Cante jondo, cante flamenco y cantos tradicionales. La construcción de una estética jonda a la luz de las prácticas de la afición.

Abstract

This work analyzes the concept of "cante jondo" as an idealized reference point for authenticity, constructed by intellectuals, and contrasts it with the concept of "cantes clásicos" (classical songs), a term that encompasses a broader group of songs than those defined by Falla as jondos. "Cantes clásicos" would encompass a series of songs that, although variable depending on the period, have been cultivated and valued by aficionados. Many of these songs, at least until the early 20th century—and especially in western Andalusia—are songs "a compás" (with a beat,) as they were closely linked to the world of flamenco dance, something that theorists of jondo practically do not consider. Falla and Lorca influenced the redefinition of the canon of songs, although their effects only became apparent in flamenco practice from the 1950s and 1960s onwards.