Authentic spanish music: Spanish Music | World Music Central

Spanish Music | World Music Central

[the Canary Islands are not show in this map]

Spain is located in the Iberian Peninsula in southwestern Europe, bordering the Bay of Biscay, Mediterranean Sea, North Atlantic Ocean, Portugal, and Pyrenees Mountains, southwest of France. The Spanish territory includes mainland Spain in the Iberian Peninsula, the Balearic Islands in the Mediterranean Sea, the Canary Islands in the Atlantic Ocean and the enclaves of Ceuta and Melilla in northern Africa.

Spain has a rich history and diverse folk music traditions. The two best known musical genres from Spain are Flamenco and Celtic music, although Spain has many other musical styles and dances throughout its mainland and island regions. Celtic music is primarily found in northwestern Spain, in Galicia and Asturias, although Celtic music acts can be found throughout the rest of the country.

Andalusian Music

celebrated Flamenco singer Carmen Linares

Andalusia is a region in southern Spain. Andalusian musical genres include Flamenco, folk dances such as sevillanas (Seville), verdiales (Malaga), seguidilla and Flamenco-rooted rock known as rock andaluz (Andalusian rock).

Musical instruments used include the flamenco guitar, the gaita rociera (also known as flauta rociera or pito rociero), tamboril, castanets, laúd, gaita gastoreña, cajón flamenco and bandurria.

Arab Andalusian (música andalusí) is the term use to define the classical Arabic music of Medieval Al-Andalus, which was the name given to Muslim-occupied Spain as well as current North African classical Arabic music. After the end of Moorish Spain in 1492, the Arab Andalusian musical tradition migrated to the large cities of North Africa, such as Fez, Tlemcen, Algiers, Constantine, and Tunis.

Asturian Music

Asturias is a region in northern Spain. Asturian music is considered part of Spain’s Celtic music scene. Musical genres include: pasacáis or pasacalles, muñeires, muliñeira or molinera, rondes, saltón, alborada, marcha, fandango, jota or xota, and habanera. Musical instruments used include the gaita asturiana (Asturian bagpipe), drums and accordion.

The most famous Asturian artist is piper and electronic bagpipe inventor Hevia.

Extremaduran Music

Extremadura is a region in western Spain, bordering Portugal, which is an autonomous community comprised of the provinces of Caceres and Badajoz.

Traditional music found in Extremadura includes secular and religious songs and dances such as jotas, perantones, pasacalles, alboradas, toques procesionales (processional music), ofertorios, charrás, pindongos, tonadas festivas, alboradas and toreras.

There is an important Flamenco scene that includes top performers at a national level.

Traditional groups in the Alta Extremadura (Upper Extremadura) use the format of gaita (a three hole flute, not the bagpipe), tamboril (drum) and vocals.

Exttremaduran folk band Acetre

Flamenco

Flamenco was born in Andalusia and is also very popular in Extremadura and Murcia. Spain’s capital, Madrid has one of the largest and best Flamenco scenes in the country in terms of artists, nightclubs, concerts and festivals.

Spanish musical genres:

Arin arin – Ancient circle dance from Bilbao, in Spain’s Basque Country. Men and women who participate in pilgrimages dance it in couples. Also known as porrusalda, purrusalda, or porrue.

Arrolo – Spanish lullaby from the Galicia region.

Arroró – Spanish lullaby, also found in Spanish-speaking America.

Arrullos – A type of lullabies found in Spain and Spanish-speaking America. Arrullos are sung by mothers or nannies while holding the baby in their arms, or when they are rocking the baby in a cradle to sleep.

Añada – Lullabies from Asturias.

Bolero – The bolero is a traditional Spanish musical air and dance at 3/4. The bolero parado is a type of bolero from the Balearic Islands (Spain). The name parado (stopped) comes from the abrupt end of the dance. In Cuba, Spanish influences mixed with African elements gave birth to the Cuban bolero, a very slow 4/4 rhythm, accompanied by maracas and bongos. Bolero Viejo (old bolero) is a type of bolero from Spain. In the Balearic Islands it is sometimes known as bolero vell. Boleros are popular in Spain and Spanish-speaking America.

Calvario – Spanish Easter songs. Calvario means calvary in Spanish.

Folia – Dance and rhythm from the Canary Islands. The dance has a lot in common with the mainland Spanish fandango. The couplets are usually sad or melancholic, a type of longing, etc. It is also danced in a circle, although there are some variants in a row (for example in the islands of El Hierro and Gran Canaria) with very elegant gestures that recall the ancient Spanish court dances.

