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Duende Music Definition Essay

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Play and Theory of the Duende by Federico García Lorca Essay - Beat Poe

Play and Theory of the Duende by Federico García Lorca Essay

“I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, Angel-headed hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night.” The opening lines of Howl, by Allan Ginsberg, melodiously encapsulates the beat generation. The beats alluded to by the verbatim ,“The best minds”, are a group of idiosyncratic poets whom through the instrument of prose(driven by spontaneity and a primal lifestyle). orchestrated a rebellion against the conservative beliefs and literary ideals of the 1950s. Howl, utilizing picturesque imagery, expounds holistically upon the instigator of the movement in culmination with personal experiences of beat members. Accordingly “Howl” evokes feelings of raw emotional intensity that reflects the mindset in which the poem was produced. The piece is structured into three stanzas, sacrificing temporal order for emphasis on emotional progression. The first sequence rambles of rampant drug forages and lewd sexual encounters, eliciting intonations of impetuous madness, one ostensibly hinging upon on a interminable need for satiation of hedonistic desires. Concordantly the following stanza elucidates upon the cause of the aforementioned impulsive madness (i.e corruption of the materialistic society motivated by capitalism), conveying an air of hostility coalesced with quizzical exasperation. Yet, the prose concludes by turning away from the previous negative sentiments. Furthermore, Ginsberg embraces the once condemned madness in a voice of jubilation, rhapsodizing about a clinically insane friend while ascertaining the beats are with him concerning this state of der.


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. Hence he concluded that individuals of a society governed by capitalism risked falling into a state of nihilism bereft of meaning. Moreover, the solution he believed was that of a superhuman. A superhuman understands life’s lack of intransience and consequentially looks within for meaning. However, life’s transitory quality results in the superhuman having to constantly recreate in order to overcome the continuously new obstacles thrown at him. Correspondingly, Nietzsche ascertains the quest for satiation of one’s hedonistic insatiable desires, is the greatest strength for a superhuman. This is chiefly due to it being the underlying source for man’s insatiable desire to overcome. Coincidentally, the syntax, as noted by Ginsberg, is one of a pyramidal structure. The monotonic crescendo, symbolizes Solomon’s growing madness and its correlation with a heightened joy.

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Biography of Federico Garcia Lorca Essay - Biography of Federico Garcia Lorca Federico García Lorca was born into an educated bourgeois family in Fuente Vaqueros, in Andalusia, Spain, in 1898. His mother was a teacher and his father a rich farm labourer. He read literature and music at Granada University and in 1919, at the age of 21, he published his first book, Impresiones y Paisaijes, that was inspired by a trip around Spain that he took as part of his degree. That year, Lorca went to Madrid to continue with his studies. He moved into the Residence of Scholars (residencia de estudiantes), a liberal institution that taught according to the social, political and religious philosophies of Krause. [tags: Spanish History Poets Poetry Dramatists Essays]
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2709 words
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Essay about Biography of Federico Garcia Lorca - Biography of Federico Garcia Lorca Born in Fuente Vaqueros, Granada, Spain, June 5,1898; died near Granada, August 19,1936, García Lorca is Spain's most deeply appreciated and highly revered poet and dramatist. His murder by the Nationalists at the start of the Spanish civil war brought sudden international fame, accompanied by an excess of political rhetoric which led a later generation to question his merits; after the inevitable slump, his reputation has recovered (largely with a shift in interest to the less obvious works). [tags: Federico Garcia Lorca Poets Dramatists Essays]

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Federico Lorca Garcia’s Love and Death of Spain Essay - Have you ever wondered what made you who you are and what you do. Federico Garcia Lorca is a very well known poet that went through a lot of touching events that helped him write poems throughout his era. He developed his poetry through his inspirations from the people around him, showing the themes of love, death and southern Spain culture. He had a special poetic vision and used his own style in his writing. Federico Garcia Lorca is a Spanish poet and dramatist during the twentieth century. He was born in 1898 in southern Spain, Granada, and more specifically, Andalusia. [tags: poet, andalusia, granada]
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The Impact of Marriage in "Like Water for Chocolate" by Laura Esquivel and "The House of Bernarda Alba" by Federico Garcia Lorca - Marriage is an important theme in the plays, ‘A Doll’s House’ written by Henrik Ibsen, and ‘The House of Bernarda Alba’ written by Federico Garcia Lorca. Though the concept of marriage is two people living together through love and companionship, it revolves around the duties and principals put up by the society. Both of these books share anachronistic views of marriage where marriage is not an emotional attachment between two entities but a social engagement between two entities of similar wealth and power. [tags: Compare and Contrast]
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The Usage of the Motif of Eyes in Federico Garcia Lorca’s The House of Bernarda Alba - The Usage of the Motif of Eyes to Illustrate Defiance, Effects of Repression and Confinement, and Foreshadow in Federico Garcia Lorca’s The House of Bernarda Alba Although the human body functions the best when all five senses work, the sense of sight is arguably the most important of the senses. With that intact, it is definitely easier to get by because one will always be aware of the events occurring around him or her. In Federico Garcia Lorca’s “The House of Bernarda Alba”, the motif of eyes and sight is prevalent, and is used for various purposes: to show rebellion against a greater force, to show the effects of repression and confinement, and as well as a way of foreshadowing. [tags: English Literature]

