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NormanKliman -> RE: Voz flamenca (Mar. 17 2013 10:05:42)
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Parts of the text are from the Mairena/Molina book "Mundo y formas..." I've never found these terms to be useful insofar as having a greater appreciation of flamenco. Aside from the fact that they're entirely subjective, there's not really much to gain from categorizing voices in this manner. I doubt that most people would consistently coincide in categorizing voices as "laína," "redonda" and "natural." How would you categorize the voices of Juan Talega, Niña de los Peines, Tía Anica, Tío Borrico, Fosforito, Chano Lobato, Camarón, Terremoto, Chocolate, El Torta, Menese, Enrique Morente...?
Some observations:
Afillá: Obviously, the voices of Pansequito, Rancapino, Indio Gitano, Juana la del Pipa and Fernanda de Utrera are in this category. Pretty easy to recognize, as is the "falsete" category at the other end of the spectrum.
Cantaora: La Paquera, Rosalía de Triana, Aurora Vargas, Mariana Cornejo, Marina Heredia, Sara Baras... Seems to be a standard female voice.
Laína: Poorly defined term. Some understand it to mean "nasal" (like Aurelio de Cádiz) but the term probably comes from the word "ladina" which means several things, including sly, astute, mestizo and Spanish Jewish.
Redonda: The linked information states that La Serneta was Tomás' teacher. Unless I've missed something, there's no reason to think they even met. It might be a metahporical use of the word "teacher" (maestra) but I think somebody made a mistake involving a recording of Pastora, who was Tomás' older sister.
Voz natural/de pecho/gitana: According to Mairena, the first to sing with this kind of voice was Manuel Torre, and the old-timers didn't like it early in his career. If that's true, I imagine they were also not impressed by his habit of adding personal variations to classic cantes.
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