Español V lesson el 12 de junio 2013
el examen final
Capítulo 1 - Capítulo 5
Make up tests and
Adelante
Realidades 3
Capítulo 5
Oral tests completed
Always See homework at the end of the website lessons!
de
META
el 12 de junio 2013
el 12 de junio 2013
Capítulo 5 examen make up
tests complete
ESPECIAL: ORAL FINALS CONTINUE…….
Capítulo 5
Cultura
REPASO de los VERBOS
Presente
Presente indicativo
Presente progresivo
El subjuntivo
Presente perfecto
Presente perfecto del subjuntivo
Pluscuamperfecto
Direct Object Pronouns
Indirect Object Pronouns
The Position law of object pronouns
Al examinar las preguntas acerca de las actividades y de cultura
para el examen final.
El Arte Repasen Uds. Las lecciones sobre el arte
España, México, Cuba, Puerto Rico…..
La Práctica de usar el subjuntivo en frases para expresar la esperanza
o la duda de cualque situación…….
Al usar el pretérito, el imperfecto, el pluscualperfecto ……….
Repasen Uds. Todos…
La Preparación para el presente perfecto del subjuntivo
-
Y por fin, La historia del arte de
España
Períodos de movimientos del arte en
repaso…..
Música
de lo Medieval ,
Renacimiento, Baroco…hasta el siglo XX
LA GRAMÁTICA AQUÍ
El Presente Perfecto del Subjuntivo
Realidades 3
Página 227
The present perfect
subjunctive is a compound verb
tense that describes actions that may
have happened. For example, you
may have studied Spanish if your
high school had offered it. That may
have verb phrase? That’s the present
perfect subjunctive.
Haya hayas haya hayamos hayáis
hayan
Me alegro de que hayas trabajado de voluntario.
Estoy orgullosa de que Julián haya trabajado en el
centro de rehablitación.
Ojalá que ellos hayan juntado mucho dinero.
Siento que no hayan participado en la campañía.
Repaso- present perfect tense
I have studied. Yo he estudiado.
HABER
Present tense
he has ha hemos habéis han
Imperfect tense of HABER
Había habías había
Habíamos Habíais Habían
He estudiado.
I have studied
Había estudiado.
I had studied.
You form the present perfect
subjunctive by beginning with the
verb haber (to have) conjugated in
the appropriate tense (in this case,
present subjunctive). Then you
simply add the past participle of the
main verb. The following table shows
haber conjugated in the present
subjunctive.
The Present Subjunctive Tense of
Haber
Conjugation
Translation
yo haya
I may have
tú hayas
You (informal) may
have
él/ella/ello/uno
haya
He/she/one may
have
usted haya
You (formal) may
have
nosotros
hayamos
We may have
vosotros hayaís
You all (informal)
may have
ellos/ellas hayan They may have
ustedes hayan
You all (formal)
may have
the first-person (yo), and the thirdperson (él, ella, Ud.) singular forms of
the verb haber are the same in the
present subjunctive.
Here are some example sentences
using the present perfect
subjunctive:


La madre duda que los niños hayan
limpiado sus cuartos.
The mother doubts that the children
have cleaned their rooms.
Yo espero que ellos hayan
despegado en el vuelo correcto.
I hope that they have taken the
right flight.
demonstratives of two types
Demonstrative
Adjectives and
Demonstrative
Pronouns.
The first step in clearly understanding these
two topics is to review the differences
between "adjectives" and "pronouns."
adjective
describes a noun
pronoun
takes the place of a noun
In the following sentences, the words in
bold all function as adjectives, since they all
describe the noun "book."
Give me the red book.
Give me the big book.
Give me that book.
Give me this book.
Notice that adjectives answer the question
"Which?" in relation to the nouns that they
modify. (Which book? The red book. The
big book. That book. This book.)
In the following sentences, the words in
bold all function as pronouns, since they all
take the place of a noun.
Maria is next; give her the ball.
Juan is here; say hello to him.
That pencil is yours; this is mine.