1177 words
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Comparison of Federico García Lorca's Poems, Romance de la Pena Negra and La Aurora - Comparison of Federico García Lorca's Poems, Romance de la Pena Negra and La Aurora Romance de la Pena Negra (Ballad of the Black Sorrow) was written by Lorca on the 30. July 1924 (Catedra:80). It was one of a collection of poems he entitled the Romancero Gitano (Gypsy Ballads) that, when published, was a huge success, among academics and the general public alike, making this book one of his most well known pieces of work. There are many reasons why the poems received such wide acclaim in terms of Lorca’s wider audience: It is clear that the ballad, with its simple, eight-syllable line rhyming structure makes for uncomplicated reading, in addition, the subject matter would have sparked ge. [tags: Romance de la Pena Negra La Aurora]
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Blood Wedding, by Federico Garcia Lorca Essay - Most of the protagonists in “Blood Wedding” such as the mother, bride, and Leonardo do not fulfil the roles they are assigned as they turn into evolved characters at the end of the play. At first they portray their roles just like they are supposed to but then as the play goes on, they face a problem and the solution to the problem is to reject the society and follow their desires. The roles of an archetypal mother in a Spanish society are to stay home, perform domestic work and care about family. [tags: Character Analysis, Roles]
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Bernarda Alba And Medea: Created Millenia Apart, Yet So Similar Essay - Most people would define a great female protagonist as intelligent, strong minded and willing to fight for what she believes in. Both Bernarda Alba from Federico Garcia Lorca’s The House of Bernarda Alba and Medea by Euripides fit this description. One is a tyrannical mother who imposes her choices on her five daughters, the other is arguably the strongest non-Olympian woman in all of Greek mythology. If we take a closer look, we notice that these two characters have many things in common. From their positions of strength, to the masculine aspects of their personalities; from the way they deal with situations to the part they play in the deaths of their children. [tags: House Of Bernarda Alba Federico Garcia Lorca Medea]

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Lorca's El Maleficio De La Mariposa Essays - Lorca's El Maleficio De La Mariposa Federico Garcia Lorca was a Spanish poet who explored universal themes of love, lust, death and violence under the semblance of whimsical tragedies. The self-proclaimed gay had fanciful reveries declaring his almost child-like take on the chaotic conditions of his time. Although disguised as nothing more than a dark fairy tale, Lorca's El Maleficio De La Mariposa, like all his succeeding plays, is replete with symbolism that is quite impossible to grasp for minds clouded over by years of the world's sensibilities. [tags: Lorca Maleficio Mariposa Essays]

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So Long A Letter by Mariama Ba and Blood Wedding by Frederico Garcia Lorca - "So Long A Letter" by Mariama Ba and "Blood Wedding" by Frederico Garcia Lorca Thesis: Characters that cause immense pain to another, especially to their consorts, succumb to death in the texts So Long A Letter and Blood Wedding by Mariama Bâ and Federico García Lorca respectively. Death is one aspect of life that prevents a person from being invincible. It is one of the inevitable occurrences that a man has to yield to. In the texts So Long A Letter and Blood Wedding by Mariama Bâ and Federico García Lorca respectively, death is a poignant theme that has prevailed throughout the course of the text. [tags: Long Letter Ba Blood Wedding Lorca Essays]

1346 words
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Other articles

Duende (art) - The Full Wiki

Duende (art): Wikis From Wikipedia, the free encyclopedia

Duende is a difficult-to-define phrase used in the Spanish arts, including performing arts. From the original meaning (a fairy- or goblin-like creature in Spanish and Latin American mythology), the artistic and especially musical term was derived.

The meaning of duende as in tener duende (having duende ) is a rarely-explained concept in Spanish art. particularly flamenco. having to do with emotion, expression and authenticity. In fact, tener duende can be loosely translated as having soul .

