for local and folk subjects, singing in Spanish and Basque. The may stem from summer ecclesiastic seminaries and they thrived on the warm atmosphere of the bars after the work shift was over). [3] Eventually a branch of this genre evolved out into bilbainadas (up to the 1960s, nowadays much in decay).

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Basque music

Composers The Basque Country has been home to various notable composers, writing mainly in the 20th century. Much in step with the artistic trends of the first half of the century (painting,...), some of them developed a liking for Basque customs, manners and subjects. Š Š Š Š

Š

Š

Š Š Š Š Š

Juan de Anchieta (1462 € 1523): Composer of the Renaissance hailing from the area of Azpeitia. Santiago de Herdoiza (Durango, c. 1700) Juan Crisostomo Arriaga (Bilbao, 1806 - Paris, 1826) Jose Maria Usandizaga (Donostia/San Sebastian, 1887 € 1915): He is considered along with J. Guridi the father of  Basque opera. He drew up orchestral and chamber pieces, like the celebrated Cuarteto de cuerda en Sol, Op. 31, shifting to elaborate zarzuela as well as opera works at the end of his life ( Mendi-Mendiyan, 1910: Las Golondrinas, 1914). He had his increasingly successful career cut short by an early death. Jesus Guridi (Vitoria-Gasteiz, 1881 - Madrid, 1961): Himself a friend of Usandizaga, whom he met in Paris while attending the Schola Cantorum, he was appointed manager of Bilbao's Sociedad Coral choir in 1912. Influenced by Wagner and musicians of the Late Romanticism, he found inspiration and phrases for his compositions in Basque folklore. His rich musical education enabled him to deal with different types of music, e.g. zarzuela, opera, compositions for choir as well as religious pieces for organ. Some acclaimed works include  El caser€o (1926), Diez melod€as vascas (1940), La meiga (1929), Seis canciones castellanas (1939) and Sinfon€a pirenaica (1945). Nemesio Ota…o (Azkoitia, 1880 - San Sebastian, 1956 ): Composer, organist and musicologist. One of the most important figures in 20th century Spanish music history. Director of the Royal Conservatory of Madrid between 1939 and 1956. Among his most known works is 'Saint Ignatius March' ('Marcha de San Ignacio'), the saint patron of Biscay and Guipuscoa. In 1894 studied in the Colegio Preceptorƒa de Baliarrain, in which he composed two of his first Letanƒas and a Zortziko for piano; he was then only fourteen years old, but already played the organ in the school Parish. In 1896 he joined the Society of Jesus and began his ecclesiastical studies along with the music classes. In 1911 he founded the Schola Cantorum at Comillas: His performances in plainsong and polyphony were highly influential. His works range from popular sacred songs (e.g. Estrella hermosa, Anima Christi, Baldako) to large-scale choral pieces. Pablo Sorozabal (Donostia/San Sebastian, 1897 - Madrid, 1988) Maurice Ravel (Ziburu, 1875 - Paris, 1937): Basque French composer and arranger Carmelo Bernaola (Otxandio, 1929 - Madrid, 2002) Francisco Escudero (Donostia/San Sebastian, 1912 € 2002), composer of Zigor and Gernika), operas with Basque librettos Sebastian Iradier (Lanciego, 1809 - Vitoria-Gasteiz, 1865)

25

Basque music

Basque musical revival Postwar desolation and first sprouts In the wake of the Civil War (1936-1937 in the Basque territory), headway made in the Basque culture in the pre-war period ground to a halt: Fear grew amidst harsh repression, famine became an overriding concern, and former cultural figures died or ran for their lives to exile. As an individual singing figure of the 40s, 50s and 60s, Luis Mariano and his powerful tenor voice should be highlighted. Born in Irun and moving in his 20s to Bordeaux, he jumped onto the Spanish and international scene with lighthearted songs in Spanish and French (and, occasionally, in Basque). After the hardest postwar years, the younger generation set about putting together duos and small musical groups in Gipuzkoa and Biscay, who gradually began singing original tunes in Basque. Notable bands from the 60s include Urretxindorrak, Enarak, Soroak and Estitxu (female singer born to fleeing parents near Bayonne). These new bands sought to take advantage of the regime's increasing liberalization, despite the fact that major obstacles that still hindered cultural activity associated with anything Basque. Benito Lertxundi in 1971 Cultural and political awareness, social rebelliousness and an urge for action cropped up in succeeding generations, resulting in a new left-leaning Basque nationalist movement. Music and identity assertion Some people from the southern Basque Country fled the territory to the Northern Basque Country and sought refuge. They left their imprint in the traditional Basque society from the Northern Basque Country, contributing to giving rise to cultural and political awareness. In this category falls Mixel Labeguerie, who worked and lived in Kanbo, its mayor for more than a decade (1965 € 1980), Councillor General of the department and a founder of Basque nationalist movement Embata (he walked out later). He had a musical education, soaked up the new European musical trends, e.g. Brassens, folk music from England and France, and released an album in 1961 with songs that struck a chord, such as Gu gira Euskadiko,  Primaderako liliak , etc.[4] He was to have influence on the new artistic Basque group "Ez dok amairu" put together in 1965, largely made up of folk singer-songwriters concerned with Basque culture: Benito Lertxundi, Mikel Laboa (popular song "Txoriak txori"), Xabier Lete, Lourdes Iriondo, etc. Lourdes Iriondo took to singing accompanied on a guitar for the first time in Basque music, a fact that came in for much criticism on the grounds that the instrument was alien to the own culture. "Ez dok amairu" broke up in 1972 and its members took up separate paths that eventually have confirmed some of them as acclaimed and key folk Basque singers up to the 2000s. Along the lines of singer-songwriter style, in a context of social and political unrest, it is worth mentioning Guk, Larralde eta Etxamendi or the beloved duo Pantxoa eta Peio from the Northern Basque Country, who provide the musical background for the 70s period of struggle, repression and turmoil. Especially in the provinces of †lava and Navarre, Enrike Zelaia (Altsasu) and Gorka Knrr struck a chord with a more folkloric and nuanced approach.