This book is mine; that is yours.
Notice that pronouns replace a noun. ("her"
replaces "Maria" - "him" replaces "Juan" "this" replaces "pencil" - "that" replaces
"book")
As you have just seen, the words "this" and
"that" can function as both adjectives and
pronouns.
This book is mine. (adjective)
This (one) is mine. (pronoun)
That book is yours.(adjective)
That (one) is yours. (pronoun)
The same is true in Spanish.
Juan reads this book. (adjective)
Juan lee este libro.
Juan reads this. (pronoun)
Juan lee este.
That statue is Greek.
Esa estatua es griega.
That (one) is American.
Esa es americana.
Spanish has three words where English only
has two. In English, we say "this" or
"that" depending upon whether the object
is close to us or not.
In Spanish, we also say "this" and "that," but
there is another, separate word used to mean
"that one over there." This form is used
when the object is more than just a short
distance away, for example, on the other
side of the room. Here are the three forms
for "this" "that" and "that one over there."
este
this
ese
that
aquel
that one over there
In Spanish, adjectives have four forms:
masculine singular, masculine plural,
feminine singular, feminine plural. For
example the adjective "short" has four forms
in Spanish: bajo, bajos, baja, bajas.
el chico bajo
los chicos bajos
la chica baja
las chicas bajas
The demonstrative adjectives also have four
forms:
este libro (this book)
estos libros (these books)
esta pluma (this pen)
estas plumas (these pens)
ese libro (that book)
esos libros (those books)
esa pluma (that pen)
esas plumas (those pens)
aquel libro (that book over there)
aquellos libros (those books over there)
aquella pluma (that pen over there)
aquellas plumas (those pens over there)
Here are the corresponding demonstrative
pronouns:
este (this one - masculine)
estos (these ones - masculine)
esta (this one - feminine)
estas (these ones - feminine)
ese (that one - masculine)
esos (those ones - masculine)
esa (that one - feminine)
esas (those ones - feminine)
aquel (that one over there - masc.)
aquellos (those ones over there - masc.)
aquella (that one over there - fem.)
aquellas (those ones over there - fem.)
Each demonstrative pronoun also has a
neuter form. They do not change for number
or gender, and they are used to refer to
abstract ideas, or to an unknown object.
esto (this matter, this thing)
eso (that matter, that thing)
aquello (that matter/thing over there)
Los Adjetivos ylos pronombres
demostrativos
Present perfect
The present perfect is a grammatical
combination of the present tense and the
perfect aspect, used to express a past event
that has present consequences. The term is
used particularly in the context of English
grammar,
where it refers to forms such as "I have
eaten" and "Sue has left". These forms are
present because they use the present tense of
the auxiliary verb have, and perfect because
they use that auxiliary in combination with
the past participle of the main verb. (Other
perfect constructions also exist, such as the
past perfect: "I had eaten.")
They may also have different ranges of
usage – for example, in both of the
languages just mentioned, the forms in
question serve as a general past tense, at
least for completed actions.
In English, completed actions in many
contexts are referred to using the simple past
verb form rather than the present perfect.
English also has a present perfect
progressive (or present perfect continuous)
form, which combines present tense with
both perfect aspect and progressive
(continuous) aspect:
"I have been eating". In this case the action
is not necessarily complete;
the same is true of certain uses of the basic
present perfect when the verb expresses a
state or a habitual action: "I have lived here
for five years."
In modern English, the auxiliary verb for
forming the present perfect is always to
have. A typical present perfect clause thus
consists of the subject, the auxiliary
have/has, and the past participle
(third form) of the main verb. Examples:





I have eaten some food.
You have gone to school.
He has already arrived in Catalonia.
He has had child after child... (The Mask
of Anarchy, Percy Shelley)
Lovely tales that we have heard or
read... (Endymion (poem), John Keats)
Early Modern English used both to have
and to be as perfect auxiliaries. Examples
of the second can be found in older texts:



Madam, the Lady Valeria is come to
visit you. (The Tragedy of Coriolanus,
Shakespeare)
Vext the dim sea: I am become a name...
