Professional musicians with
an interest in getting to know and understanding the
basics of flamenco music, from a technical point of
view and by using the most common tools for musical
analysis. Both the harmonious and rythmic aspects,
as well as the stylistic uses of the different “palos”
are of importance.
To give professionals the
technical tools of this type of music, patrimony of
this country, to promote the cultural content of flamenco
music, to start a pedagogical movement as has already
been done with musical styles from other backgrounds
(e.g. Brazilian, Cuban, Jazz, etc.), and to guarantee
the conservation of its most important characteristics.
||José Miguel Garzón
In order to be able to teach the
“combos”, as many different teaching rooms
as possible “combos” would be needed.
Also, for the classes taught in large groups, a large
room or lecturing theatre with enough space for all
students would be needed. This type of seminar, with
an emphasis on all things practical, tends to last
around one week,with the end results usually being
shown in an end-of-course concert. Also, a minimum
of five professors would be needed in order to teach
all the “combos”.
Another possibility would be a more
simple type of seminar, in which the whole group of
students stays together in all classes, thereby reducing
the “combo” classes to one open and interactive
class. This class would need less professors (as a
minimum, ) and one single room or lecturing theatre,
with all necessary equipment.
We are of course open to all types
of proposals concerning length, organisation, number
of professors, and contents of the differnet courses.
REPORT BY THE REAL CONSERVATORIO DE MADRID
The report by the Real Conservatorio
de Madrid both stresses the teachers’ great
professionalism and values an education that not only
concentrates on technical aspects (rhythm, melody,
style, and form) but also on aural identification
and musical memory. Thus the performer depends less
on the score and more on awareness and reflection.