26

Basque music A shift to urban music in times of political transition Meanwhile, new and more urban style musical ensembles and bands sprang up in the 70s, performing first to other's songs of the time at summer local festivals. They gradually developed their own repertoire fashioned in line with the Basque revival and activism (special focus on the lyrics) and ongoing Western musical trends, e.g. folk (Gwendal for one), progressive rock (Pink Floyd,...). As regards choral bands, Mocedades from Bilbao should be highlighted, founded in 1967 initially by Amaya Uranga and two sisters of her. They soon gained public notability by ranking second at the 1973 Eurovision Song Contest. That very year in the same city the prolific Oskorri band (see above) got together featuring folk music, launching first album in 1976, where they paid homage to poet Gabriel Aresti, while in the Northern Basque Country Michel Ducau and Anje Duhalde teamed up and put together the first Basque rock band, the celebrated and politically engag„ Errobi, releasing album  Errobi (1975) to critic and public acclaim,  Bizi bizian ensued. The group disbanded (not definitely) in 1979. Beginning in the mid-60s, Imanol Larzabal led a solo career as a singer/songwriter, featuring a deep voice as well as a socially committed and poetic subjects, with the collaboration of  domestic and foreign poets and singers. He went through a short period in prison and came back from exile in 1977. Friend of his and son of emigrant Souletin parents, Niko Etxart came back to the Basque Country from Paris with brand-new ideas about music in 1972, so Rock band Zamara's live performance turning into a forerunner of Basque rock music ( Euskal Rock&Roll released in 1979) alongside Errobi, while especially in the traditional Northern Basque Country some lashed out at his looks, manners and music. He alternately performed onstage in "verbenas" (dancing music in local festivals) with the band Minxoriak up to the late 80s. In the area of Mutriku, Itoiz, a milestone in Basque folk-pop music, was formed in 1978, with Juan Carlos Perez as its lead vocalist and frontman, releasing that very year the critically acclaimed album  Itoiz, which contained such poignant tracks as Hilzori, Lau teilatu etc. Akin ensemble Haizea delivered a couple of good LPs in this period. The rise of Basque punk music Up to that point, Basque music bands from the Southern Basque Country resorted to labels from Spain to record and release their works. Yet at the end of the 70s and notably early in the 80s new regional labels arose (Xoxoa, So…ua...), providing a springboard for small bands that previously found it difficult to see their works published. At the same time, a whole network of youth squats, the gaztetxes, sprang up all over the Basque Country, so furnishing small bands with premises to rehearse and a venue to stage concerts, in a way that a younger disaffected and unruly generation stemming from urban sprawls and towns could find an outlet to voice its protest along the lines of a punk outlook ("do it yourself"). 1984 is the year for the outbreak of Basque punk rock, or  Basque Radical  Rock ( Rock Radical Vasco in Spanish).

27

Basque music

28 Some popular bands jumping into the rock scene of the time were Zarama and Eskorbuto from Santurtzi, rocky Barricada and whimsical Tijuana in Blue from Pamplona, La Polla Records from Agurain, Kortatu and Baldin Bada from Irun, Hertzainak, Cicatriz and Potato from Vitoria-Gasteiz, Jotakie, RIP, Naste Borraste, MCD, BAP, Zer Bizio, Delirium Tremens, etc. Most of the times Spanish language was used, sometimes Basque, while other times bands were bilingual.

This new musical trend clashed with the previous singer-songwriter tradition (generation gap), so much so that both were linked to different degrees to the leftist and Basque nationalist movement. Meanwhile, Itoiz kept its low-profile musical path switching to pop in the accomplished album  Musikaz blai (three more LP albums followed), featuring internationally acclaimed songs like To Alice, As Noites da Radio Lisboa or the catchy Marea gora. Kortatu onstage in their early years

Other bands of the late 80s stack to a different path, gentle and even naŽve, using Spanish-language lyrics and combining Spanish and international pop trends, take for instance, Duncan Dhu (with leading figure Mikel Erentxun), 21 Japonesas or Sanchis y Jocano, bands from the area of Donostia. Duncan Dhu especially attained big levels of popularity on the Spanish and international pop scene, giving rise to a tradition in ensuing years that was to be called "Donosti Sound" (Le Mans, La Oreja de Van Gogh,...).

Current popular music End of punk and new trends In 1990, Basque-language public radio station Euskadi Gaztea was born, intending to target the youth in a young, dynamic and informal manner, besides adding information, dealing with subjects Basque young people may be interested in and encouraging Basque groups. Basque music definitely opened its mind to trends all over the world. The flagship Basque rock band Kortatu broke up in 1988 (live album  Azken guda dantza), and soon after brothers Muguruza put together A Negu Gorriak concert in Pamplona (1992) project Negu Gorriak. They showed a different outlook compared to previous band Kortatu: The new band sang entirely in Basque, their approach was more hedonistic and showed a taste for rap, an attitude displayed in a video clip ( Radio Rahim) that conjures up American hip-hop manners. Punk style fell much in decay, while reggae as well as hardcore took over, e.g. Anestesia, Etsaiak, Sociedad Alkoholika, Su Ta Gar (heavy), etc. M-ak launched its best album  Barkatu ama to critical acclaim, featuring styles ranging from hardcore to gentle tracks.

