Distinguishable elements of the flamenco musical work. An ...

1

Distinguishable elements of the flamenco musical work. An empirical approach

Jesús Heredia – Carroza

[email protected]

Department of Economics and Economic History

Universidad de Sevilla, Spain

Luis Palma Martos

[email protected]

Department of Economics and Economic History

Universidad de Sevilla, Spain

Luis F. Aguado

[email protected]

Department of Economics

Pontificia Universidad Javeriana, Colombia

Abstract

This paper analyzes the elements that influence the cultural valuation of flamenco musical

work. In the framework of cultural economics, we propose the arguments of a production

function of the flamenco work: the palo (cultural heritage), the author and the performer.

The final output is the result of the creative contribution of these arguments. The data

from 690 surveys to market agents (consumers and experts) were used for an exploratory

factor analysis. We obtained three factors that represent the distinguishable elements that

influence the cultural value of the work: feelings, virtuosity and traditional structural

elements. The main result shows how feelings are the key element in the valuation, it

represents more than 40% of the accumulated total variance. The article offers a

methodology that explains the valuation of flamenco musical work and can be used for

other traditional popular music genres.

Keywords: flamenco; production function; cultural value; exploratory factor analysis;

feelings

2

1. Introduction

As mentioned by Throsby (2003: 279) cultural value “is multi-dimensional, unstable,

contested, lacks a common unit of account, and may contain elements that cannot be

easily expressed according to any quantitative or qualitative scale.” However, cultural

value is not hidden, is expressed through “audience applause, expert reviews, prizes, or

length of text and footage dedicated in print and broadcast media.” (Hutter and Frey,

2010: 205).

The article takes an empiric approach to the cultural value of flamenco musical work

through its distinguishable elements. With this analysis we show the importance of the

externalization of the flamenco work and, as a result, the performer1. To this end, and in

the framework of cultural economics, a definition of flamenco musical work and its

production function are proposed, and the relative importance of creative contributions

by the arguments that form such function are quantified.

The definition of the flamenco musical work and the production function derivate of

existing bibliography (Rosón, 2010; Throsby 2006; Towse, 2007), and 15 interviews to

recognized personalities of the world of flamenco. Flamenco musical work is the result

of “highly complex combinations of artistic factors of production and technology”

(Towse, 1996: 101). The artistic factors of production identified in the production

function are: palo2 (harmony and rhythm), author (melody and lyrics), and performer

(differentiating talent3). The contributions of these factors are valued by market agents

(consumers4, experts5) once the work is materialized through its externalization (Felton,

1978).

The empirical analysis departs from a database which was constructed ad hoc through

690 surveys applied to two market agents of flamenco (Lundy and Smith, 2016). The

first agent called experts gathers 51 critics and 59 cultural managers. The second one

gathers consumers. Critics recognize the value of the musical work with their

publications and opinions in the media (tv, radio, press), or contests. Cultural managers

are intermediaries between artists (supply) and consumers (demand). Lastly, consumers

with their participation and monetary votes represent the demand. The surveys carried

out with the collaboration of “Flama. La Guía del Flamenco”6, the Centro Andaluz de

Documentación del Flamenco, and website promocionmusical.es.

Creative contributions of artistic factor of production that intervene in the final work are

3

valued through the surveys by the market agents. After an analysis of correlations and

exploratory factor analysis by principal components (Tschacher et al., 2015) three factors

are identified. These factors represent distinguishable elements that influence the cultural

value of flamenco musical work: feelings, virtuosity, and traditional structural elements.

The main result shows how feelings are the key element in the valuation, it represents

more than 40% of the accumulated total variance.

The article contributes to empiric literature on valuation of flamenco musical work in

three aspects: i. it identifies the arguments of its production function, which allows a

better knowledge of artistic factors of production intervening therein; ii. Explains the

elements that define its cultural value (Klamer, 2003); iii. it measures the cultural value

of the flamenco musical work through a synthetic index that depends on feelings of the

market agents. The article is organized as follow: production function of flamenco

musical work is presented in the section 1. The collection of information and variables

used for the valuation are explained in section 2 called “Data and Empirical Strategy”.

Afterwards, section 3 alludes to the methodology and results obtained. Lastly, in section

4 there are some conclusions.

