<html><body>INFOLING. Información global sobre lingüística
hispánica: <a href="http://infoling.org"
target="_blank">http://infoling.org/</a>
<br />
<br />Moderadores: Carlos Subirats (U. Autónoma Barcelona), Mar Cruz
(U. Barcelona)
<br />Editoras: Paloma Garrido (U. Rey Juan Carlos), Laura Romero (U.
Barcelona)
<br />Programación y desarrollo: Marc Ortega (U. Autónoma
Barcelona)
<br />Directoras de reseñas: Alexandra Álvarez (U. Los Andes,
Venezuela), Yvette Bürki (U. Bern, Suiza), María Luisa Calero (U.
Córdoba, España)
<br />Asesores: Gerd Wotjak (U. Leipzig, Alemania)
<br />Colaboradores: Antonio Ríos (U. Autónoma Barcelona)
<br />
<br />Con el apoyo de:
<br /><ul style="margin: 0;padding-left:15px;"><li
style="padding-bottom: 0px;padding-top:0px;">Editorial Octaedro: <a
href="http://www.octaedro.com/"
target="_blank">http://www.octaedro.com/</a>
<br /><li style=";padding-top:0px;padding-bottom: 0px;">Arco Libros:
<a href="http://www.arcomuralla.com/Arco/Shop/default.asp"
target="_blank">http://www.arcomuralla.com/Arco/Shop/default.asp</a></li></ul>
<br /><font style="font-size:90%">ISSN: 1576-3404 </font>
<br /><font style="font-size:90%">© Infoling 1996-2010. Reservados
todos los derechos</font>
<br />
<br /></br><hr /><b>Tesis doctoral: </b><br />Maduell, Mariana. 1994.
On-stage calls: An ethnolinguistic analysis of spoken language in
professional flamenco performance. University of Hawaii at Manoa
(Estados Unidos), Linguistics.<br /><b>Información de:</b> Mariana
Maduell <dr_m_maduell@hotmail.com><br /><hr /><br
/><b>Director/a de tesis: </b>Michael L. Forman <br /><br
/><b>Descripción</b><br /><p>This dissertation describes jaleo and
cues, two genres of calls that occur on stage during professional
flamenco performance. It is based on performance data collected over
the last nine years, especially 1985 through 1988, plus additional
material from earlier periods. <br /><br />Chapters one through three
provide general background. Chapter one introduces the idea of taking
frameworks usually used in the analysis of performance situations in
which language use is the most important aspect of the situation and
applying them to situations in which language use is only one of many
aspects of the performance, and indeed not the focus of the
performance, which is the case for on-stage calls in flamenco. It also
details certain words and concepts as they will be used in the
dissertation. <br /><br />Chapter two presents a brief survey of
relevant literature. Chapter three provides background information on
flamenco, its performance, and its performance speech genres: cante,
jaleo, and cues. <br /><br />Chapters four through six discuss three
separate levels of analysis for jaleo and cues: characteristics of the
calls themselves, the calls in the context of performance, and
considerations with respect to verbal art. <br /><br />Chapter seven
concludes the study by presenting my findings for the three levels of
analysis attempted, reinforcing my claim that existing methods can be
applied profitably to examine this type of language use. Ideas are
offered for further research of both other flamenco linguistic
situations and of similar linguistic phenomena in other <br
/>cultures. <br /><br />Appendices of flamenco terminology and
videography are also provided.</p><br /><b>Área temática:</b>
Análisis del discurso, Antropología lingüística, Otras
especialidades, Sociolingüística<br /><br /><b>Índice</b><br
/><p>1. Introduction<br /> 1.1. General background<br /> 1.1.1.