Basque music

29

Folk and triki pop music Early in the 90s, younger generations took up folk again, finding a public that was eager to listen to milder tunes in Basque, e.g. Sorotan Bele, Mikel Markez, etc. Trikiti schools finally bore fruit in the 90s: The novelties brought about by the duo Tapia eta Leturia and Kepa Junkera confirmed them as compelling folk references in the Basque Country and even abroad. Novel trikiti duos tried new ways that caught on, sometimes setting up bands including bass guitar and drums besides the set pair of diatonic button accordion and tambourine ( triki  pop), e.g. Maixa eta Ixiar, Alaitz eta Maider, Gozategi. They usually offered a cheerful repertoire, with Gozategi's song  Nirekin ("Emoixtaxux muxutxuek...") hitting the summer charts in 2000 beyond language boundaries.

Trikiti player Joseba Tapia

Specialization and diversification Rock band Hertzainak disbanded in 1993, while its members followed their own projects. Hertzainak frontman and controversial singer Gari started up a solo and very personal career with some accomplished songs that has established him as a compelling reference in Basque music, while Josu Zabala collaborated with other singers and a bertsolari group project, i.e. the original brass band Karidadeko Benta (first album 2003). Power pop band Urtz, formed in 1988, dealt with Skalariak in a 2006 concert personal stories that slightly differed from the still prevailing protest topics and harsh language of the late 80s, besides featuring an unprecedented chorus line that delivered some charming, upbeat and catchy songs. The band broke up in the early 2000s, but staged a comeback in 2013. In step with the hardcore punk tradition, the band Berri Txarrak from Lekunberri got together in 1994, releasing various albums (latest album  Haria -2011-) and touring on Europe, where they come in for good reviews and gradually get a reputation that earned them performances and collaborations with important figures of indie rock all over the world. The band PiLT (Mungia), who showed a taste for metal and hard sounds (Clawfinger, Soundgarden), jumped into spotlight in 1995 after winning the bootleg contest "Gaztea Sariak" granted by radio station Euskadi Gaztea, while the definite hit came in 1996 with single  Hil da jainkoa, earning them widespread recognition. [5] Likewise heavy metal band Latzen came to public prominence after winning with the popular ballad  Laztana the 1997 edition of the "Gaztea Sariak". The bands Skalariak (1994) and Betagarri (1992) took over the ska tradition, offering boogie inciting and swinging live concerts. In step with other multicultural experiences, such as Fermin Muguruza from Negu Gorriak or festive Joxe Ripiau to highlight but a few, in 2003 members of Etsaiak put together Pin pan pun band, a  band with good connections in Latin America, releasing in 2005 the DVD  Kuba-Mexiko Rock Tour 04, which bore witness to their experience and live powerful concerts. Etsaiak got together again in 2008 (launched album  Apurtu arte).[6] In the French Basque Country, the festive band Sustraia attained great popularity after 15 years on the road, while the sudden death of charismatic frontman Patrick Mixelena in January 2009, a.k.a. Mixu, made the group's future uncertain. The band hailing from Zarautz Delorean does electronic&rock with enthralling and trance raising live performances. Other rock bands on the rise in 2008: Surfing Kaos (Donostia), We Are Standard (Getxo), Kaotiko (Agurain), The

Basque music

30

Uskis (Elantxobe), Atom Rhumba (Bilbao), Ken 7 (Gernika), Capsula (Bilbao)... Doctor Deseo was set up in Bilbao in 1986, releasing thereafter various albums during a period that spans more than 20 years. They deal with everyday and personal subjects in a rather poetic manner. Fito y los Fitipaldis (Bilbao) was formed in 1998 by Platero y T‚'s frontman Fito Cabrales, comprising a variety of styles ranging soul, blues, swing, flamenco, tex-mex or Hawaiian guitars. The project kicked off with  A puerta cerrada (40,000 albums sold so far) and grew steadily in popularity, one of the latest hit song being  Rojitas las orejas.[7] In Donostia, youths from university gathered together in the mid-90s to rehearse. Yet they were in need of a singer for the band, so they fixed up a casting meeting with Amaia Montero that resulted in the creation of La Oreja de Van Gogh, who after launching album  Dile al sol took off boosted by Amaia's mighty voice and catchy soft tunes trimmed with beautiful arrangements. New hit songs and albums followed.

La Oreja de Van Gogh live

Singer-songwriters and gentle music The singer-songwriter approach that waned in the late 80s shows presently a sound condition in the Basque scene, with some very outstanding figures, like poignant Anari, renowned for her intense, heartbreaking voice and songs, who is now taking off  (live recording  Anari Kafe Antzokian Zuzenean released in 2008). Other singer-songwriters include Petti, from Bera (Navarre), with four albums published up to 2008, or the bertsolari Mikel Urdangarin, featuring somewhat melancholic songs often accompanied on string and brass instruments. Following the folk and singer-songwriter tradition, Jabier Muguruza (born 1960) took up a solo career in 1994 after quitting other projects (Les Mecaniciens,...). The veteran musician composes and performs personal, mild songs with strong broody and literary lyrics. Meanwhile, some renowned figures of Basque folk music have kept on performing and creating, e.g. Benito Lertxundi, or Oskorri (fresh album  Banda band in 2007, about to celebrate the ensemble's 35 anniversary). The celebrated singer-songwriter Mikel Laboa, considered a godfather of modern Basque music, died in December 2008. Anari at the youth squat of Ordizia

The ensemble Bidaia [8], i.e. the couple Mixel Ducau and Caroline Phillips, offers gentle and elaborate folk music, while percussionist Benat Achiary (born 1947) provides an experimental approach, often featuring improvised passages in his performances (several albums released in the 90s). Amaia Zubiria (born 1947 in Zubieta -Gipuzkoa-), who has occasionally collaborated with him, holds a long and prolific career in the Basque song panorama: She came to the spotlight with progressive-folk group Haizea, having published some solo albums since and featuring a very pure mezzo-soprano voice. Her latest work is the album  Nabil (2008).[9]

Basque music

31

Samples Š A footage of Saint Agatha's Eve [10]

References [1] Site in Basque and Spanish [2] Site in Basque and Spanish [3] Site in Spanish [4] Site in Basque [5] Site in Spanish [6] Site in Basque [7] Site in Spanish [8] http:/   / www.bidaia.com [9] Site in Spanish [10] http:/   / uk.youtube.com/ watch?v=SypsdbSgbfk&feature=related

Further reading Š Khteian-Keeton, Teddy (1994). Guide to Basque Music. Idaho Arts Archives & Research Center Filer P. ISBN 0-9675042-0-1. Š Martija, Jos„ Antonio Aran (1985). Basque Music. Basque Government. ISBN 84-7568-071-2.