2. Production function of the flamenco musical work

Flamenco is a traditional popular music genre (Bermúdez and Pérez, 2009; Von

Tongeren, 2017) its territorial roots are connected to customs and traditions reflected in

the cultural heritage of the Andalusia, Spain (Cruces 2001; Aoyama, 2009; Manuel,

2010). From the cultural economics, flamenco musical work is defined as a complex

cultural good that integrates: vocal music – cante – instrumental music – toque –, and

dance – baile. (Infante, 1980; Palma et al., 2017)

Out of the 15 interviews7 (Radbourne et al., 2010) carried out to recognized personalities

of the world of flamenco and the existing bibliography (Throsby, 2006; Fernández-

Blanco and Prieto-Rodríguez, 2011), we propose a production function for flamenco

musical work. This includes artistic factors of production (palo, author, and performer)

and, their contributions (structural elements8).

- Palo: contributes with two structural elements that originate in the flamenco

cultural heritage: rhythm and harmony (Steingress, 2007; Rosón, 2010; Manuel,

2010)

- Author: contributes with two structural elements of the work, melody and lyrics

4

(Manuel, 2006) that along with the two previous ones produce the composition

of the work (Werck and Heyndels, 2007; Throsby, 2016).

- Performer: contributes with her differentiating talent (Bryant and Throsby,

2006; Connolly and Krueger, 2006) considered a non-traditional structural

element. In the interviews, its nine variables are identified: distinctive element,

technique, improvisation, consistency and innovation of the performance, ability

to produce emotions, generate reflection in spectator, ability to feel and make

others feel flamenco (Romero, 1996; Vartanian and Suedfeld, 2011; Heredia-

Carroza et al., 2018). The performer is a key for the flamenco musical work

(Negus et al., 2017) since the externalization thereof depends on her (Felton,

1978; Towse, 2007; Hadida, 2010; Levinson, 2015).

These elements integrate in the production function9 of flamenco musical work, see

Figure 110. It shows the flows of cultural value contributed by artistic factors of

production (palo, author, and performer) to the final output.

Figure 1: Production Function of flamenco musical work

For the visualization of the work by the market agents, the externalization is a key stage.

The performer is the link of the chain of artistic production (Throsby, 2006) that fusions

the structural elements arising from the composition of her differentiating talent and give

5

rise to the final work. In this context, the creation of the musical work may be treated

from a double point of view. In the one hand, the stages of the productive process and,

on the other, the sequences of the creative cycle that departs from cultural heritage,

continues from composition, and follows with the performance that concomitantly ends

with externalization. See Figure 2.

Figure 2: Creation of flamenco musical work: The productive cycle and its stages

3. Data and Empirical Strategy11

Thanks to 15 interviews to flamenco personalities and existing bibliography, we obtained

the elements which integrate the production function and the cycles of creation of the

flamenco musical work. Departing from this information, we carried out 690 surveys

divided in two instruments: one addressed to 110 experts and other focused on 580

consumers. Instruments were divided into four sections. Sections 2, 3, and 4 are common

to both. In the first section for experts, the professional profile was questioned. In the

case of critics, the number of years in exercise and means of publication of critiques were

asked. For cultural managers, the number of years in the management and the flamenco

relative importance in the general programing of cultural spaces were requested. For

consumers, the degree of flamenco knowledge, number of events attended, and

frequency were required. In section 2, market agents value 41 different variables about

flamenco. Specifically for this paper we use 13 items which integrate the flamenco

musical work structured as follow:

6

Please indicate the level of contribution to the valuation of the flamenco musical work

of the following variable: [being 1 very low and 7 very high]:

Variable 1 2 3 4 5 6 7 DK

Harmony

Rhythm

Melody

Lyrics

Distinctive element

Technique

Improvisation

Consistency of the performance

Innovation of the performance

Ability to Produce emotions

Generate Reflection in spectator

Ability to feel flamenco

Make others feel flamenco

Section 3 explored the cultural policy with four questions about whether flamenco must

be supported with public funds for its promotion. Section 4 asked about basic

demographic-social aspects (age, sex, and educational level).

