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| TRADUCCIÓN REALIZADA POR | BULERÍAS. f. Pl. [Bullería and noise, crying and Jaleo, or burlería, mockery.] Song with copla usually three or four verses (8 syllables), which often acts as an auction of other songs, mainly from the solea. It is boisterous singing, often for dancing, the origin of which dates from the late nineteenth century. It is distinguished by its fast pace and redoubled meter, which admits. Better than any other style, shouts of joy and expressive voices jaleo, in addition to redouble those of the palms with greater intensity than any other song. It assimilates any melodic type, and the sense of momentum or Flemish improvisation, it reaches its maximum expression. / / 2. Flamenco dance par excellence that is characterized by the predominance of convulsive and torque movements, performed with grace. Accepts all improvisations the interpreter is able to make and it allows all the twists and moves able to follow the beat. About this unique style, always with variation and development, especially in recent times, we recollect a series of glosses, analyses and opinions of various scholars and researchers of the flamenco art: Jose Blas Vega: "The buleria is the daughter of the soleá. And etymologically it is a distortion of the Gypsy word burlería. If we stick to the issue, its lyrics are considered as of the best. Historically, bulerías do not appear until the middle of the last century, being a creation of the inhabitants of the streets Nueva, and Cantarería from Santiago neighborhood in Jerez. Who, taking the measure of solea and lightening their compasses, shaped a style full of grace and picaresque, full of movement, perhaps by an innate need to accompany their dances more intuitive. Its starting point was with the refrain they usually finished the soleá, and more specifically, according to tradition, hoe Mateo El Loco wanted it to be. Jose Manuel Caballero Bonald: "bulerías, direct inheritors of the solea, is a song created primarily to accompany the dance. The range of styles of the bulerías is virtually uncontrollable, although it may establish two main strands distinctively: bulerías proper festive or to dance, and bulerías to blow or to sing, which is the modality defined more often called-rightly-by bulerías solea. The first set was particularly fertile and shifting, admitting a series of issues with improvisation and appropriation of the more exotic backgrounds. E! Second, as its name indicates, clearly derived from the solea in the same condition of singing without dancing gives an indisputable hierarchy within the lofty implications of the primitive songs”. Pedro Camacho: "About the rythm, bulería is a bolero song whose origin is almost certainly the jaleo or jaleada, own songs for euphoric and festive dances. Hin this setting it is a bolería. When the gypsy occurrence incorporates the traditional dance ballads of solea or soleariya. Arbitrarily it accommodates their melodies, and lengthens or shortens their time. And alter their accents, and play with the pace, the gypsy bulería is born, which continues to call jaleo, or jaleíllo jaleo por bulerías. There is another type of bulerías that has no basis on the pace bolero. They are called the bulerís coup or soleares por bulerías. Manuel Rios Ruiz: "bulería, irony and satire of gypsy made grace, soleá is a light, sometimes very light. And most jaleado sign of the Flamenco, especially from the angle of the dance. Something extraordinary and amazing, creating a great spontaneity to flamenco people from Jerez. The bulería singing is a bustling, especially for dancing, with light rhythm and redoubled beat, that admits better than any other style cries of joy and expressive voices jaleo, in addition to redouble the palms, more intense than in any other song. The bulerías have the same literary form of soleares, but in some metric beat, just enough that a good singer will know the square thirds.” Jose Carlos de Luna: "bulerías, singing a tango with mischief and smoke of soleares, reminiscent of now-defunct jaleo. Admit within them, and get into his songs are all, which are regional or ultrapirenáicos appear, resemble a formidable funnel huge bell, which receives all musical gifts they want to shed their voracity, and that leaves them to go, spun and bright, and hand claps drunk with joy. The gypsy grace, the salt and pepper sprays and accommodates their jipíos and flourishes with the peculiar and innate mastery of the songs feature of this race. The most absurd stanzas, musics more isolated from the opportunities of gypsies, follow the pace and are, for good or for bad, what they must ". Ricardo Molina: "Of the Gypsy Dance the bulerías is the one hundred percent.” The song is characterized by the disappearance of the structural or internal rhythm because of the speed of tempo and its rigour, which leaves the singer only the possibility to develop a melodic curve, which drop seems geared to a precise target ... The main feature of bulerías is virtue protein that allows infinite assimilate a crowd of other songs and transform them into their own substance. " Fernando Quiñones: "Song coming from soleares, as interpreted by them three times, although most strongly (there is even an influence to bulerías or bulerías by soleares, far more than that of soleares bulerías). There may also proceed, and partly of former juguetillos, and often absurdly regarded as a kind of pacotilla Flemish, good for arming noise and hang out. But there is much more. The bulerías concerned, it is about a singing meritísimo ". Anselmo Gonzalez Climent: "It is something definitive: to reach the bulería groove there is an extremely complicated way to go. Perhaps the only song you need to understand your entire transit complete! Or throughout the rest of the flamenco repertoire . It reaches bulerías with terminal delicacy, as a result of a decanter and encyclopedic process. Anyone who has injured its sensitivity to the knocker honduras, siguiriyas and soleares, who was able to get out of the fandangueril forest, who has good idea of the expressions , who possesses the virtue of receiving the angel of the songs, people from Jerez that will be in a conducive situation to the full apprehension of singing por bulerías. The bulerías are up in crescendo purification and receptive ability. This is the song that traps with ease, turns out to be one of the most difficult ... The bulerías are a sort of regulatory body of the most outstanding characteristics of the big, intermediate and small Flamenco songs. This explains that it is not easy to define their unique and multiple shades, bulerías give the essential soul to the Flamenco party , because entering the best complications pace of grace, and because they give the singing, dancing and its jaleo maximum load of an angel. It is not, in short, a superfine song that is not in the hand of all>>. Tomás Andrade de Silva: "The bulería that was faithful to the original matrix, was almost in its principles in a very slow rythm, and its only destination was dancing. Afterwards, the singers have expanded the importance of their voice and lightening pace, made it to an individualized singing, as difficult as a true soleá >>. Jose Luis Ortiz Nuevo: <<The buleria is relatively modern and the singing comes to us from El Loco Mateo to El Gloria, as a perfect synthesis of grave expression. The bulería condensation is the soleá, essence of their rhythms, their ray of echoes and musical forms. The bulería runs between the palms and dances like a cyclone that never ceases, as a way of joyful emotions that occur at the party. The bulería prompts when it is listening to the vertigo of courage and the fury. And now it turns out that all renovations are on the opposite path: extending indefinitely thirds dulcificando needlessly their cries, scorn with fatal neglect the accuracy of their compasses. The cuplés and ballads have set their real in this style v. Welcomed by many fans, it is disguising its true sphinx>>. |
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