External links Š Basque Music and Art (Buber's Basque Page) (http:/  / www.buber.net/ Basque/ Music/ ) Š Free scores of Basque music in the Choral Public Domain Library (ChoralWiki) Š Badok, information on Basque music run by the daily newspaper [[Berria (http:/  / www.badok.info/ )]]

Music of Basque regions General topics

Š Š Š Š

Alboka Musicians Trikitixa Txistu Regional music

Š Š Š Š Š

French music Spanish music v t e (http:/ /  en.wikipedia.org/ w/ index.php?title=Template:Basque_music&action=edit)

Music of the Canary Islands

Music of the Canary Islands The music of the Canary Islands reflects its cultural heritage. The islands used to be inhabited by the Guanches which are related to Berbers; they mixed with Spaniards, who live on the islands now. A variant of Jota is popular, as is Latin music, which has left its mark in the form of the timple guitar. There has been a strong connection with Cuban music, Venezuelan, Puerto Rican, and other Caribbean countries both through commerce and migration. Popular dances from the Canary Islands include: Š Isas Š Š Š Š Š Š Š Š

Tajaraste Baile del Candil Baile de Cintas Danza de Enanos El Santo Domingo Tanganillo Folias Malague…a

Of these, the Isas, a local variation of Jota are the most well-known and characteristic of the Canary Islands. They are graceful music, with a lot of variation among islands. In some places, a captain leads the dance and organizes others in a chain as the dance grows more and more complex. Rondalla arrangements are very common. Instruments include charangas, timples (similar to a cavaquinho / ukulele), castanets, panderetas, lauds and guitars. A peculiar ensemble in El Hierro island is made of pito herre…o players (a wooden transverse flute) and drums. Some ritual dances in Tenerife island are led by a tabor pipe player. Joyful music for carnival lies to a big extent on brass bands and Latin American patterns.

Canarian musicians Š Brandania Š Pedro Guerra Š Rosana

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Music of Castile and Le•n

Music of Castile and Le€n Central Spain includes the cultural melting pot of Madrid and Castile. A down-tempo version of jota is common, as well as other dances as fandango, habas verdes, 5/8 charrada. Bagpipes are still used in northern Le•n and Zamora provinces. Tabor pipe (in Le•n) and dulzaina (shawm) enjoy rich repertoires. The city of Madrid is known for keeping its own version of chotis music. Salamanca is home to tuna, a form of serenade played on guitar, bandurria and tambourine, traditionally by students in medieval clothing. Castilian dances include: Š Š Š Š Š Š Š Š

Agudo Agudillo Charrada Fandango Jota Jotilla Habas verdes Rebolada

The Province of Le•n is dominated by palatial dances that are extremely complex: Š Š Š Š Š Š Š Š

Baile a lo Alto Baile del Pandero Danza de las Doncellas Cantadoras Danza de la Muerte El Corrido La Giraldilla Los Mandiles Zapateta

33

Music of Catalonia

34

Music of Catalonia The Catalan / Valencian cultural domain

The pipe organ at Santa Maria del Mar, Barcelona

Š Š Š

v t

e [1]

The music of Catalonia comprises one of the oldest documented musical traditions in Europe [citation needed ], and has displayed a rich musical culture continuously for at least two thousand years [citation needed ].

History In the Middle Ages, Barcelona and the surrounding area were relatively prosperous, and both music and arts were cultivated actively. Catalonia and adjacent areas were the home for some troubadours, the itinerant composer-musicians whose influence and aesthetics was decisive on the formation of late medieval secular music, and who travelled into Italy and Northern France after the destruction of Occitanian culture by the Albigensian Crusade in the early 13th century. The so-called Llibre Vermell de Montserrat (red book of Montserrat) stands as an important source for 14th century music. Renaissance polyphony flourished in Catalunya, though local composers never attained the fame of either the Spanish composers to the South and West or the French composers to the North. Joan Pau Pujol wrote four books of  polyphonic masses and motets for the patron saint of Barcelona, St. George. Performances of opera, mostly imported from Italy, began in the 18th century, but some native operas were written as well, including three by Isaac Alb„niz and seven by Enrique Granados. The Barcelona opera house, Gran Teatre del Liceu, which opened in 1847, remains one of the most important in Spain; in addition, in the mid-19th century the first Barcelona Philharmonic Society was founded for the performance of orchestral music. Several symphonic orchestras exist in Catalunya today, including the Barcelona Orchestra. Around the beginning of the 20th century, two Catalan composers--Enrique Granados and Isaac Alb„niz ‚  became the most famous composers in Spain. Francisco T€rrega and Miguel Llobet expanded the technical possibilities of  guitar. Their music remains in the standard classical repertory today. Cellist Pablo Casals (known in Catalonia by his Catalan name, Pau Casals) is admired as an outstanding player. Federico Mompou (1893 € 1987) is known for his delicate piano works, which often have a Catalan flavor. He spent most of his life in Paris, returning to his native Barcelona only during and after World War II. A tradition of Catalan lieder also developed, following Spanish art songs. These have been performed and promoted by Catalan artists, including a Catalan folksongs album by Los Angeles (1991), and an album of more classical songs by Jos„ Carreras (1991).