(Ulysses, Tennyson)
Pillars are fallen at thy feet... (Marius
amid the Ruins of Carthage, Lydia Maria
Child)

I am come in sorrow. (Lord Jim,
Conrad)
In many other European languages, the
equivalent of to have (e.g. German haben,
French avoir) is used to form the present
perfect (or their equivalent of the present
perfect) for most or all verbs. However, the
equivalent of to be (e.g. German sein,
French être) serves as the auxiliary for other
verbs in some languages, such as German,
Dutch, French, and Italian (but not Spanish
or Portuguese).
Generally, the verbs that take to be as
auxiliary are intransitive verbs denoting
motion or change of state (e.g. to arrive, to
go, to fall).
For more details, see Perfect constructions
with auxiliaries.
In particular languages
In many European languages, including
standard German, French and Italian, the
present perfect verb form usually does not
convey perfect aspect, but rather perfective
aspect. In these languages, it has usurped the
role of the simple past (i.e. preterite) in
spoken language, and the simple past is now
really only used in formal written language
and literature
in standard English, Spanish, and
Portuguese, by contrast, the present perfect
and simple past are both common, and have
distinct uses.
English
The present perfect in English is used
chiefly for completed past actions or events,
when no particular past time frame is
specified or implied for them (it is
understood that it is the present result of the
events that is significant, rather than their
actual occurrence).
When a past time frame (a point of time in
the past, or period of time which ended in
the past) is specified for the event, explicitly
or implicitly, the simple past is used rather
than the present perfect.
It can also be used for ongoing or habitual
situations continuing up to the present time
(and not necessarily completed), particularly
in describing for how long or since when
something has been the case. In this case the
present perfect progressive form is often
used, if a continuing action is being
described.
For examples, see Uses of English verb
forms: Present perfect, as well as the
sections of that article relating to the simple
past, present perfect progressive, and other
perfect forms.
Spanish
The Spanish present perfect form conveys a
true perfect aspect. Standard Spanish is like
English in that haber is always the auxiliary
regardless of the reflexive voice and
regardless of the verb in question.
For example
I have eaten (Yo he comido)
They have gone (Ellos han ido)
He has played (Él ha jugado)
Spanish differs from French, German, and
English in that its have cognate, haber,
serves only as auxiliary in the modern
language; it never indicates possession,
which is handled instead by the verb tener.
In some forms of Spanish, such as the Rio
Platense Spanish spoken in Argentina, the
present perfect is rarely used: the simple
past replaces it.
Pluperfect Tense
Pluscuamperfecto - Spanish
Pluperfect
The Spanish pluperfect (aka past
perfect) is used to indicate an action in
the past that occurred before another
action in the past. The latter can be
either mentioned in the same sentence or
implied.
Ya había salido
I had already left
(cuando tú
(when you called).
llamaste).
No habían comido
(antes de hacer su
tarea).
They hadn't eaten
(before doing their
homework).
I went to the store
Fui al mercado por
this morning; I had
la mañana; ya
already gone to the
había ido al banco.
bank.
Conjugating the Spanish Pluperfect
The pluperfect is a compound verb
formed with the imperfect of the
auxiliary verb haber + the past
participle of the main verb.
HABLAR
había
yo
hablado
tú
habías
hablado
él
había
ella
hablado
Ud.
habíamos
nosotros
hablado
habíais
vosotros
hablado
ellos
ellas
Uds.
habían
hablado
SALIR
yo
había
salido
nosotros
tú
habías
salido
vosotros habíais salido
él
había
ella
salido
Ud.
ellos
ellas
Uds.
