The singer, who comes in contact with the music, should understand the life and internal history, and popular culture, from which the music was inspired, as well as the intellectual substrates of the original languages or the regions, from North or East Spain.
It is also crucial for this study to note that the flamenco spirit can only be taught inside the experiential perspective, due to the fact that Flamenco music is basically learnt through imitation. Experiencing the music by taking part is thus very important for my work, as well as exploring the theory and establishing practical guidelines.
The critical understanding through practice, and gathering information about principal phonologic obstacles in order to help singers to perform the songs within the style, accents and correct spirit of Spanish music, are fundamental to my investigation.
As a pianist for accompanying singers, I have already engaged deeply with this repertoire. I really desire to develop further and follow my insights in order to demonstrate that these resources will give foreign artists the capability to sing Spanish music inside the true traditions, in the same way they do with French music or other cultures.
At the same time, this research will help to extend the knowledge of unknown Spanish composers.
My final aim is to create a new line of research and description of this cultural wealth of the different regions’ peculiarities, in order to benefit more accurate, precise and authentic interpretations for the singer’s role and, additionally, to promote the interest of Spanish vocal repertoire at European institutions.