Music of Catalonia

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Folk and popular music Originally from the Northern areas, Sardanes are popular dances, were especially widespread at the end of the 19th century. Currently, two main types, the original sardana curta (short sardana) style and more modern sardana llarga (long sardana), are very popular. Sardanas are danced in a circle dance. Other more strange sardanes are sardana de lluˆment and sardana revessa. The sardana's music (m•sica de cobla, in Catalan) is played by an 11-piece band called a cobla, that includes genuine folk instruments such as the flabiol (tabor pipe) and tambori, tenora, tible which are also used in other regions of  Spain. Coblas also frequently play as concert bands without the dance. Other popular music are the ball de bastons (stick dances), galops, espunyolets, ball de panderetes, ball de gitanes and the music of gralla (music) (a kind of Catalan shawm)and drums used in cercaviles or by colles diableres, etcetera (there are so many dances and instruments like sac de gemecs similar to the Bagpipes,...) In areas around the river Ebre, the jota is a popular dance. Sung in both Catalan and Spanish, Havaneres have been very popular at parties since the end of the 19th century when sailors returned from the War of the Cuban Independence. In the last half century, the rumba catalana genre has spread in Catalunya, played mostly by Gypsies, including popular performers like Peret and Gato P„rez. During the end of the Franco period, a movement known as Nova Can‡• emerged. Nova Can‡• singers sang in Catalan, denouncing the official oppression of the language. The pioneering group of singer-songwriters Els Setze Jutges was founded in 1961 in Barcelona and came to include several singers from Catalonia, including Joan Manuel Serrat and Lluƒs Llach, as well as members from the Balearic Islands and Valencian Community. Grup de Folk and  Esquirols were other notable can‰… groups. In the last 20 years, rock and roll has become popular, and a Catalan scene called rock catal‰ has appeared. Some very popular groups are Lax'n'Busto, Sau, Els Pets or Sopa de Cabra. In the wake of Mano Negra and Manu Chao's success, Catalonia has also produced a number of popular fusion and world music bands, such as Dusminguet or Cheb Balowski. Ojos de Brujo, a band from Barcelona merging traditional flamenco with hip-hop, has also become popular. Singing in Catalan has received a boost in the 21st due to the success of lots of Catalan indie bands that are springing up in many genres, such as pop (Ant‘nia Font, Manel, Els Amics de les Arts, Mishima, Sanjosex), hip-hop (At Versaris, Guillamino), and so on.

References and further reading Š "Spain", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2

External links Š Scores for gralla [2] Š MIDI files of folk songs collected by Palmira Jaquetti, Joan Tom‰s and Joan Amades [2] • A request for comment about this template (Template:Europe topic) is currently held. •

Music of Catalonia

References [1] http:/   / en.wikipedia.org/ w/ index.php?title=Template:Catalan/ Valencian_cultural_domain&action=edit [2] http:/   / gralla.skamot.com/ 

Music of Extremadura Extremadura is a region in Spain near Portugal. Its folk music can be characterized by a melancholy sound, and Portuguese influences, as well as the predominance of the zambomba drum (similar to Brazilian cuica), which is played by pulling on a rope which is inside the drum. There is also a rich repertoire of gaita (local name for a tabor pipe) music. Popular songs include: de ronda; de bodas; de quintos; de Nochebuena. Jota is also common, here played with triangles, castanets, guitars, tambourines, accordions and zambombas. There are few ethnomusicological recordings of Extremaduran music, with the most influential and well-known being by American researcher Alan Lomax. Lomax went to Spain in 1952-3 to avoid persecution as a Communist and found some hostility from Spanish researchers, then in a period of great political upheaval. Lomax and his assistant, Jeanette Bell, did much of their recording in secret. A research centre for Spanish folk music existed in Extremadura before the Civil War, but details of its collection appear to have been lost. Extremadura has long been one of the poorest regions in the country. As a result, many of its people left to Latin America during the colonial era (1492-1820s), leaving a mark on Latin music. Traditional Extremaduran dances include: Š Š Š Š Š Š

El baile de la pata El perant•n El pindongo El son brincao El son llano La Zajarrona

Discography Š "The Spanish Recordings: Extremadura" (Various artists) (collected by Alam Lomax) (Rounder, 2002)

References External references Š Music of Extremadura (http:/  / www.paseovirtual.net/ musica/ )

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Music of Murcia

Music of Murcia Murcia is a region in the South East of Spain with many external influences varying from the ancient Moors that occupied the area for centuries to the adjacent Communities (Andalusia, Castilla La Mancha, etc.). Its music is determined by the heavy use of string instruments as the bandurria or the Spanish guitar and percussion instruments like the castanets ("casta…uelas" or "postizas") and the tambourine. Murcian music is most notably represented by the religious Auroras songs, which are derived from La Mancha and Andalusian folk music. They include a cappella chants, sometimes accompanied by church bells. They are often performed in small paths in orchards at night. Cuadrillas are festive songs traditionally sung by reduced collectives with jobs like harvesters ("segaores" [sic]) or builders ("alba…iles"), but now they are performed at celebrations and holidays, especially on Christmas by reduced bands with occasional dancing. [1] The Fandango Murciano is a well-known variation of the Andalusian fandango characterized by long extensions of the voice. Jos„ Verd‚'s Cantos populares de Murcia is a well-known collection of Murcian songs.

References [1] http:/   / www.lomejordemurcia.com/ lmdm_musica. htm

External links Š Webpage of a Murcian Traditional Folk Music Festival (http:/  / www.fiestadelascuadrillas.com/ ) (In Spanish)

Music of Navarre and La Rioja Navarre and La Rioja are relatively small regions bordered by Aragon and the Basque Autonomous Community. For this reason, they share much of the music found in those two regions. The jota is common in these two regions.