habíamos
salido
habían salido
Compound Tenses
Spanish Verb
Lessons
La historía del Arte
Movements in arte
history
de …España
14th Century Italian
Renaissance
Early Italian Renaissance - 15th Century
Early Northern Renaissance - 15th Century
High Italian Renaissance - 16th Century
Northern Renaissance 16th Century
Mannerism (21)
Baroque and Rococo
Italian Baroque (38)
Spanish Baroque (14)
Flemish Baroque (11)
Dutch Baroque (19)
French Baroque (11)
Rococo (2)
The Natural (15)
Neoclassical
)
French Neoclassical (20)
American Neoclassical (1)
Romantic
(34)
Landscape Painting (7)
Modernism (1850 - 1900) (109)
Realism (33)
Photography (4)
Academic Painting (7)
Impressionism (48)
Post Impressionism (70)
Art Nouveau (12)
20th Century Expressionism (362)
Cubism (28)
Synthetic Cubism (5)
Analytic Cubism (8)
Futurism (10)
Dada (113)
Precisionism (62)
American Scene (15)
Surrealism (117)
Suprematism and Constructivism (36)
Abstract Expressionism (5)
Post-Painterly Abstraction (1)
Performance Art (2)
Pop Art (40)
Neo Expressionism (1)
Generate Timeline
fin
roccoco
The past perfect is formed by combining the
auxiliary verb "had" with the past participle.
I had studied.
He had written a letter to María.
We had been stranded for six days.
Because the past perfect is a compound tense,
two verbs are required: the main verb and the
auxiliary verb.
I had studied.
(main verb: studied ; auxiliary verb: had)
He had written a letter to María.
(main verb: written ; auxiliary verb: had)
We had been stranded for six days.
(main verb: been ; auxiliary verb: had)
In Spanish, the past perfect tense is formed by
using the imperfect tense of the auxiliary verb
"haber" with the past participle. Haber is
conjugated as follows:
había
habías
había
habíamos
habíais
habían
You have already learned in a previous lesson
that the past participle is formed by dropping the
infinitive ending and adding either -ado or -ido.
Remember, some past participles are irregular.
The following examples all use the past
participle for the verb "vivir."
(yo) Había vivido.
I had lived.
(tú) Habías vivido.
You had lived.
(él) Había vivido.
He had lived.
(nosotros) Habíamos vivido.
We had lived.
(vosotros) Habíais vivido.
You-all had lived.
(ellos) Habían vivido.
They had lived.
LA MÚSICA SE ESPAÑA
The music of Spain has a long history and
has played an important part in the development of
western music. It has had a particularly strong
influence upon Latin American music. The music of
Spain is often associated abroad with traditions like
flamenco and the classical guitar but Spanish music
is, in fact, diverse from region to region. Flamenco,
for example, is an Andalusian musical genre from
the south of the country. In contrast, the music in the
north-western regions is centred on the use of
bagpipes, while the nearby Basque region, with its
own traditional styles, is different again, as are
traditional styles of music in Aragon, Catalonia,
Valencia, Castile and León.
Spain has also played an important role within the
history of western classical music, particularly in its
early phase from the 15th to the 17th centuries;
ranging from a composer like Tomás 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, the
different styles of commercial popular music
dominate.

Origins of the Music of Spain
Early history
Cantigas de Santa maría, ç
medieval Spain
In Spain, several very different cultural streams
came together in the first centuries of the Christian
era: the Roman culture, which was dominant for
several hundred years, and which brought with it the
music and ideas of Ancient Greece; early Christians,
who had their own version of the Roman Rite; the
Visigoths, a Germanic people who overran the
Iberian peninsula in the 5th century; Jews of the
diaspora; and eventually the Moors and Arabs.
Determining exactly the various influences is, after
more than two thousand years of internal and
external influences and developments, impossible
but the result has been a large number of unique
musical traditions.
Isidore of Seville wrote about music in the 6th
century. His influences were predominantly Greek,
and yet he was an original thinker, and recorded
some of the first information about the early music
of the Christian church. He perhaps is most famous
in music history for declaring that it was not possible
to notate sounds—an assertion which reveals his
ignorance of the notational system of ancient
Greece, so that knowledge had been lost by the time
he was writing.