With this useful information that reduces uncertainty about the characteristics of a

flamenco musical work, we aim to identify what variables influence to its cultural value

and what is the importance of the externalization (Hernando, 2017b). To test this, we use

two exploratory factor analysis by principal components (Malthouse and Calder, 2002;

Hernando, 2015), one aiming at consumers, and one more focused on experts. An

exploratory factor analysis makes sense if there are high correlations between the

variables. Since this is indicative of redundant information and, therefore, few factors will

explain much of the totally variability. Therefore, we begin in the next section with the

correlation analysis.

4. Results

4.1. Correlations analysis

With the analysis of correlations, we observe the relations between explained variables.

These correlations are statistically significant at 99%. In tables 2 and 3, the correlations

among variables are shown. In the case of the experts, the two highest correlations are

between ‘make others feel the flamenco’-‘ability to feel flamenco’ and ‘make others feel

flamenco’-‘ ability to produce emotions’.’ Experts distinguish between the creative

7

contributions of the performer, since these elements are part of her differentiating talent.

The following correlations greater than 0,6 are among ‘harmony-‘rhythm’, ‘melody’-

‘harmony’, and ‘melody’-‘rhythm’. These correlations show a visualization for the

experts of the palo and author contributions to the flamenco musical work. A first

approach can reflect an order of distinguishable elements that seem to influence the value

of the flamenco work: first the differentiating talent; after, the creative contributions of

cultural heritage and, later on the composition.

For consumers, the two highest correlations, greater than 0,7 are among ‘make others feel

flamenco’-‘ability to feel flamenco’ and ‘rhythm’-‘melody’. These reveals how from the

market consumers visualize two distinguishable elements of the differentiating talent of

the performer. After, in descendent order, they value creative contributions of palo and

the author reflected in the rhythm and melody. Also, high correlations between ‘make

others feel flamenco’-‘ability to produce emotions’’ and ‘ability to feel flamenco’-

‘ability to produce emotions’ withdrawing the contribution of the performer in the

externalization of the work outstand.

Correlations allow to identify, first, distinguishable elements contributed by artistic

factors of production. From cultural heritage, rhythm outstand. From the author, the

melody outstands. And from the performer, ‘make others feel flamenco’, ‘ability to feel

flamenco’, and ‘ability to produce emotions’’ outstand. This does not mean that the other

elements are not important for the work, since without its cooperative contribution the

work will be incomplete. Even more, this indicates that the market agents highlight the

importance of the performer and externalization of the work in the valuation.

In order to offer empiric evidence, an exploratory factor analysis is done by principal

components to know the subjacent structure of the data (Malthouse and Calder, 2002;

Hernando, 2015; Lundy and Smith, 2016).

8

Table 1: Correlations among variables valuated by experts

Harmony Rhythm Melody Lyrics Distinctive

element Technique Improvisation

Consistency of the

performance

Innovation of the

performance

Ability to

Produce emotions


Ability to feel

flamenco


Harmony 1

Rhythm 0,6093* 1

Melody 0,6068* 0,6786* 1

Lyrics 0,3108* 0,3649* 0,4654* 1

Distinctive element

0,2789* 0,2414* 0,3558* 0,2924* 1

Technique 0,2527* 0,2017* 0,2841* 0,1186* 0,4570* 1

Improvisation 0,2015* 0,3087* 0,3706* 0,2194* 0,4901* 0,5884* 1 Consistency of the performance

0,2574* 0,2350* 0,3093* 0,2087* 0,3969* 0,2672* 0,4122* 1


0,1344* 0,0547* 0,3516* 0,2088* 0,5087* 0,4721* 0,5282* 0,4982* 1


0,2674* 0,3919* 0,3164* 0,3148* 0,4672* 0,2089* 0,2736* 0,5044* 0,2600* 1


0,1434* 0,2155* 0,1612* 0,3123* 0,2802* 0,1286* 0,2409* 0,4708* 0,3250* 0,5100* 1


0,2924* 0,3794* 0,3394* 0,2938* 0,4633* 0,2805* 0,3122* 0,3770* 0,3101* 0,5935* 0,4714* 1


0,4201* 0,4948* 0,4580* 0,3128* 0,4202* 0,2494* 0,2951* 0,3614* 0,2328* 0,7136* 0,4702* 0,8583* 1

*99% Significance level.