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Music of Valencia

Music of Valencia The Music of Valencia in eastern Spain is rich and diverse, due to different external influences. It can be broadly divided into two categories: traditional and contemporary music.

Traditional Music All the surrounding country is known for its own variety of Jota and a rich dol‰aina (shawm) tradition. Brass bands are found in almost every village in the region. The Muixeranga, a street festival, is an important tradition that originated in Valencia. Religious and work songs are common in Valencia, many are performed with accompaniment.  El Misteri d'Elx is an old, religious musical play that dates back to medi’val times. Havaneres are popular all along the Valencian coast. Valencian dances include:

Š Š Š Š Š Š Š Š Š

Brlea Fandango of Albaida El Ball del Danzants El Ball dels Oficis Los Alcides Els Bastonets Els Porrots Paloteo of Requena Valencian Jota

Contemporary Music In the nineteen eighties Bakalao was the dominant dance music form that appeared in the club scene of the city and the surrounding community. While pop and rock are forms enjoyed and played by local musicians there is a strong tendency towards electronica in the region. In the nineties Techno music continued to be a string favourite in the area with the heavier schrantz influence from northern Europe emerging in the early two thousands. Today minimal techno is popular and more recently the Trip-Tek style as attributed to outfits such as Electrika-MixTek. Valencian/Catalan Rock and Ska music is also common all throughout the autonomous community of Valencia.

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Article Sources and Contributors

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Article Sources and Contributors Music of Spain Source: http://en.wikipedia.org/w/index.php?oldid=599772727 Contributors: 16@r, 21655, 4meter4, Adam

Bishop, Adambro, Aisteco, Ajd, Alansohn, Alexf, AlexiusHoratius, Ali, Altenmann, Anamariafenardo, Angr, Angusmclellan, Anklefear, Anna Lincoln, Anonymous editor, Antandrus, Antiqueight, AntonioMartin, Arnon Chaffin, Arshispana, Asdfjkl1235, Asocall, Aubergine, Baloo rch, Barticus88, Basstonic, Batamamma, Benzband, Bestofmed, Biruitorul, Bobo192, Brockert, Bth, C777, CALR, CIA-Gov384, CWY2190, Caltas, CanisRufus, Capmo, Carlos Quesada, Celestianpower, Cenarium, Cfailde, [email protected], Cheeseabc, ClaretAsh, Claygreenberg, Closeapple, Clovernikkismith, Cmdrjameson, Codetiger, Colomero, Dakart, Damirgraffiti, Darth Panda, DavidLeighEllis, Dbolton, Dimitrii, Dipankan001, Discospinster, EdgarFabiano, El C, El monty, Epbr123, Error, Escape Orbit, Farofaro200, FayssalF, Finnrind, Flauto Dolce, Floquenbeam, Flyer22, Forever Dusk, France3470, Freakofnurture, Gaius Cornelius, Garcilaso, Garettd13, Geeoharee, Geraldshields11, Gerryterryfally, Ghaly, Gibmetal77, Gilliam, Gogo Dodo, GoingBatty, Gongshow, Guestia, HarryHenryGebel, HeavyMetalManiac1308, Hippietrail, Hmains, Hongooi, Hoof Hearted, IRP, Iemeve, I giffin, Ignis Fatuus, Iliev, Infrogmation, Iridescent, Isilanes, Isinbill, Iwana13, J.delanoy, Jacob Haller, Jagged 85, Jaglassc, Jahsonic, JamesBWatson, Jan1nad, Jarble, Jeff3000, Jennavecia, Jmabel, Joefromrandb, John of Reading, Johnbojaen, Johnkarp, Jomasecu, Jonathanthecandycorn, Jorge Stolfi, Jorgenev, Jotamar, Joy, Juandelenzina, JustAGal, KJS77, Kaal, Katieh5584, Kewp, Khazar, Kman543210, Krakkos, Kristen Eriksen, Kusma, LOL, Lemurbaby, Lineslarge, Llull, Lucadirisio, Luigi30, Madhero88, Madman, Malcolmxl5, Male1979, Mandarax, Mar bells87, Marianocecowski, Mark Arsten, MartinRe, Matthew hk, Melvalevis, Merphant, Mick Knapton, Monogenesis, Montrealais, Munci, Musiceditor, Nakon, Nathan Hamblen, Nick Number, Noah Salzman, Noctibus, Novacatz, Nrswanson, OffsBlink, Ogg, Oneofmanysteves, Oscar, Oshwah, Ostalocutanje, Oxymoron83, PKT, PTSE, Paddles, Pedro, Peripitus, Petrb, Philip Trueman, Piano non troppo, Plopflopper, Plumadesabidurƒa, Possum, Pratyya Ghosh, Proofreader77, Provocateur, Queezbo, Qwyrxian, R'n'B, Rapomon, Ravenloft, Raymond Cruise, RazorICE, Regibox, Rich Farmbrough, Rigadoun, Robina Fox, RogersHoward, Sabastianmalowitz, SchreiberBike, Sciurin’, Scottbell, Seeaxid, Seohunter, Sergio.solar, Sharkxp7, Shoemaker's Holiday, Slon02, SnoFox, Sophie, Steflozza, Storm Rider, Sun Creator, SwisterTwister, TUF-KAT, Tassedethe, The Ogre, The wub, Tobyc75, Topbanana, Tpbradbury, TrbleClef, Trusilver, Tucker001, Txuspe, Ugog Nizdast, Uyanga, Venerock, Viajero, VirtualDelight, Vizcarra, VoroSP, Wahoofive, Walden, Waninoco, Widr, Wik, William Avery, Wmahan, Woohookitty, Wwhyte, Xuriach, Zarzuelauk, 816 anonymous edits Music of Andalusia Source: http://en.wikipedia.org/w/index.php?oldid=589837560 Contributors: AdamSolomon, Ajd, Aziz1005, Bkwillwm, Bolivian

