ANALYTICAL ASPECTS REGARDING THE SPANISH FLOKLORE AND FLAMENCO ART IN MANUEL DE FALLA’S REPRESENTATIVE WORKS II

Abstract

The analysis observations, viewed from this angle, emphasize the reference to the stylistic individuality of the Spanish composer Manuel de Falla, who presents a perspective on the acts of artistic reproduction and elaboration of the essence of musical discourse, derived from Andalusian folklore and flamenco art. The analytical perspective examines the particularity of adapting and highlighting cultural information stemming from ancestral times and brought into the present. This information searching and processing system is based, on the one hand, on detailed content elaboration, with Manuel de Falla using the technique of vocal harmonization, a composition method inherited from his master, Felipe Pedrell. On the other hand, it stems from the investigation of the acoustic laws on the guitar, later discovered in Frenchman Louis Lucas’s works. Manuel de Falla's contribution, referring to the most stylized and personalized structural and ornamental details, is emphasized in all aspects of musical parameters (melody, harmony, polyphony, rhythm, and timbre). Within these musical dimensions, a series of procedures for developing musical syntax and morphology are included. The timbral aspect, in the case of this composer, holds a special place due to its importance in the creative process. The works examined in this analytical context are as follows: the ballet "The Three-Cornered Hat" (1916–1919), the opera "El amor brujo" (1915), and the work "Fantasia Baetica" for piano (1919).