9

Table 2: Correlations among variables valued by the consumers

Harmony Rhythm Melody Lyrics Distinctive

element Technique Improvisation

Consistency of the

performance

Innovation of the

performance

Ability to

Produce emotions


Ability to feel

flamenco


Harmony 1

Rhythm 0,4946* 1

Melody 0,5431* 0,7178* 1

Lyrics 0,3343* 0,3552* 0,5138* 1

Distinctive element

0,3049* 0,3573* 0,3783* 0,2640* 1

Technique 0,3495* 0,2503* 0,2956* 0,1876* 0,5287* 1

Improvisation 0,3402* 0,4237* 0,4134* 0,2663* 0,5540* 0,5199* 1 Consistency of the performance

0,3593* 0,1923* 0,2336* 0,2915* 0,4266* 0,4477* 0,4468* 1


0,2529* 0,2221* 0,2465* 0,2024* 0,4844* 0,4677* 0,5467* 0,5405* 1


0,3314* 0,3350* 0,3742* 0,2226* 0,4658* 0,3416* 0,4095* 0,2728* 0,2980* 1


0,2350* 0,2945* 0,3147* 0,2804* 0,3489* 0,2681* 0,3879* 0,3154* 0,3120* 0,5650* 1


0,3141* 0,3431* 0,3400* 0,2342* 0,4561* 0,3168* 0,4188* 0,3136* 0,2955* 0,6244* 0,5390* 1


0,3526* 0,3724* 0,3928* 0,2108* 0,4769* 0,3629* 0,4708* 0,2889* 0,3004* 0,6987* 0,5277* 0,8729* 1

* 99% Significance level.

10

4.2. Exploratory Factor Analysis

Tables 3 and 4 show the results of the factor analysis for experts and consumers,

respectively. Both identify three factors that summarize the distinguishable elements that

influence the valuation of the flamenco work explaining more of the 65% of the total

accumulated variance. Factors are clearly differentiated and emanate from artistic factors

of production. On the one hand, traditional structural elements (palo, author) and, on the

other hand, the differentiating talent of the performer.

The factors will be named feelings, virtuosity, and traditional structural elements.

(Radbourne et al., 2009; Chan et al., 2016). Feelings are integrated by distinguishable

elements that emanate of the differentiating talent of the performer and are linked to the

subjective element of the work (Bermúdez and Pérez, 2009). They have in common the

relation with emotions. Taking up the multi-dimensionality of the cultural value

(Throsby, 2001; Icazuriaga et al., 2016), feelings can be identified with the emotional

dimension (Hadida, 2010; Au et al., 2016; Hernando and Campo, 2017b).

The virtuosity factor is integrated by distinguishable elements linked to the aesthetic

dimension of the cultural value (Holbrook and Hirchman, 1982; Lazzaro, 2006; Vartanian

et al., 2015) derivate from aspects such as innovation, improvisation, or artist’s technique

(Hernando and Campo, 2017c). So far, components are related to the perception of the

musical work at the time of its externalization (Au et al., 2016; Felton, 1978).

The traditional structural element factor is composed by the variables linked to

composition (harmony, rhythm, melody, and lyrics) that may be associated with the

cognitive dimension of the cultural value (Holbrook and Hirchman, 1982; Au et al. 2016).

In this factor, study and comprehension of musical forms and the message of the work

are key. (Hutter and Throsby, 2008; Tschacher et al., 2015; Hernando and Campo,

2017b). See Figure 3.

11

Figure 3: Distinguishable elements in the valuation of flamenco musical work

Returning to the analysis by market agents, experts and consumers, there are differences

in the valuation of factors and elements that compose them. The first difference shows

that experts put traditional structural elements derivate from the composition forward the

virtuosity of the performer, contrary to that occurs with consumers. This difference is due

to the level of artistic accumulated knowledge for each one (Bourdieu, 1984). Experts pay

more attention to the cognitive dimension of the work.12 However, consumers13 give more

value to the virtuosity factor. The previous may be understood as mentioned by Hekkert

and Van Wieringen (1996), the expert eye vs. the non-expert eye.