Unicyclist, CultureDrone, Diyetre, FordPrefect42, Gortu, Hameryko, J04n, Jagged 85, James McNally, Joseph Solis in Australia, Magicmonster, Meelar, Niceguyedc, Nrgsave, Nrswanson, Paddles, Phuzion, Provocateur, Raymond Cruise, Rcsprinter123, Shimeru, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Zigger, Zouavman Le Zouave, 16 anonymous edits Music of Aragon Source: http://en.wikipedia.org/w/index.php?oldid=595146955 Contributors: Ahoerstemeier, Angr, Antandrus, Bjmspangler, Charles Matthews, Closeapple, Deville, Ecelan,

Eep“, Estrolicador, Jotamar, MatthewVanitas, Mick Knapton, Mtd2006, Nrswanson, Raymond Cruise, Rosiestep, Slysplace, TUF-KAT, Template namespace initialisation script, Texture, Voceditenore, Walden, Waninoco, Woohookitty, 11 anonymous edits Music of Galicia, Cantabria and Asturias Source: http://en.wikipedia.org/w/index.php?oldid=582905749 Contributors: Arjayay, Auslli, Bgperes, Black Falcon,

Bogdangiusca, Bolivian Unicyclist, CALR, Caghulo, Chris the speller, ClaretAsh, Dagestan, Dakart, Dancingbrook, Denisarona, Dimitrii, Drpickem, Ferdinand Pienaar, Flauto Dolce, Geofferybard, Gnomeselby, Hajenso, Hmains, IANVS, JaGa, Jailender, Jamespeterka, John of Reading, Jorge Stolfi, Kaal, Khazar2, Kman543210, Krakkos, Lazloholifeld, Mandarax, Mgclap„, Mick Knapton, Missmarple, Nick Number, Nrswanson, OffsBlink, Ogg, PTSE, Paddles, Politono, Provocateur, R'n'B, Ravenloft, Raymond Cruise, Responsible?, Rjwilmsi, Rocastelo, Scottbell, Search4Lancer, Stoni, Struway, TUF-KAT, Template namespace initialisation script, Uhanu, VirtualDelight, Voceditenore, Waninoco, Wasbeer, WikiHendrik, Woohookitty, Xareu bs, Xos„, Yerrux, Zangar, 136 anonymous edits Music of the Balearic Islands Source: http://en.wikipedia.org/w/index.php?oldid=370444114 Contributors: Bonafides1, GraemeL, Jahsonic, Musiceditor, Nrswanson, Peripitus, PigFlu Oink,

Raymond Cruise, Rosiestep, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, 5 anonymous edits Basque music Source: http://en.wikipedia.org/w/index.php?oldid=592489856 Contributors: Akerbeltz, Akldawgs, Alaiasmom, Alfanje, Badagnani, BorkaLerdo, Briaboru, Canis Lupus,

Capmo, Chubbles, Closedmouth, CommonsDelinker, D6, DanMS, Deipnosophista, Dthomsen8, Eignatus, Error, Gadfium, Gongshow, Heironymous Rowe, Hmains, Hontza, Inhumer, I…aki LL, J4vier, Jeff3000, Joannaguy, Joebengo, John of Reading, Kman543210, Kotra, Life of Riley, L„a357, Narssarssuaq, Nrswanson, Pekinensis, Peter Karlsen, Psiphim6, Raymond Cruise, RenamedUser01302013, Rjwilmsi, Rsanchezsaez, Shukare, Sister Ray Pr, Sjheiss, TUF-KAT, Template namespace initialisation script, Wahoofive, Waninoco, Wmahan, Xobxela, 43 anonymous edits Music of the Canary Islands Source: http://en.wikipedia.org/w/index.php?oldid=564039221 Contributors: ClaretAsh, Ginsuloft, Gurch, Isinbill, Khalid hassani, MartinRe, Mild Bill Hiccup,

Neelix, Nrswanson, Raymond Cruise, Rjwilmsi, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Zarcadia, 9 anonymous edits Music of Castile and Le€n Source: http://en.wikipedia.org/w/index.php?oldid=573364720 Contributors: Colonies Chris, Dagestan, DanMS, Diabolic.Insidious, Flauto Dolce, Gaius Cornelius,

JaGa, Javierllorente, Jorge Stolfi, Mick Knapton, Nikai, Nrswanson, Raymond Cruise, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Woohookitty, 4 a nonymous edits Music of Catalonia Source: http://en.wikipedia.org/w/index.php?oldid=596819323 Contributors: Andreditor, Antandrus, Asterion, BanyanTree, C.Fred, Dakart, Davyzena,

Deville, Estrellador*, Funandtrvl, Gaius Cornelius, GoingBatty, HarryHenryGebel, Hmains, In ictu oculi, Independncia, Jarashi, Jey86, Joan sense nick, Kallionae, Khazar2, Llull, MatthewVanitas, Maximus Rex, MegX, Moeron, Mountolive, Neelix, Nrswanson, Ntsimp, Open2universe, P0mbal, Pmacfar, Raymond Cruise, Rsholmes, SMP, Sam Hocevar, Simpleflower, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Xnuala, 51 anonymous edits Music of Extremadura Source: http://en.wikipedia.org/w/index.php?oldid=491640063 Contributors: Gotin171, JeepdaySock, Jezhotwells, Joel7687, JohnCD, Nikai, Nrswanson, Ogg,

Raymond Cruise, Sin-man, TUF-KAT, TXLonghorn, Template namespace initialisation script, Voceditenore, Waninoco, 10 anonymous edits Music of Murcia Source: http://en.wikipedia.org/w/index.php?oldid=569372295 Contributors: AvicAWB, Endomion, Magioladitis, Mar bells87, Meelar, Nrswanson, Raymond Cruise,

