In Praise of Appropriation. Impure Practices, Flamenco and Contemporary Creation
Abstract
From so-called “saturated music” to experimental trap, from contemporary flamenco to sound art, electronics and contemporary art music, it would be true to say that a considerably significant proportion of the present Spanish musical reality could be considered a result of a process of appropriation, a kind of palimpsest in continuous reconstitution and re-signification.
This article considers concepts as heterogeneous as purity, and is based on a (critical and updated) adaptation of Jean-Jacques Nattiez’s three-part analysis. It focuses on the analysis of the intertextual trail present in several emblematic examples of contemporary flamenco and art music, such as those personified by Niño de Elche; Rocío Márquez and Mauricio Sotelo; and José María Sánchez-Verdú.
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