The second difference is related to the consistency of the performance. For experts, this

is part of the feelings component. However, for consumers, it is located in the virtuosity

component. This difference is complex to explain and is open to discussion. A hypothesis

that we suggest is linked with the professional career of the performer within the

framework of the work to which she includes her differentiating talent. For the ‘expert

eye’, consistency of the performance may be associated to the fidelity with which the

performer maintains her own style overtime. This aspect can be overlooked by the

medium consumer.

12

Table 3: Results of the AFE for experts

Factors Loading Eigenvalue

Percentage of Variance

explained (%)

Feelings 5,65343 43,49

Ability to Produce emotions 0,7991

Generate Reflection in spectator 0,7833

Ability to feel flamenco 0,7128

Make others feel flamenco 0,7081

Consistency of the performance 0,6361

Traditional structural elements 1,68404 12,95

Rhythm 0,8809

Harmony 0,8379

Melody 0,8205

Lyrics 0,5726

Virtuosity 1,4141 10,88

Improvisation 0,8139

Technique 0,815

Innovation of the performance 0,7579

Distinctive element 0,5692

Total explained variance 67,32

Barlett’s sphericity test

χ²=673,322

df, 78

Sig, 0,000

KMO 0,786

13

Table 4: Results of the AFE for consumers

Factors Loading Eigenvalue

Percentage of Variance

explained (%)

Feelings 5,83461 44,88

Make others feel flamenco 0,8831

Ability to feel flamenco 0,8649

Ability to Produce emotions 0,8029

Generate Reflection in spectator 0,6857

Virtuosity 1,42366 10,95

Innovation of the performance 0,785

Technique 0,7538

Consistency of the performance 0,7176

Improvisation 0,669

Distinctive element 0,6353

Traditional structural elements 1,3735 10,57

Melody 0,8608

Rhythm 0,8064

Lyrics 0,6681

Harmony 0,6531

Total 66,4

Barlett's sphericity test

χ²=3400,372

df.,78

Sig, 0,000

KMO 0,876

Finally, due to feelings explains more than 40% of the variance for both market agents, it

may be used in the preparation of a synthetic index reflecting key common elements that

influence the valuation of flamenco musical work, see table 5.

Table 5: Valuation indexes for the valuation of flamenco musical work

Flamenco Musical Work Valuation Index

Experts Loading

Consumers Loading

Ability to Produce emotions 0,7991 0,8029 Generate Reflection in spectator 0,7833 0,6857

Ability to feel flamenco 0,7128 0,8649

Make others feel flamenco 0,7081 0,8831

14

We use these indexes because they are generally applicable and reasonably organized to

measure cultural value of the flamenco work. Not only do they provide a rather

comprehensive conceptualization of the market agents’ perceptions but also their

categories are consistent with respect to the requirements of flamenco personalities who

were interviewed by us (Au et al, 2017). With no doubt, the two elements are: ‘ability to

produce emotions’ for experts and ‘make others feel the flamenco’ for consumers, which

are both clearly related to the subjective element of the work associated with the

emotional dimension of the cultural value.

5. Conclusions

The article uses a proper terminology for the valuation of flamenco musical work that

may be applied to work of other musical genres, such as: differentiating talent of the

performer, distinguishable elements and externalization of the flamenco musical work,

or the nomenclature used for the three factors: feelings, virtuosity, and traditional

structural elements. They clarify the analysis and the later construction of the production

function and the exploratory factor analysis.

From the scope of cultural economics, the concepts of cultural value and production

function are combined in order to identify the elements that give rise to the flamenco

musical work. The production function synthetizes the contributions of the artistic

factors of production (palo, author and, performer) to the productive process and

sequences of the creative cycle of the work (cultural heritage, composition and

externalization).

The empirical strategy is based on combining qualitative instruments of collection of

information (interviews to flamenco personalities) and quantitative ones (surveys to

experts and consumers). The first one, helped to understand how the creation process of

the work runs and what artistic factors intervene therein. The second one, with the

valuation by the market agents, allowed to perform a study of the correlations to see the

relations existing among the contributions of the artistic factors of production. This

approximation helped the election of the methodology used to know the subjacent

structure of the data: exploratory factor analysis by principal components. Such

methodology allowed the construction of three factors identified with the distinguishable

elements that influence in the cultural value of the flamenco musical work: feelings,

virtuosity, and traditional structural elements. Being feelings the one that provides more

explanation of the variance (more than 40% for both market agents).