Jota – Folk dance and song of Aragon, Spain, that spread to other parts of Spain. Performed usually by one or more couples and consisting of hopping steps in 3/4 time. The jota de la vendiminia is a wine harvest jota dance from Ciudad Real (Castile-La Mancha). Guitar, bandurria and percussion accompany the dancers.

Muñeira – Traditional Galician song and dance, also known as muiñeira. The muñeira is accompanied by gaita (bagpipe), tamboril (drum) or redoblante, pandereta (tambourine), pandero (frame drum), bombo, charrasco and sometimes conchas (sea shells), which are also known as cunchas or vieiras (scallop shells). The muñeira has been adopted by many contemporary Galician folk groups and recreated with new arrangements. Variations include muñeira do Espantallo, muñeira ribeiriña, muñeira carballesa and muñeira redonda.

Other Spanish musical genres: chotis (Madrid), ensalada, fandango, farruca, sardana, sevillanas (Seville), verdiales (Malaga).

Spanish Musicians

Directory of Spanish musicians involved with traditional Spanish folk music, flamenco or world music:

Andalusian Folk Music

Aliara, Javier Ruibal

Aragonese Music

Biella Nuei

Asturian Folk Music

Eva Tejedor Mier, Felpeyu, Hevia, Tejedor, Xuacu Amieva

Balearic Folk Music

Pere Joan & Manel Martorell

Basque Folk Music

Alboka, Kepa Junkera

Canary Island folk music

Beselch Rodríguez, Domingo Rodriguez “El Colorao”

Castilian Folk

Aljibe, Espliego, La Musgaña, María Salgado, Tradere

Catalan Music

Companyia Electrica Dharma

Flamenco

Agustin Henke
Alonso Núñez Heredia – “El Purili”
Antonio Losada
Antonio Malena
Antonio Reyes Montoya
Arcángel
Bernarda de Utrera
Carlos Piñana
Camarón de la Isla
Capullo De Jerez
Carles Benavent
Carmen Linares
Cepillo (Ángel Sánchez)
Chambao
Chicuelo
Daniel Casares
David Carmona
David de Jacoba
Diego Amador
Diego Carrasco
Diego “El Cabrillero”
Diego ‘El Cigala’
Dolores La Agujeta
Duquende
El Cabrero
El Chocolate
El Indio Gitano
El Pele
El Polaco
El Potito
El Torta
Enrique De Melchor
Esperanza Fenandez
Estrella Morente
Ezequiel Benitez
Fernando De La Morena
Fernando Terremoto
Guadiana
Gerardo Núñez
Israel Fernández
José Antonio Rodríguez
José Jiménez Abadía, El Viejín
Jerónimo Maya
Jorge Pardo
José Menese
José Mercé
Juan Habichuela Nieto
Kiki Morente
La Barberia del Sur
La Niña de los Peines
La Paquera de Jerez
La Susi
Lela Soto
Lucky Losada
Manolo Franco
Manolo Sanlucar
Manuel Flores
Manuel Soto Monje
Manzanita
María José Llergo
Maria Terremoto
Marina Heredia
Mario Escudero
Marta Heredia
Mayte Martin
Miguel Angel Cortés
Miguel Poveda
Niña Pastori
Niño de Pura
Niño Josele
Paco de Amparo
Paco de Lucia
Paco Fernández
Paco Peña
Paco Soto
Pedro Heredia Reyes, Pedro El Granaino
Pepe Habichuela
Pitingo
Rafael Riqueni
Ramón El Portugués
Ramón Montoya
Rancapino Chico
Raul Rodriguez
Ray Heredia
Razón de Son
Ricardo Miño
Rosario Lazo Montoya “Reina Gitana”
Segundo Falcón
Tomás de Perrate
Tomatito
Vicente Amigo
Vicente Soto “Sordera”

Flamenco Jazz

Chano Domínguez, Chico Perez, Diego Amador, Dorantes, Maria Toro, Pedro Ricardo Miño, Sergio Monroy

Galician Folk Music

Anxo Lorenzo, Berrogüetto, Camerata Meiga, Carlos Núñez, Citania, Chouteira, Cristina Pato, Doa, Fía na Roca, Leilia, Matto Congrio, Mercedes Peon, Milladoiro, Muxicas, Na Lúa, Rodrigo Romaní, Susana Seivane, Uxia, Xosé Manuel Budiño

Gypsy Rumba (rumba gitana)

Peret, Rosario

Murcian Folk Music

Azarbe, Juan José Robles and Manuel Luna

Sephardic

Rosa Zaragoza, Ana Alcaide

World Music – Flamenco Fusion – World Fusion – Mestizaje – Contemporary Folk

Amparo Sanchez
Ana Alcaide
Ariadna Castellanos
Benjamin Escoriza
Buika
Canteca de Macao
Ea!
Eduardo Niebla
Efrén López
elbicho
Javier Paxariño
Ketama
La Bruja Gata
L’Ham de Foc
Manuel Iman
Mártires del Compás
Ojos de Brujo
Pata Negra
Radio Tarifa
Tito Alcedo

Authentic Spanish Songs That Are Teen Approved

(Last Updated On: February 4, 2022)

Listening to music in Spanish is a great way to sneak more Spanish into your day!