Codex Las Huelgas, a medieval Spanish
music manuscript, circa 1300 AD.
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 eighth
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.
The music of the early medieval Christian church in
Spain is known misleadingly as the "Mozarabic
Chant". The chant developed in isolation prior to the
Islamic invasion and was not subject to the Papacy's
enforcement of the Gregorian chant as the standard
chant around the time of Charlemagne, by which
time the Muslim's 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 Mozarabic) earlier musical folk styles from
the pre-Islamic period continued in the countryside
where most of the population lived, in just the same
way as the Mozarabic Chant continued to flourish in
the churches. In the royal Christian courts of the
reconquistors, the music, like the Cantigas de Santa
Maria, also absorbed Moorish influences. Other
important medieval sources include the Codex
Calixtinus collection from Santiago de Compostela
and the Codex Las Huelgas from Burgos. The socalled Llibre Vermell de Montserrat (red book) is an
important devotional collection from the 14th
century.
Renaissance and Baroque
In the early Renaissance, Mateo Flecha el viejo and
the Castilian dramatist Juan del Encina rank among
the main composers in the post-Ars Nova period.
Some renaissance songbooks are the Cancionero de
Palacio, the Cancionero de Medinaceli, the
Cancionero de Upsala (it is kept in Carolina
Rediviva library), the Cancionero de la Colombina,
and the later Cancionero de la Sablonara. The
organist Antonio de Cabezón stands out for his
keyboard compositions and mastery.
Early 16th century polyphonic vocal style developed
in Spain was closely related to the style of the
Franco-Flemish composers. Melting of styles
occurred during the period when the Holy Roman
Empire and Burgundy were part of the dominions
under Charles I (king of Spain from 1516 to 1556),
since composers from the North both visited Spain,
and native Spaniards travelled within the empire,
which extended to the Netherlands, Germany and
Italy. Music for vihuela by Luis de Milán, Alonso
Mudarra and Luis de Narváez stands as one of the
main achievements of the period. The Aragonese
Gaspar Sanz was the author of the first learning
method for guitar. The great Spanish composers of
the Renaissance included Francisco Guerrero and
Cristóbal de Morales, both of whom spent a
significant portion of their careers in Rome.
The great Spanish composer of the late Renaissance,
who reached a level of polyphonic perfection and
expressive intensity equal or even superior to
Palestrina and Lassus, was Tomás Luis de Victoria,
who also spent much of his life in Rome. Most
Spanish composers returned home late in their
careers to spread their musical knowledge in their
native land or at the service of the Court of Philip II
at the late 16th century.
18th to 20th centuries
Front cover of book: Escuela Música según la
práctica moderna published in 1723-1724
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 on Italian
models, as in the works of Antonio Soler. Some
outstanding Italian composers as Domenico Scarlatti
or Luigi Boccherini were appointed at the Madrid
court. The short-lived Juan Crisóstomo Arriaga is
credited as the main beginner of Romantic sinfonism
in Spain.
Fernando Sor, Dionisio Aguado, Francisco Tárrega
and Miguel Llobet are known as composers of guitar
music. Fine literature for violin was created by Pablo
Sarasate and Jesús 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 zarzuela; whilst later composers
such as Ruperto Chapí, Federico Chueca and Tomás
Bretón brought the genre to its late 19th-century
apogee. Leading 20th century zarzuela composers
included Pablo Sorozábal 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
include Felipe Pedrell, Isaac Albéniz, Enrique
Granados, Joaquín Turina, Manuel de Falla, Jesús
Guridi, Ernesto Halffter, Federico Mompou,
Salvador Bacarisse, and Joaquín Rodrigo.
Music by Region
Spain's regions have their own distinctive musical
traditions. There is also a movement of singersongwriters with politically active lyrics, paralleling
similar developments across Latin America and
Portugal. As an example of open-mindedness and
use of the available sources, singer and composer
Eliseo Parra (b 1949) can afford to record music
from the Basque country and from Castile.
Andalusia
Flamenco dancing in Seville.