Origins of the term

El duende is the spirit of evocation. It comes from inside as physical/emotional response to music. It is what gives you chills, makes you smile or cry as a bodily reaction to an artistic performance that is particularly expressive. Folk music in general, especially Flamenco, tends to embody an authenticity that comes from a people whose culture is enriched by diaspora and hardship; vox populi, the human condition of joys and sorrows. It is thus as universal in its meaning as it is immensely personal and culturally contextual by its nature.

Drawing on popular usage and Spanish folklore, Federico García Lorca first developed the aesthetics of Duende in a lecture he gave in Buenos Aires in 1933, "Juego y teoria del duende" ("Play and Theory of the Duende").

According to Christopher Maurer, editor of "In Search of Duende," at least four elements can be isolated in Lorca's vision of duende: irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence, reminding him that 'ants could eat him or that a great arsenic lobster could fall suddenly on his head'; who brings the artist face-to-face with death, and who helps him create and communicate memorable, spine-chilling art. The duende is seen, in Lorca's lecture, as an alternative to style, to mere virtuosity, to God-given grace and charm (what Spaniards call 'angel'), and to the classical, artistic norms dictated by the muse. Not that the artist simply surrenders to the duende; he or she has to battle it skillfully, 'on the rim of the well,' in 'hand-to-hand combat.' To a higher degree than the muse or the angel, the duende seizes not only the performer but also the audience, creating conditions where art can be understood spontaneously with little, if any, conscious effort. It is, in Lorca's words, 'a sort of corkscrew that can get art into the sensibility of an audience. the very dearest thing that life can offer the intellectual.'. The critic Brook Zern has written, of a performance of someone with duende, 'it dilates the mind's eye, so that the intensity becomes almost unendurable. There is a quality of first-timeness, of reality so heightened and exaggerated that it becomes unreal. '" (Maurer, In Search of Duende, pp. ix-xx).

Lorca writes: "The duende, then, is a power, not a work. It is a struggle, not a thought. I have heard an old maestro of the guitar say, 'The duende is not in the throat; the duende climbs up inside you, from the soles of the feet.' Meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation."

"Everything that has black sounds in it, has duende." (ie emotional 'blackness'). "This ‘mysterious power which everyone senses and no philosopher explains' is, in sum, the spirit of the earth, the same duende that scorched the heart of Nietzsche, who searched in vain for its external forms on the Rialto Bridge and in the music of Bizet, without knowing that the duende he was pursuing had leaped straight from the Greek mysteries to the dancers of Cadiz or the beheaded, Dionysian scream of Silverio's siguiriya." "The duende's arrival always means a radical change in forms. It brings to old planes unknown feelings of freshness, with the quality of something newly created, like a miracle, and it produces an almost religious enthusiasm." "All arts are capable of duende. but where it finds greatest range, naturally, is in music, dance, and spoken poetry, for these arts require a living body to interpret them, being forms that are born, die, and open their contours against an exact present." [1] — García Lorca. Play and Theory of the Duende

Example of contemporary application of the term

In March 2005 Jan Zwicky (University of Victoria ) used the notion of duende in the context of contemporary music at a symposium organised by Continuum Contemporary Music & the Institute for Contemporary Culture at the Royal Ontario Museum. an event televised by Big Ideas :

"[The second way music can be new is] when it possesses duende. "black sounds", as Lorca called them, the dark counterpoise to Apollo's light, music in which we hear death sing. Duende lives in blue notes, in the break in a singer's voice, in the scrape of resined horsehair hitting sheep gut. We are more accustomed to its presence in jazz and the blues, and it is typically a feature of music in performance, or music in which performance and composition are not separate acts. But it is also audible in the work of classically oriented composers who are interested in the physical dimensions of sound, or in sound as a physical property of the world. Even if it is structurally amorphous or naïvely traditional, music whose newness lies in its duende will arrest our attention because of its insistence on honouring the death required to make the song: we sense the gleam of the knife, we smell the blood. In reflecting on the key images of Western music's two-part invention – the duende of the tortoise and the radiance of Apollonian emotional geometry – we are reminded that originality is truly radical, that it comes from the root, from the mythic origins of the art." [ 1 ] (note: in Greek myth Apollo kills a tortoise to create the first lyre ).