While listening to music in Spanish is a passive form of learning, there are so many benefits to it. When you listen you can improve your Spanish listening skills, work on your pronunciation and even improve your Spanish reading skills!

It’s also a great way to keep Spanish language present in your day while you do other things around the house or in the car.

In this post we’ll talk about 3 ways that listening to Spanish music can help you to learn Spanish right now and we’ll share some of our favorite Spanish songs for tween and teens.

Table of Contents

The benefits of listening to Spanish music

Even just listening to the words and paying attention to the rhythm of the language can help to train your brain to be more familiar with Spanish.

You can turn the music on when you’re doing something else, cooking, cleaning, working on a puzzle. Even passively listening to Spanish music in the background will help your brain become more familiar with the sounds of the language!

This is a great way to get Spanish language immersion time in when your children are younger because it doesn’t require any output on their part and yet it’s working on building the foundation for Spanish language in the future.

Listening to Spanish music in the car is another great way to incorporate language learning on the go. When my daughter and I are on a long car trip or even just driving around town, we have playlists full of popular Spanish songs to keep our brains hearing and thinking in Spanish.

Why you should sing along with Spanish music

Actually singing back the lyrics to the Spanish song that you’re listening to will greatly improve your pronunciation and give you some phrases to use that you’ll have memorized.

The first few times that we sing along to a new song in Spanish, I can usually only do the chorus.

It takes several repetitions before I’m able to work through the whole song, and sometimes I need to look up the lyrics online to help me hear all of the words. Even so, singing along will help you to work on your language output!

When you sing along to your favorite Spanish song, you’re speaking at the same rate as a native and fluent speaker. If you try and match your words and tone to that of the singer, you’re more likely to pick up their accent, their way of pronouncing the words and their intonation.

Singing along with a song also helps you to memorize the words. Having a few quick Spanish phrases memorized can be useful for Spanish conversation.

Why you should read the lyrics

Reading along to the lyrics while listening to them can give you an increased benefit as your mind will associate those written vocabulary words with meaning and correct pronunciation.

If you listen to the song in Spanish, while reading along with the lyrics in Spanish, you’re training your brain to read and assimilate new Spanish words.

You get to hear how the words are pronounced and how they are used in the context of the song. All of these factors make it more likely that you’ll remember and understand these words in the future.

The Best Spanish Music For Learning

Now that you know how to practice with music, what are you going to listen to? Here are my recommendations for some of the best Spanish songs!

Nursery Rhymes

If you have young children at home, I recommend that you start with nursery rhymes. They’re repetitive, easy to memorize and engaging for young children. You can find some great nursery rhyme resources here:

3 Charming Nursery Rhymes To Boost Your Baby’s Spanish

And here:

Wonderful Nursery Rhymes That Will Make Your Baby Bilingual

Disney Music

If you’re looking for music for older kiddos but aren’t quite ready for some of the current popular Spanish music, Disney is always a great option.

The translated version of their Disney Classic music is truly wonderful and there are many places to find links to them. You can start here by checking out their Latin American site.

My daughter and I love Disney music and we listen to it on a regular basis when we’re traveling in the car. Here’s my post about some of our favorite translated songs that you should check out!

10 Spanish Songs That Will Excite Your Kids

You can also look for Disney Channel shows that were created in Latin America. Many of them feature their own TV shows, original music and merchandise.

Popular Spanish Music

If you’re looking for more popular Spanish songs that would be of interest to an older pre-teen/teen audience, I recommend reading this article, “Spanish Songs For Teens“, which includes some more up to date popular Spanish music as well as songs that are slightly more mature but still appropriate for school.

Music From

“Soy Luna”

“Soy Luna” was a really popular telenovela created by Disney for Disney Channel Latin America. The series follows teenage Luna as she moves with her family and finds new friends at a roller skating rink.

The best part of the show is the original music that Disney created to go along with it. The songs are upbeat and high interest for older kids without the mature content and sexual themes.

Here are some of our favorites:

1. Alas

2. Mano a Mano

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3. Valiente

4. Siempre Juntos

5. La Vida es un Sueno

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Through constant immersion, I was able to bring native Spanish language to my daughter and my own Spanish took off.