15

This allowed to produce a synthetic index for the valuation of the work. The index is

based on common elements of the feelings factor for both market agents (experts and

consumers), and is identified with the emotional dimension of the cultural value. This

index shows how the performer is a key production factor since the elements that more

influence the cultural value of the work is the differentiating talent, as observed in both

market agents, and even more in consumers.

Acknowledgments

This work was supported by the Asociación Universitaria Iberoamericana de Postgrado.

Declaration of Conflicting Interests

No potential conflict of interest was reported by the authors.

Notes

1. However, protection and economic compensation provided by the market by means of

copyright (Plant, 1934) does not reflect this importance.

2. The palo is one of the traditional varieties of the flamenco cante, such as the siguiriya,

soleá, bulerías, or fandango, among others. These varieties are distinguished by having a

specific metric called “compás” and a delimited harmony for accompaniment (Manuel,

2010).

3. Defined as the set of intangible elements that the performer includes that act as defining

characteristics of the work that reach the market.

4. Flamenco consumer is understood as the person guided by her preferences and willing to

invest resources (time, money) through her participations in life shows and recordings.

5. Expert is understood as the person who through specialized training and accumulated

experience (Holbrook, 1999) whether by means of study or exercise of her profession has

a high degree of artistic knowledge (Bourdieu, 1984). The article considers that critics

and cultural managers are experts.

6. The largest information, ticket sale, show agenda, a news website of flamenco. This takes

places monthly in Spain and France starting January 2006.

7. Selection criteria were flamenco artists who have obtained renowned national and

international awards; agents who manage important festivals and cultural spaces; and/or

their political responsibility and/or management. Average duration of interviews was 75

minutes. They were carried out between January and May 2017. Appendix I offers a list

of interviewed personalities and appendix II shows a list of the questions asked to them.

16

8. Structural elements were identified based on the work by Rosón (2010) and were

considered in the interviews for their respective valuation in relation to the creative

process of flamenco musical work. Also, experts highlighted the creative contribution of

the performer specifying the elements that reflect what we define in the article as

differentiating talent.

9. The production function shows “how the output of goods and services in the economy is

produced” (Throsby, 2006). It reflects the relation between the factors of production

(labor and capital) and the final output (flamenco musical work) (Fernández-Blanco and

Prieto-Rodríguez, 2011). Labor includes “the time the artist spends at creative work”

(Throsby, 2006); capital includes the palo, music instruments, recording equipment

(Hadida, 2010), and the accumulated talent of the author and performer.

10. Figure 1 emphasizes the interaction of the productive factors (inputs) that are integrated

into the flamenco musical work (final output). To simplify the analysis, recording

equipment and instruments are not included.

11. Questionnaires and database are available to interested parties upon request to authors.

12. This would be supported by their specialized studies and accumulated experience that

allow a more technical approach to structural elements of the work (for example, ability

to read scores).

13. Consumers focus their attention in the visualization of structural elements at the time of

the externalization of the work (Montoro-Pons et al, 2013).

14. All of them are performers and composers of many of the works they participate in.

15. Honorary title created by the Junta de Andalucía en 1985, whose purpose is to recognize

“the exceptional or extraordinary actions, services and merits carried out in times of peace

by Andalusian, Spanish or foreign citizens, groups or organizations” that represent “the

exercise of individual or collective virtues that refer to solidarity and work in favor of the

rest of citizens”. This is regulated by the Decree 117/85 of June 5th.

16. It is a medal that the Ministry of Culture of Spain awards to the people or institutions that

stand out in the literary, dramatic, musical, choreographic, and interpretative fields.

17. Recognition awarded by the Flamenco Bienal de Sevilla.

18. Recognition awarded by the Festival Internacional del Cante de las Minas, celebrated

every year in the municipality of La Unión (in the Region of Murcia).

19. Recognition awarded by the Concurso Nacional de Arte Flamenco de Córdoba, triennal

contest celebrated in Córdoba (Spain) since 1956.