Music of 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 Málaga.
Panda de Verdiales in Málaga.
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
flamenconized 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 Joaquín Sabina are popular performers in a
distinctly Spanish-style rock music, while Sephardic
musicians like Aurora Moreno, Luís Delgado and
Rosa Zaragoza keep alive-and-well Andalusian
Sephardic music.
Aragon
Aragonese jota dancing
Music of 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 chicotén
string-drum (psaltery) rhythm.
Asturias, Cantabria and Galicia
Music of Galicia, Cantabria and Asturias
An Asturian gaitera (bagpipe player)
Northwest Spain (Asturias, Galicia and Cantabria) is
home to a distinct musical tradition extending back
into the Middle Ages. The region's signature
instrument is the gaita (bagpipe). 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 (hurdygurdy). The music itself runs the gamut from
uptempo muiñieras to stately marches. As in the
nearby Basque Country, Cantabrian music also
features intrincate arch and stick dances but the tabor
pipe does not play as an important role as it does in
Basque music.
There are local festivals celebrating a presumed
musical survival of the region's pre-Roman Celtic
culture, of which 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. Groups of pandereteiras are traditional
sets of singing women that play tambourines and
sing. The bagpipe virtuosos Carlos Núñez and
Susana Seivane are especially popular performers.
Traditionally, Galician music characteristically
included a type of chanting song known as alalas.
Alalas may include instrumental interludes, and are
believed to have a very long history; most of it is
clearly legendary.
Asturias is also home to popular
musicians such as José Ángel Hevia (another
virtuoso bagpiper) and famous group Llan de Cubel.
Circle 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'Avilés" (Interceltic festival
of Avilés, in July), as well as many "Celtic nights" in
Asturias.
Balearic Islands
Music of the Balearic Islands
In the Balearic Islands, Xeremiers or colla de
xeremiers is 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 canço, known
for her political and social lyrics. Tomeu Penya, Biel
Majoral, Cerebros Exprimidos and Joan Bibiloni are
also popular.
Basque Country
Basque music
Ezpatadantza of the Basque Country.
The most popular kind of Basque music is called
after the dance trikitixa, which is based on the
accordion and tambourine. Popular performers are
Joseba Tapia and Kepa Junkera. Very appreciated
folk instruments are 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 toacă 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 vegetal arches. Other
popular dances are fandango, jota and 5/8 zortziko.
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. They
continue to thrive despite the popularity of
commercially marketed pop.
Canary Islands
Music of the 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 in the
presence of the charango (a kind of guitar). Timple,
the local name for ukulele / cavaquinho, is
commonly seen in plucked string bands. A popular
set in El Hierro island consists of drums and wooden
fifes (pito herreño). Tabor pipe is customary in some
ritual dances in Tenerife island.
Castile, Madrid and
León
Music of Castile, Madrid and León
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 León generally tend to have more
musical affinity with neighbouring regions than with
other, more distant, parts of Castile and León. This
has given the region a locally diverse musical
tradition.
Jota is popular, but is uniquely slow in Castile and
León, unlike its more energetic Aragonese version.
Instrumentation also varies much from the one in
Aragon. Northern León, 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
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
Music of Catalonia
The Sardana of
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 dolçaina (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 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 Català popular music,
as some years ago the Nova Cançó was relevant.
Extremadura
Music of 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
Music of 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.
Navarre and
La Rioja
Music of 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
Music of Valencia
Traditional music from Valencia is
characteristically 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. Dolçaina (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 Madrileña
produced an explosion of new art, film and music
that reverberates to this day.
Once derivative and out-of-step with AngloAmerican 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.
Artist 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-Yé
Yé-yé
From the English pop-refrain words "yeah-yeah",
ye-yé 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 60s (such as twist) and
British beat music.
Concha Velasco, a talented singer and movie star,
launched the scene with her 1965 hit "La Chica YeYé", 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, Rosalia´s 1965
hit "Flamenco" sounded most distinctively Spanish.
Performers
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