Prior to this, popular Australian music artist, Nick Cave made reference to duende in his lecture pertaining to the nature of the love song (Vienna, 1999):

"In his brilliant lecture entitled "The Theory and Function of Duende" Federico García Lorca attempts to shed some light on the eerie and inexplicable sadness that lives in the heart of certain works of art. "All that has dark sound has duende ", he says, "that mysterious power that everyone feels but no philosopher can explain." In contemporary rock music, the area in which I operate, music seems less inclined to have its soul, restless and quivering, the sadness that Lorca talks about. Excitement, often; anger, sometimes: but true sadness, rarely, Bob Dylan has always had it. Leonard Cohen deals specifically in it. It pursues Van Morrison like a black dog and though he tries to he cannot escape it. Tom Waits and Neil Young can summon it. It haunts Polly Harvey. My friend and Dirty 3 have it by the bucket load. The band Spiritualized are excited by it. Tindersticks desperately want it, but all in all it would appear that duende is too fragile to survive the brutality of technology and the ever increasing acceleration of the music industry. Perhaps there is just no money in sadness, no dollars in duende. Sadness or duende needs space to breathe. Melancholy hates haste and floats in silence. It must be handled with care." "All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather Hate Songs disguised as love songs, and are not to be trusted. These songs deny us our humanness and our God-given right to be sad and the air-waves are littered with them. The love song must resonate with the susurration of sorrow, the tintinnabulation of grief. The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil - the enduring metaphor of Christ crucified between two criminals comes to mind here - so within the fabric of the love song, within its melody, its lyric, one must sense an acknowledgement of its capacity for suffering." [ 2 ]

For an excellent discussion of the concept of duende, see Edward Hirsch's book, The Demon and the Angel.

  • Delerium 's Karma album contains a track titled Duende .
  • Liz Story 's Part of fortune album contains a track titled "Duende ".
  • The 3rd movement of Leonardo Balada 's Concierto Mágico (a guitar concerto ) is subtitled Duende .
  • the Gypsy Kings have two tracks called Duende.
  • La Camilla 's 1992 track 'Everytime You Lie' features the word Duende. Track 4 on the CD single release is also entitled Duende.
  • Olav Basoski produced a track called Duende.
  • Mercurial Poet Jack Gilbert penned a poem entitled Duende in his 2005 collection Refusing Heaven.
  • Canadian hard rock band Triumph 's song "The City" has a Spanish guitar section called "El Duende Agonizante" (The Dying Soul?).
  • An episode of the television series Highlander included an episode titled "Duende" in which the protagonist, Duncan MacLeod (played by Adrian Paul), discusses the importance of "duende" or spirit and passion necessary to win a duel.
  • Jazz pianist Alvaro Is Rojas has an album called "Duende", released by Blue Music Group.
  • Chick Corea has a song titled "Duende" on the record "Touchstone".
  • Poet Tracy K. Smith 's second book is titled duende .
  • Tony Gatlif's film Vengo has a part focusing on the relationship between the concept of duende and nature.
External links
  1. ^ Royal Ontario Museum: The Culture of New Music - advance summary of programme, March 12 2005
  2. ^ Nick Cave's Love Song Lecture, October 21, 2000

DUENDE: definition of DUENDE and synonyms of DUENDE (English)

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definition - DUENDE From Wikipedia

Duende may refer to:

  • Duende (mythology). a fairy- or goblin-like creature in Spanish and Latin American mythology
  • Duende (art). a difficult-to-define phrase in the Spanish arts that connotes emotion and authenticity
  • Duende – A Journey in Search of Flamenco. a novel by Jason Webster
  • Duende, the daemon program for MaraDNS
  • Duende. a collection of poetry by Tracy K. Smith
  • Duende. the German trance DJs. Gregory Engelhardt, Thorsten Wittig, and Antonio Moreno

This disambiguation page lists articles associated with the same title.
If an internal link led you here, you may wish to change the link to point directly to the intended article.

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Duende definition

Miscellanea
  1. Duende. A duende is a fairy- or goblin-like mythological creature from Iberian, Latin American and Filipino folklore. Duendes may also have some traits similar to goblins and kobolds.
    • also known as Duwende
  2. Duende or tener duende loosely means having soul, a heightened state of emotion, expression and authenticity, often connected with flamenco. The artistic and especially musical term was derived from the duende, a fairy or goblin-like creature in Spanish mythology.
Phrases with Duende
  1. Porotergus Duende
  2. Pristimantis duende
  3. Eleutherodactylus duende
  4. Species Porotergus Duende
  5. Species Pristimantis Duende
  6. Species Eleutherodactylus Duende
Printed dictionaries and other books with definitions for Duende

Click on a title to look inside that book (if available):

Viva Travel Guides Argentina (2011)

by Paula Newton

El Duende is a superb new hostel with comfy beds, fans and a kitchen/lounge with a great selection of DVDs. Breakfast is included, there is a laundry service, and the laidback and amiable staff can help out with some tourist.