17

20. Sociedad General de Autores y Editores de España. Further information:

http://www.sgae.es/es-ES/SitePages/index.aspx

21. Sociedad de Artistas, Intérpretes o Ejecutantes de España. Further information:

https://www.aie.es/

22. The Bienal is the great international event in the world of flamenco. It is celebrated every

two years in Sevilla, where amateurs and professionals of the sector from around the

world meet. Further information: http://www.labienal.com/

23. Jerez de la Frontera is considered as one of the most important geographic places by

flamenco experts. The city has a well-defined style and idiosyncrasy, being its Festival

one of the most important offered in the market. Further information:

http://www.jerez.es/webs_municipales/festival_jerez/

24. Cycle of concerts and recitals of Flamenco organized by the Fundación Cajasol. Further

information: https://fundacioncajasol.com/tag/jueves-flamencos/

25. Created in 1987 for the conservation of Flamenco by means of an important work of

recovery, cataloging, and diffusion of the Andalusian cultural patrimony. Further

information: http://www.juntadeandalucia.es/cultura/centroandaluzflamenco/

References

Aoyama, Y. (2007). The role of consumption and globalization in a cultural industry: The

Case of Flamenco. Geoforum. 38(1), pages 103–113.

Doi: 10.1016/j.geoforum.2006.07.004.

Aoyama, Y. (2009). Artist, Tourists, and the State: Cultural Tourism and the Flamenco

Industry in Andalusia, Spain. International Journal of Urban and Regional

Research, 33(1), pages 80–104. Doi: 10.1111/j.1468–2427.2009.00846.x

Au, W. T., Ho, G. and Chan, K. W. C. (2016). “An Empirical Investigation of the Arts

Audience Experience Index.” Empirical Studies of the Arts, 35(1), pages 27- 46.

Doi: 10.1177/0276237415625259.

Bourdieu, P. (1984). Distinction, Cambridge, MA: Harvard University Press.

Bryant, W. D. A. & Throsby, D. (2006). “Creativity and the Behavior of Artists”. In

Ginsburg, V. A. and Throsby,D. (Eds.), Economics of Art and Culture (pages

507-530). North Holland.

Castilla, M. (2010). El Flamenco y los Derechos de Autor [Flamenco and Copyright].

Madrid: REUS.

18

Chan, M. K., Au, W. T., and Ying, C. (2016). “Developing Validating a Theater

Experience Scale.” Empirical Studies of the Arts, 35(2), pages 169-193. Doi:

10.1177/0276237416662737.

Connolly, M. & Krueger A. B. (2006) Rockonomics: The Economics of Popular Music.

Handbook of the Economics of Arts and Culture, Elsevier. Doi:

10.3386/w11282.

Cruces Roldán, C. (2001). El Flamenco como Patrimonio. Anotaciones a la Declaración

de la Voz de la Niña de los Peines como Bien de Interés Cultural [Flamenco as

Heritage. Annotations to the declaration of the voice of the ‘Niña los Peines’ as

a Good of Cultural Interest], Sevilla: Bienal de Arte Flamenco.

Felton, M. V. (1978). The Economics of the Creative Arts: the case of the composer.

Journal of Cultural Economics, 2(1), pages 41–61. Doi: 10.1007/BF02479731.

Fernández-Blanco, V. and Prieto-Rodríguez, J. (2011). Museums. In: Towse, R. (Ed.). A

Handbook of Cultural Economics, pp. 290-296. Edward Elgar Publishing.

Hadida, A. L. (2010). “Commercial Success and Artistic Recognition of Motion Picture

Projects” Journal of Cultural Economics, 34(1), 45-80. Doi: 10.1007/s10824-

009-9109-z.

Hekkert, P. and Van Wieringen, P. C. W. (1996). “Beauty in the Eye of Expert and Non-

expert Beholders: a study in the appraisal of art.” The American Journal of

Psychology, 109(3), pages 189-407.

Heredia-Carroza, J., Palma Martos, L. & Aguado, L.F. (2018). “Originalidad Subjetiva y

Copyright. El caso del Flamenco en España”. Revista Andaluza de Ciencias

Sociales. Forthcoming.