Listening to music in Spanish is just one of the many ways that you can build a Spanish immersion environment in your own home.

Are there any Spanish songs that you enjoy? Have you listened to any of these? Let me know in the comments!

Happy Learning!

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90,000 Baroque

/ Sunday / Sunday, 19.00

Baroque

Anna Orlova (organ), Natalya Bereslavtseva (Flute), Sergey Poltava (Viola d’Amore), Oleg Boyko (guitar)

To create a musical portrait of Spain, you need to take the right colors. The guitar is passion, the viola d’amore is love, the flute is the endless blue sky, the organ is the high vaults of cathedrals. If you add a little madness and a sea of ​​\u200b\u200bfantasy to this ensemble, you get one of the most intriguing musical journeys. The music of the brilliant Spanish royal court and the folk songs of the southern country are heard so rarely in Russia that it is impossible to miss the opportunity to hear it performed by magnificent young soloists. All the musical treasures of the Spanish crown will be revealed to you this evening.

The “heroes” of the concert are not just composers who wrote their names in golden letters in history, but also people of amazing destiny. Cabezon served in the royal chapel and was engaged in the musical education of the future king of Spain, Philip II, under whose rule half of Europe and the entire New World were destined to be. Cabanilles, the head of the 17th-century Spanish organ school, was the organist of the grandiose Cathedral in Valencia, which houses a copy of the Holy Grail recognized by the Pope. Dedicated to music and faith, in 1668 he was ordained to the priesthood, and his works became a model for composers of subsequent generations.

Antonio Soler, who, for belonging to the monastic order of St. Jerome is called Padre Soler, he spent almost his entire life in Escorial, the legendary royal residence, a grandiose palace-monastery. He taught music to Prince Gabriel, for whom he wrote chamber and organ compositions. Sebastian Aguilera de Heredia served as maestro di musica in the famous La Seo Cathedral of Zaragoza. His composition, entitled «Ensalada» (which literally translates as «salad»), is immersed in the cycle of musical images — the tangible spirit of Spain of the early 17th century lives in it surprisingly vividly!

Violinist and composer Francisco Jose de Castro has exchanged hot Spain for sunny Italy: one of his sensually dramatic sonatas in the Italian spirit will be performed at the concert. And the Italian Domenico Scarlatti, on the contrary, at the personal invitation of the Queen of Spain, moved to Madrid, where he spent the last quarter of a century of his life, got acquainted with flamenco music and wrote about 500 clavier sonatas. Another Italian, Nicola Matthijs, moved to England, where his concerts as a violinist and composer were a resounding success — for which Londoners loved him so much, you can hear with your own ears. Complementing the southern musical landscape are the works of the Italian Baroque masters Antonio Caldara and Antonio Vivaldi, whose fantasy on the Spanish melody «Folia» (which means «madness») has become one of the most famous compositions in the history of music.

Sergei Poltavsky (viola) is one of the brightest soloists and chamber musicians of the younger generation, a graduate of the Moscow Conservatory, laureate of international competitions. As a soloist and as a member of chamber ensembles, he takes part in various festivals in Russia and abroad: December Evenings, Return, VivaCello, Diaghilev Seasons (Perm) and many others. etc. Author of a number of unique multi-genre projects, including the Festival of Alternative Viola Music «Viola is my Life». The creative range of the musician is very wide: one of the best performers of baroque music on the viola d’amore, a brilliant interpreter and propagandist of the works of modern composers, he collaborates with the ensembles «Academy of Early Music», «Opus Posth», with the Moscow Ensemble of Contemporary Music. Has performed with orchestras: New Russia, State Committee for Defense of Russia, Academic Symphony Orchestra, Moscow Soloists, Musica Aeterna, Vremena Goda; as part of chamber ensembles, he played with T. Grindenko, V. Spivakov, A. Lyubimov, M. Pekarsky, A. Rudin, A. Goribol, P. Osetinskaya, V. Kholodenko and others.

Natalia Bereslavtseva (flute) — graduate of the Moscow Conservatory, laureate of international competitions. Participated in various festivals and concerts as a chamber musician. Since 2000 she has been a soloist with the Russian Philharmonic Orchestra, since 2004 she has been a soloist with the Bolshoi Theater Orchestra. An important part of his creative life is the performance of solo and chamber music from various eras.