Humanistic Psychology (2009)

A Clinical Manifesto. a Critique of Clinical Psychology and the Need for Progressive Alternatives by David N. Elkins

Duende is a Spanish word that originally referred to little mythical creatures or spirits that lived in the mountains in Spanish mythology. But the Spanish poet Federico Garcia Lorca used the term to refer to that mysterious energy that infuses the.

The duende is a spirit of art, but not a kindly one like a muse or an angel. It is a dark force characteristic of Lorca's own writing, and recognized in Andalusia as present in the greatest art. Having nothing to do with surface beauty and form, it is a.

Uptown Conversation (2012)

The New Jazz Studies by Robert O'Meally, Brent Hayes Edwards, Farah Jasmine Griffin

Duende is a matter as “seri- ous as a heart attack,” and so we have to regard the Deconstructive Woodwind Chorus as musicians of a different sort; for them music is anything but mere enter- tainment. This group of musicians views music as an.

Troubling Beginnings (2004)

Trans(per)forming African American History and Identity by Maurice Stevens

Duende evinces (and elicits) the irresistible imperative to be simply more than one can. It is, ultimately, the impulse to give and thereby expend the self, rather than merely consume. Duende is an unapologetic and fierce mode of performative.

Logic Pro 9, Audio and Music Production (2016)

Arts, Arts by CTI Reviews

Duende. A duende is a fairy or goblinlike mythological creature from Iberian, Latin American and Filipino folklore. While its nature varies throughout Spain, Portugal, Spanish and Portuguesespeaking America and the Philippines, analogues.

The Telling Room (2013)

A Tale of Love, Betrayal, Revenge, and the World's Greatest Piece of Cheese by Michael Paterniti

' \Vrites Federico Garcia Lorca: “The duende is a momentary THF .

by Cedrick Pettigrove

Belize – Tata Duende is a mythical goblin described as being of small stature, has a beard, is wrinkled, lacksthumbs, hashisfeetbackwards, andwearsalarge brimmed hat. It is a protector of the forests and animals and was used to scare.

The Golden Age Comedia (1994)

Text, Theory, and Performance by Charles Ganelin, Howard Mancing

La dama duende is a very funny play whose humor derives from the exploitation of a variety of theatrical resources: lively comic dialogue; a successful use of visual effect,1 and an elaborate plot that "intrigues" the spectator/reader to the end .

Dictionary of Untranslatables (2014)

A Philosophical Lexicon by Barbara Cassin, Emily Apter, Jacques Lezra, Michael Wood

Duende. one of the spirits who fell with Lucifer. of whom some stayed at the surface of the Earth. They have a habit of.

Encyclopedia of Fairies in World Folklore and Mythology (2013)

by Theresa Bane

Sources: Leach, Funk and Wagnalls Standard Dictionary ofFolklore, Mythology, andLegend, 778; Rose, Spirits, Fairies, Leprechauns, and Goblins, 92 Duende Variations: Duefio de casa, Trasgo In the fairy lore of Latin America, the Philippines.

Dictionary of Phrase and Fable (1895)

Giving the Derivation, Source, Or Origin of Common Phrases, Allusions, and Words that Have a Tale to Tell by Ebenezer Cobham Brewer

DUENDE (3 Syl.), a Spanish house-spirit. (See DUENDE .) s -- DWARF, a diminutive "being, human or superhuman. (Anglo-Saxon, dweorg.) DWERGER, DWERGUGH, or DUERGAR, GothoGerman dwarfs, dwelling in rocks and hills.

Encyclopedia of the Essay (2012)

by Tracy Chevalier

Used the pseudonyms Figaro, El Duende. El Pobrecito Hablador, and others. Born 24 March 1809 in Madrid. Father collaborated with Napoleon, and family forced to flee to France, 1813; lived six months in Bordeaux; studied in Paris; family.

Dictionary of Satanism (2015)

duende (Spanish). INFERNALIA Title of a famous work by Charles Nodier. It is a collection of materials dealing with Hell. INFERNO Hell or a place likened to it.

Historical Dictionary of the Gypsies (Romanies) (2007)

by Donald Kenrick

DUENDE. A Spanish term describing a mysterious power said to be held by some flamenco singers and dancers. DUKA, JETA (1948— ). Albania. Civil rights activist and collector of folktales. During the transition. period after the end of the.

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