Pero son muchas las formas de trabajar las canciones, y conviene no caer en la rutina, haciendo diferentes actividades en las que se tengan en cuenta los gustos, motivaciones y ritmo de aprendizaje del alumnado.
Podemos seguir los criterios que nos propone J. Santos Asensi :. Osman y L. Wellman  proponen siete criterios:. Llegados a este punto, el presente trabajo pretende ofrecer una serie de actividades a modo de ejemplo de lo que podemos hacer en clase.
Materiales: - Hojas de trabajo con las actividades. Para ello es necesario utilizar un diccionario. Cuando sopla el viento en plena noche tu voz marinera llega hasta el monte, me pongo a la lumbre, te escucho cantar y cuando me duermo regresa el invierno y empieza a nevar.
Con la elegancia del bailador las panderetas se quieren mecer colmando a los valles de paz y amor al ritmo alegre del atardecer. Suena el coro igual que un rabel Como la gaita al son del tambor Rayo en el aire, dulce de miel Cantos del alma que llevo en la piel.
Yo que de horizonte tengo el mar Siento tus tonadas en las madrugadas hasta el despertar. Bravas tonadas que hablan de mozos y labradores Del pasado de esta tierra, de mozas y rondadores Canciones de pescadores que en la orilla dejo el mar Para que la voz del pueblo te dedique su cantar.
Adame, Claudia R. Castillo, Gabriela de Alba e Itzel Mendoza. Betti, Silvia. The performers are excellent, but the album opens with organum, thoroughly appropriate for medieval church music, but surely not for Sephardic religious music.
Their notes do refer to Edith Gerson-Kiwi's classic article on Jewish polyphony; however, this group's vocal style is more reminiscent of the church than of Yemenite or any other Jewish folk polyphony. Despite the high musical level, the overall effect is rather cold, evoking grand, empty cathedral spaces more than intimate synagogue community worship.
Reissue of a s recording, with full texts and translations English and German; the orthography should be adapted to more recent usage, especially use of "x" for "sh". Mostly well-known songs, with a few welcome surprises, such as "La historia de Zimbolucha" Una muchacha en Salonica.
Both voices are clear and agreeable: Saltiel comes from a Sephardic family wiht many singers, and Escribano, from Spain, skilfully adapts her Western classical training. Joshua Horowitz's introduction, mostly competent and helpful, forestalls any wistful comments about authenticity through the increasingly popular strategy of making the listener feel guilty for wishing for it "some musicians This very pleasant recording needs no "justification", and certainly not by putting down more traditional styles, which are in any case not always recorded in "dire circumstances".
Serious research and notes, admirable musicianship. Vocals bland in the Christian material, unconvincing in the settings of Arabic and Hebrew songs. No clear explanation that there are no medieval manuscripts of Jewish or Moslem music except the Ovadiah fragments, see Cohen : non-specialist listeners may think that the settings here are actually medieval, especially reading such trendily obfuscating phrases as "our melody is informed by melodic gestures found in 13th c.
Hebrew Biblical cantillation symbols Agave Music A pretty voice, accompanied by the rather unlikely combination of oboe, English horn, guitar, hand percussion and - shofar. The album presents yet another a selection of the most frequently recorded Judeo-Spanish songs, with a typically confused notion of what constitutes a romance running through the notes, whose English translation is abysmal. Todas las voces de Sefarad Tecnosaga, Spain.
Seroussi, choral arrangements of a non-choral tradition. Saga Madrid KPD Ensemble is directed by and includes as an instrumentalist Israeli ethnomusicologist Weich-Shahak, who, for the first time, also appears as a performer. None of the performers is Jewish, though Parra and Fraile are respected folklorists and performers in Spain. Their vocals are mostly successful in their imitation of Sephardic male vocal style, though the singing is occasionally somewhat strained; similarly, the instrumentals are good, but at times overworked.
The female voice so central to Judeo-Spanish song is missing in Vol. II is bland and atypical of Sephardi women's singing, but has a much stronger presence in Vol. I focuses on calendar and life cycle songs, Vol.
II on ballads romances and Vol. III on songs from the late 19th-early 20th century. The selections themselves are all taken from Weich-Shahak's extensive fieldwork, and include several songs which are rarely, if ever, recorded; notes are very informative in Spanish. Bessis, Sandra. ARB Music Judeo-Spanish wedding songs by a French Sephardic singer with a strong, clear, voice; CD unavailable at time of writing.