Anna Orlova (organ) — student of the Moscow Tchaikovsky Conservatory, organ class (prof. N. N. Gureeva-Vedernikova). She took part in master classes by R. P. Ramirez, W. Walter, L. Lohmann, T. Trotter, M. Radulescu and A. Gast. Laureate of the II Prize at the Organ Academy Competition of Lübeck-Travemünde (Germany, 2011), Laureate of the II Prize at the III International Competition of Organists. A.F. Gedike (Moscow, 2013), winner of the Audience Award at the Mataro-Barcelona Summer Organ Academy Competition (2014).

Oleg Boyko (guitar) — Russian musician, multi-instrumentalist (classical guitar, baroque guitar, lute and its varieties, electric guitar), vocalist, composer. After graduating from the Moscow State Musical College. Gnesinykh in the guitar class became interested in the music of the Renaissance, which he performs on authentic instruments: the lute, theorbo, chitarrone and baroque guitar. Currently, he is one of the best Russian performers of baroque music on these instruments. Member of the Ensemble of Soloists «Orfarion» and the Moscow Ensemble of Early Music «Baroque Soloists», in which he toured abroad a lot. He was the first authentic musician-instrumentalist at the «December Evenings» by Svyatoslav Richter in Moscow. He was the leader of the rock group Mother’s Little Helpers, the author and performer of many of its compositions, at 1995 became the founder and leader of the folk-jazz group «Telenn Gwad».

Program:

Antonio Caldara (1670-1736). Sonata in E minor for viola, flute and organ.

Antonio de Cabezon (1510-1566). Variations on a Theme of the Song of a Noble Knight for

organ solo

Domenico Scarlatti (1685-1757). Sonata for flute and organ

Antonio Soler (1729-1783). «Fandango» for viola, guitar and organ

Sebastian Aguilera de Heredia (1561-1627). Ensalada (Obra de octavo tono alto)

for organ solo

Francisco Castro (1670-1830). Sonata Prima op. 1 for viola, flute and organ

Nicola Matthijs (1670-1714). Sarabande and Chaconne for viola, guitar and organ

Juan Cabanilles (1644-1712). Italian Courante for organ solo

Antonio Vivaldi (1678-1741). «Folia» for viola, flute, guitar and organ

Ortiz Diego. Great Russian encyclopedia

Musicians

Knowledge areas:

Foreign music: Renaissance

Date of birth:

near 1510

Date of death:

near 1570

Historical state:

Neapolitan kingdom, Spain of the Habsburgs

Modern state:

Musical profession:

GUBSICAL PROPERTION: AM , Musicologist

Ortiz Diego (Diego Ortíz) (circa 1510, Toledo — circa 1570, Naples, Spanish Empire, now Italy), Spanish music theorist and composer.

Biographical information is extremely scarce. In 1553-1570. served as bandmaster at the court of the Spanish viceroys in Naples — Fernando Alvarez de Toledo and his successor Pedro Afan de Ribera. In 1570, he was replaced in this post by F. Martinez de Loscos, possibly due to the death of Ortiz, whose later evidence of his life has not been preserved.

In 1553 D. Ortiz published in Rome his «Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones» in Spanish and Italian (“Glose sopra le cadenze et altre sorte de punti in la musica del violone”). Numerous Spanishisms in the Italian version suggest that the author himself acted as a translator of his work. The words from the subtitle «re-presented» (nuevamente puestos en luz) may indicate the existence of earlier editions of the treatise, but no trace of them has survived to this day. This is the first work in the history of music devoted to the practice of ornamental variation on bowed string instruments. At the same time, Ortiz notes that the gloses he cited can also be used by singers, which emphasizes the inseparable connection between vocal and instrumental music in the Renaissance. The first part of the treatise is devoted to the technique of glossing and contains examples of melodic figures for decorating cadences, intervals in volume from prima to seventh (the illustration shows variants of glossing the ascending second) and stepwise melodic moves. The second part includes musical compositions — “ricercades” (ricercada). Among them are pieces both for solo performance (the first 4 compositions) and for playing with the harpsichord. These are 6 variations on the popular melody “Spagna”, polyphonic adaptations of the madrigal by J. Arcadelt “O felici occhi meie” and the chanson by P. Sandren “Douce mémoire” (according to D. Ortiz, the harpsichordist plays a 4-voice texture, while the gamby player is offered either join any of the voices, or come up with your own, 5th), variations on 8 «Italian themes» (tenores italianos), among which are passamezzo and romanesque. Ortiz’s treatise is the most valuable document of the era, reflecting the typical improvisational practices of that time. It is actively used by modern musicians working in line with authentic performance.

In 1565, D. Ortiz published in Venice a collection of his spiritual works «The first book of music containing hymns, magnificats, Salve Regina, motets, psalms and other various chants» («Musices liber primus, hymnos, magnificas, salves, motecta , psalmos aliaque diversa cantica complectens»).