Flamenco as subject for ethnolinguistics study<br /> 1.1.2. Goal
and contribution<br /> 1.2. Methodology<br /> 1.3. Other theoretical
and categorical considerations<br /> 1.3.1. What is a word?<br />
1.3.2. Audience versus community<br /> 1.3.3. Flamencólogo
versus aficionado versus flamenco versus “Spanish dancer”<br />
1.4. Level of personal involvement with flamenco<br /> 1.4.1.
Spanish dance, the New Orleans "scene"<br /> 1.4.2. The "Spain
experience" and its aftermath<br /> 1.4.3. Moving on to
linguistics<br /> 1.4.4. Participant/observer problems<br /><br
/>2. Survey of the literature<br /><br />3. Flamenco performance as a
speech situation<br /> 3.1. Narrowing the field<br /> 3.2. A very
short history of flamenco<br /> 3.3. The language of flamenco and the
flamenco speech community<br /> 3.4. The term flamenco and other
essential vocabulary<br /> 3.4.1. Flamenco and gitano<br />
3.4.2. Cuadro, tablao, and performance art<br /> 3.4.3. Pieces and
their classification<br /> 3.4.4. Ensemble, rhythm, and compás<br
/> 3.5. Flamenco speech situations<br /> 3.5.1. Clase 'class'<br
/> 3.5.2. Ensayo 'rehearsal'<br /> 3.5.3. Flamenco
performance<br /> 3.6. Description of flamenco performance<br />
3.7. Flamenco performance speech genres<br /> 3.7.1. Cante<br />
3.7.2. Jaleo<br /> 3.7.3. Cues<br /> 3.8. Summary<br /><br />4.
Flamenco calls: Basic structure and the influence of musical
rhythm<br /> 4.1. Flamenco calls<br /> 4.2. Structure of calls<br />
4.3. Sound modification<br /> 4.4. Calls, musical factors, and voice
quality<br /> 4.4.1. Volume<br /> 4.4.2. Pitch and
intonation<br /> 4.4.3. Voice quality<br /> 4.5. Calls and
rhythm<br /> 4.5.1. Calls and speech rhythm<br /> 4.5.2. Calls
and musical rhythm<br /> 4.6. Summary<br /><br />5. Flamenco calls in
the context of performance<br /> 5.1. Context and commonalities<br />
5.2. Jaleo<br /> 5.2.1. Uses of jaleo<br /> 5.2.2. Types of
jaleo and the piece<br /> 5.2.3. People, jaleo, and interaction<br
/> 5.3. Cues<br /> 5.3.1. Uses of cues<br /> 5.3.2. Types of
cues and the piece<br /> 5.3.3. People, cues, and interaction<br
/> 5.4. Genre interaction and genre confusion<br /> 5.5. Context and
being enterao<br /> 5.6. Noise, cries, and piropos<br /> 5.6.1.
'Making noise'<br /> 5.6.2. Response cries<br /> 5.6.3.
Piropos and other street commentary<br /> 5.7. Summary<br /><br />6.
Flamenco calls as verbal art<br /> 6.1. Verbal art, the ethnography
of performance, and applications<br /> 6.2. Flamenco art and flamenco
cultures<br /> 6.3. Flamenco verbal art as performance<br />
6.3.1. Cultural acknowledgement<br /> 6.3.2. Participant
expectations and intentions<br /> 6.3.3. The concept of duende<br
/> 6.3.4. Limitations and levels of verbal art<br /> 6.4. Jaleo
and ethnopoetics<br /> 6.5. Jaleo and the piropo: where to draw the
line for verbal art<br /> 6.6. Summary<br /><br />7. Conclusions<br
/> 7.1. Mutis 'exit from the stage'<br /> 7.2. Moving onward: ideas
for further research<br /><br />Appendix A: Flamenco terminology<br
/>Appendix B: Flamenco videography<br />References</p><br /><b>Fecha
de lectura o defensa:</b> noviembre de 1994<br /><br /><b>Número de
págs.:</b> 181<br /><br /><b>Cómo obtener la tesis:</b> <a
href="http://disexpress.umi.com/dxweb"
target="_blank">http://disexpress.umi.com/dxweb</a> (UMI Dissertation
Services)<br /><br /><b>Correo-e del autor/a:</b>
<dr_m_maduell@hotmail.com><br /><br /><b>Información en la web
de Infoling:</b><br /> <a
href="http://www.infoling.org/informacion/T39.html" target="_blank">
http://www.infoling.org/informacion/T39.html</a></body></html>