Miguel Hidalgo. Fonoruz, CDF, Anachronistically performed, and sadly missing the vocals which are the essence of Judeo-Spanish tradition, but, taken on its own terms, a collection of skilfully played and musically irreproachable renditions and interesting notes. Member of Gerineldo ; also musicologist Judeo-Spanish, Medieval, and related : Ashkenazi from Montreal; sings material from her own and colleagues' documentary field recordings, works on re-creating traditional styles; and on the connections between Sephardic songs and the music of their various diaspora locations.
Cohen also lectures and publishes regularly on Sephardic and Crypto-Jewish traditions; her daughter Tamar Ilana b. Sephardic songs in Judeo-Spanish and some in Hebrew, related traditional songs from the Sephardic diaspora, including medieval Iberia; Yiddish, Balkan, French Canada; Cohen and teen-aged daughter base repertoire on fieldwork and study. Review: www. Jaume Bosser, oud, saz, guitar. Mostly sung with acoustic guitar, some a capella: many selections are well-known and others less so; both the Eastern Mediterranean and Moroccan repertoires.
Not a typically Sephardic vocal style, and Castillian non-Judeo-Spanish pronunciation sometimes creeps in, but sure musicianship and warm, subtle vocals. A personal, very idiosyncratically typeset, book with CD, from this celebrated and rather hermit-like Spanish folklorist and singer.
Several previously unrecorded by him, anyway songs, including a few of his own composition, with the odd disclaimer that he has "always" done this, with Spanish tradition as well, but without acknowledging his or any other non-traditional authorship.
His pronunciation of Judeo-Spanish has definitely improved over his early Castilianization. Edery, Gerard Ensemble. Sing to the Eternal. An interesting, musically eclectic and generally agreeable collection of songs in Hebrew, Judeo-Spanish and English for Shabbat and the holiday cycle, with accomplished vocalist Gerard Edery, his long-time accompanists George Mgrdichian, the splendid oud player, and accomplished percussionist Rex Benincasa.
The Turkish "Eli Eliyahu" is a small gem of a song, with a simple, driving melody and a couple of unexpected cadences. The classic Judeo-Spanish song "Los Bilbilicos" is very successful here, as is Israel Najara's famous poem "Ya Ribon" is sung to a Moroccan melody often heard for other texts in both Judeo-Spanish and Hebrew though the notes do not mention this.
The presence of the song attributed laconically to "Persia" is mysterious, and it is sung on the theatrical, self-important side, as is sometimes the case in Edery's other recordings. His own English versions of a couple of songs, and his melodies, do not, for me, enhance the repertoire musically or linguistically. Sources for the traditional melodies are not given, and the notes are brief and impressionistic.
Sefarad Records, The prolific Gerard Edery , with a winning combination of his own voice and those of two justly renown cantors, and the two excellent instrumentalists who have long accompanied him: George Mgrdichian oud and Rex Benincasa percussion. The CD was unavailable at the time of review, but the three singers' individual accomplishments and the live performance I attended in , suggest that it will be very successful.
The success is deserved, although, I find some of the arrangements overblown and the voices often overwhelming for the Judeo-Spanish component of the repertoire. Elias, Joe, Ladino Lives! Familiar upbeat renditions by Joe Elias, veteran performer and teacher of the Eastern Mediterranean repertoire. Ensemble Antequera. Jews and Christians: Music in Medieval Spain. Syncoop Shura Lipovsky, vocals; with ensemble of rebab, recorders, percussion, harp, portative organ and lutes. The repertoire is divided between Judeo-Spanish songs and medieval Iberian songs.
Shura Lipovsky uses her clear and flexible voice with skill and intelligence, qualities also evident in the instrumental accompaniment. The Judeo-Spanish songs are uneven: "Nani nani" is quite lovely, but "Pregoneros van y vienen" verges on the shrill, while Landarico is on the over-serious side. The medieval songs are more consistently successful, and the notes are well-written and informative.
It is unfortunate that the Judeo-Spanish selections were all learned from one printed edition Milner and Storm ; no documentary recordings appear to have been consulted. It would be interesting to hear what Lipovsky's clear, convincing voice would do with models from traditional performance practice. Hellgren, Katarina, Savor de Ladino, muevas kantigas en ladino. Demo recording only available: no notes. Hellgren's voice is quite lovely. Matilda Koen Serano is well-known for her work in many aspects of Judeo-Spanish culture, from education and story-telling and writing to composing lyrics for new songs in Judeo-Spanish, such as these.