Rjwilmsi, TUF-KAT, Template namespace initialisation script, Voceditenore, Waninoco, Woohookitty, 2 anonymous edits Music of Navarre and La Rioja Source: http://en.wikipedia.org/w/index.php?oldid=520573553 Contributors: Bruce1ee, Isilanes, I…aki

LL, Jeff3000, Joebengo, Nrswanson, Raymond Cruise,

TUF-KAT, Voceditenore, 4 anonymous edits Music of Valencia Source: http://en.wikipedia.org/w/index.php?oldid=489011201 Contributors: A930913, AKGhetto, Ant501UK, ChrisGualtieri, Downlowder, Felix Folio Secundus,

Ferryslliria, Jeff3000, Martorell, Moswento, Nrswanson, Raymond Cruise, Selket, TUF-KAT, Tbone762, Template namespace initialisation script, Voceditenore, Waninoco, WikiHendrik, 13 anonymous edits

Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors File:Classical Guitar two views.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Classical_Guitar_two_views.jpg  License: Creative Commons Attribution-Sharealike 2.0 Contributors: Martin Mller File:Cantiga flute.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Cantiga_flute.jpg  License: Public Domain Contributors: Aviad2001, Clusternote, Enzian44, Lmbuga, Mattes,

Shakko, Siebrand, Villanueva, 1 anonymous edits File:Codex Las Huelgas.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Codex_Las_Huelgas.gif  License: Public Domain Contributors: Balbo, Eugenio Hansen, OFS, Feijoo, Juandelenzina, Makemi, Micheletb, Ras67, Shakko, 1 anonymous edits Image:Gnome-mime-sound-openclipart.svg Source: http://en.wikipedia.org/w/index.php?title=File:Gnome-mime-sound-openclipart.svg  License: unknown Contributors: User:Eubulides Image:Escuela de M‚sica seg‚n la prƒctica moderna.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Escuela_de_M‚sica_seg‚n_la_pr€ctica_moderna.jpg  License: Public Domain Contributors: es:Pablo Nasarre Image:FlamencoSevilla.jpg Source: http://en.wikipedia.org/w/index.php?title=File:FlamencoSevilla.jpg  License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Balbo, Ecemaml, JMCC1, Judithcomm, Jusjih, Mongol, Romanm, 3 anonymous edits File:Pandaverdiales.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pandaverdiales.jpg  License: GNU Free Documentation License Contributors: Mikimoss, Tyk, 4 anonymous edits File:Jota aragonesa.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jota_aragonesa.jpg  License: Creative Commons Attribution-Sharealike 2.0 Contributors: Balbo, Ecelan, FlickreviewR, JMCC1, Willtron Image:Al son de la gaita.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Al_son_de_la_gaita.jpg  License: Creative Commons Attribution-Sharealike 2.0 Contributors: Cholo Aleman, Lobo File:Basque dancers 01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Basque_dancers_01.jpg  License: Creative Commons Attribution-Sharealike 2.0 Contributors: User:FlickreviewR, User:Joebengo, User:Luigi Chiesa Image:Sanjuansoria.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sanjuansoria.jpg  License: GNU Free Documentation License Contributors: Dgarcia29Esta foto esta realizada por mi y la cedo a wikipedia. File:Sardanes2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sardanes2.jpg  License: GNU Free Documentation License Contributors: 1997, Baisemain, Bernatff, Casteller amb samarreta, Cookie, Juiced lemon, Opponent, 1 anonymous edits File:Ioaldunak 001.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ioaldunak_001.jpg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: Jean Michel Etchecolonea Image:Gaiteiros em romaria galega.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gaiteiros_em_romaria_galega.jpg  License: Creative Commons Attribution 2.0 Contributors: Dario Alvarez Image:Tranditional asturian dancers.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Tranditional_asturian_dancers.jpg  License: Creative Commons Attribution-Sharealike 2.1 Contributors: User:Mikel Image:Pitu y tambor.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pitu_y_tambor.jpg  License: Creative Commons Attribution-Share Alike Contributors: Original uploader was Ruizo at fr.wikipedia Image:Leioako txistulariak kalejiran.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Leioako_txistulariak_kalejiran.jpg  License: Creative Commons Attribution 3.0 Contributors: User:Javierme, Javier Mediavilla Ezquibela Image:Albokariak eta pandero-jolea.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Albokariak_eta_pandero-jolea.JPG  License: Creative Commons Attribution-Sharealike 3.0 Contributors: I…aki LLM Image:Santa Agenda 2004.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Santa_Agenda_2004.jpg  License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Theklan File:Benito Lertxundi 1971.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Benito_Lertxundi_1971.jpg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: Javier Garayalde Image:Zarama.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Zarama.jpg  License: Creative Commons Attribution 2.0 Contributors: aterpeirun Image:Kortatu 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kortatu_1.jpg  License: Creative Commons Attribution 2.0 Contributors: aterpeirun Image:Negu Gorriak 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Negu_Gorriak_2.jpg  License: Creative Commons Attribution 2.0 Contributors: aterpeirum Image:JosebaTapia.JPG Source: http://en.wikipedia.org/w/index.php?title=File:JosebaTapia.JPG  License: Public Domain Contributors: maqroll Image:Skalariak 06.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Skalariak_06.jpg  License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: ThrorII Image:Oreja De Van Gogh - Guapa y Mƒs Guapa.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Oreja_De_Van_Gogh_-_Guapa_y_M€s_Guapa.jpg  License: Creative Commons Attribution 2.0 Contributors: Mauricio Poblete from Santiago, Chile Image:AnariOrdizian.jpg Source: http://en.wikipedia.org/w/index.php?title=File:AnariOrdizian.jpg  License: GNU Free Documentation License Contributors: Anarkor File:Santa Maria Del Mar- Orgue.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Santa_Maria_Del_Mar-_Orgue.jpg  License: unknown Contributors: User:Antoni63

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