Abstract:

While the styles and sources of Rosalía's music are diverse and eclectic, flamenco is certainly the genre of which she has made most consistent and extensive use, with her idiosyncratic and original interpretations provoking much controversy in flamenco circles. Without discussing such polemics, this article explores in some specificity the particular flamenco forms she has used, from her first album Los Ángeles through her 2022 Motomami. It further makes some general observations about her flamenco interpretations, though these resist facile categorization. Some of the specific flamenco forms (cantes and estilos) that she performs are familiar and iconic, such as the "yeli yeli" tango chorus in "Di mi nombre." Others, such as the tango of Porrina de Badajoz in "Juro que," are items that only flamenco connoisseurs would recognize. Similarly, some of her interpretations are straightforward and por derecho, while others are strikingly original, whether in terms of instrumental accompaniment, production effects, or her own vocal rendering. A close observation of these rearticulations reveals both her originality as well as her deliberate engagement with traditional flamenco forms.

摘要：

虽然罗莎莉亚的音乐风格和来源多种多样且不拘一格，但弗拉门戈无疑是她最一致和广泛使用的流派，她独特和原创的诠释在弗拉门戈圈子中引起了很大的争议。本文不讨论此类争论，而是具体探讨了她使用的特定弗拉门戈形式，从她的第一张专辑《Los Ángeles》到 2022 年的《Motomami》。它进一步对她的弗拉门戈诠释做出了一些一般性的观察，尽管这些观察难以简单分类。她表演的一些特定的弗拉门戈形式（cantes和estilos）是人们所熟悉和标志性的，例如“Di mi nombre”中的“ yeli yeli ”探戈合唱。其他的，例如《Juro que》中 Porrina de Badajoz 的探戈，则只有弗拉门戈鉴赏家才能识别。同样，她的一些诠释是直截了当的，而另一些则是惊人的原创，无论是在乐器伴奏、制作效果还是她自己的声音渲染方面。对这些重新表达的仔细观察揭示了她的原创性以及她对传统弗拉门戈形式的刻意参与。