Personally, I would have preferred a mixture of old and new songs, and hearing the singer's renditions of traditional material, even though the recording is presented as a project for "new Ladino songs" a few standard "Judeo-Spanish hits" appear on Hellgren's earlier recording of Yiddish songs, Mamme. Well-known early music group, directed by Jordi Savall.
Figueras' western-art music-trained voice is rather fussy, and the declamatory recitatives which apparently are used to make the ballad texts go by faster are, to my ears, instrusive; the instruments are very good if not very "Sephardic"; the recording is perhaps most worth hearing for its place in Judeo-Spanish recording history.
Harmonia Mundi. Expert musicality but heavy-handed classical Western influenced vocals and generally pretentious. There are no explanations and no documentation, but there is also no pretension or attempt at rationalization.
Jaramar has a very clear voice, more subtle than powerful. Though generally very agreeable, it sometimes verges on the coy. She overdubs occasional harmonies with herself, and on a few selections the musicians add vocals. It would be nice to hear at least a few selections in more traditional style. A few Sephardic songs also appear on Jaramar's album Lenguas , which is mostly composed of pieces from medieval manuscripts.
Kol Oud Tof Trio: Gazelle. Magda Music MGD This unusual collection brings together the different Moroccan Jewish repertoires: Judeo-Spanish, Moroccan Arabic, liturgical songs in Hebrew. Kanen-Ofri has a lovely, clear, well-controlled and flexible voice; has done her research, and sings with commitment and intelligence. Instrumentalists Oren Fried percussion and Armand Sabach mostly oud are excellent.
In surprising contrast, the inadequate liner notes in English and Hebrew offer words for only one song, and little information about song sources and regions.
Track 6, a romance narrative ballad ,he explains, has had its "hidden underlying" rhythmic pattern "reinterpreted". Otherwise, this fine recording is a pleasure to listen and return to. Levy, Isaac. An important document of these arrangements which altered the character of the songs and influenced the entire Judeo-Spanish song revival movement; but somewhat misleading as to the distribution of the songs Yehudith Aharoni and Yasmin Levy each sing only the woman's part of one dialogue song, and Kohava six, out of the entire double cd collection.
The documentation is utterly appalling, given the resources available today, especially in Israel! The notes for CD-2 liturgical songs and seldom-if-ever recorded children's songs are simply non-existent, as is the note for CD-1 30 the last track , the rest of the CD-1 notes consist of a couple of lines each about the songs' basic content - no songs are identified by standard titles, including the few romances included and no other information is provided.
Nothing about the relationship of the piano arrangements to the traditional style of the songs. In the liturgical songs, no provenance not even whether they're from Morocco or the Eastern Mediterranean , and not a word about the use of secular melodies for Hebrew religious texts, or which Ladino songs were translated into Hebrew and when and why and how they're used The new National Authority for Ladino has, for no discernable reason, missed a great opportunity to provide a truly important document instead of a pleasant re-issue of centrally important recordings.
Notes in Hebrew only. The daughter of renowned Judeo-Spanish song collector, anthologist , singer and broadcaster Isaac Levy and Judeo-Spanish singer Cohava Levy, presents mostly well-known songs, sometimes over-arranged and a little precious, but with definite potential for a subtle, mature voice and presentation, especially on the refreshing a capella, less pretentious delivery of "Condzha condzha" and the strong, Turkish-influenced "Una ora en la ventana".
It will be interesting to see how she ends up re-shaping a repertoire her father reshaped as he presented it to a largely new listening - and performing - public. A Western art music-trained Argentinian singer living in Spain, with small chamber ensemble; some newly composed material.
Ave Maria de Schubert en Bb vista veces 4 commentarios albetan 21 votos. Ave Maria vista veces 3 commentarios Mario Ramos Palomino 18 votos. Ave Maria gregoriano vista veces albetan 11 votos.
Ave Maria de Schubert 4 voces vista veces 1 commentarios albetan 21 votos. Ave Maria de T. Bendita sea tu pureza vista veces 1 commentarios jmanuelmena 8 votos.Cantos Tradicionales 1. CANTO TRADICIONAL Lee y analiza el texto que se te presenta y responde las mondfernwhonakeren.toubackcoworquowicoratervidoho.coión es el conjunto de patrones culturales que una generación hereda de las anterioresy, usualmente por estimarlos valiosos, trasmite a las siguientes.