Hernando, E. (2015). El Valor Percibido del Arte: desarrollo de una escala de medición

[Perceived Value of Art: development of a measurement scale]. (PhD.

dissertation). Universidad Autónoma de Madrid, Madrid.

Hernando, E. & Campo, S. “An Artist’s Perceived Value: development of a measurement

scale.” International Journal of Arts Management, 19(2), 33-47.

Hernando, E. & Campo, S. (2017). “Does the Artist’s Name Influence the Perceived

Value of an Art Work?” International Journal of Arts Management, 19(2), pages

49–58.

Holbrook, M. B. (1999). “Popular Appeal vs. Expert Judgments of Motion Pictures.”

Journal of Consumer Research, 26(2), pages 144-55. Doi: 10.1086/209556.

19

Holbrook, M. B. & Hirschman, E. (1982). “The Experiential Aspects of Consumption:

consumption fantasies, feelings, and fun”. Journal of Consumer Research, 9(2),

132-140. Doi: 10.1086/208906.

Hutter, M. & Frey, B. (2010). On the Influence of Cultural Value on Economic

Value. Revue d’économie politique vol. 120, pages 35–46. Doi:

10.3917/redp.201.0035.

Icazuriaga, J., Cuadrado, M., & Miquel, M. J. (2016, September). Analyzing Perceived

Value, Satisfaction, and Pruchase Intention in the Music Industry. 7th Vienna

Music Business Research Days, Vienna.

Infante, B. (1980). Orígenes de lo Flamenco y Secreto del Cante Jondo [Origin of

Flamenco and Secret of Cante Jondo]. Sevilla: Junta de Andalucía, Consejería

de Cultura.

Klamer, A. (2003). A Pragmatic View on Values in Economics. Journal of Economic

Methodology, 10(2), pages 1-24. Doi: 10.1080/1350178032000071075.

Lazzaro, E. (2006). Assessing Quality in Cultural Goods: The Hedonic Value of

Originality in Rembrandt’s Print. Journal of Cultural Economics, 30(1), pages

15–40. Doi: 10.1007/s10824–005–1918–0.

Levinson, J. (2015). Musical Concerns, Essays in Philosophy of Music. Oxford: Oxford

University Press, 2015.

Lundy, D. E. and Smith, J. L. (2016). “It’s Tough to be a Critic: Professional vs. Non-

professional Music Judgment.” Empirical Studies of the Arts, 35(2), pages 139-

168. Doi: 10.1177/0276237416661989.

Malthouse, E. C., and Calder, B. J., (2002). “Measuring Newspaper Readership: a

qualitative variable approach.” The International Journal on Media

Management”, 4(4), pages 248-260.

Manuel, P. (2006). The Saga of a Song: authorship and ownership in the case of

Guantanamera. Latin American Music Review, 27(2), pages 121–147. Doi:

10.1353/lat.2007.0007.

Manuel, P. (2010). Composition, Authorship, and Ownership in Flamenco, Past and

Present. Ethnomusicology, 54(1), pages 106–135.

Negus, K., Street, J., & Behr, A. (2017). Copying, Copyright, and Originality: imitation,

transformation, and popular musicians. European Journal of Cultural Studies,

20(4), pages 363–380. Doi: 10.1177/1367549417718206.

20

Palma, L., Palma, M. L., Rodríguez, A., Martín, J. L., & Cascajo, I. (2017). Live

Flamenco in Spain: a dynamic analysis of supply, with managerial implications.

International Journal of Arts Management, 19(3), pages 58-70.

Montoro-Pons, J., Cuadrado, M. and Csaús-Estellés, T. (2013). “Analysing the popular

music audience: determinants of participation and frequency of attendance”.

International Journal of Music Business Research, 2(1), pages 35-61.

Radbourne, J., Johanson, K., and Glow, H. (2009). “Empowering Audiences to Measure

Quality” Participations, Journal of Audience & Reception Studies, 7(2), pages

360–379.

Radbourne, J., Johanson, K., Glow, H., and White, T., (2010). “The Audience

Experience: measuring quality in the performing arts.” International Journal of

Arts Management, 11(3), pages 16–29.

Rizzo, I. & Towse, R. (2016). The Artful Economist. A New Look at Cultural Economics.

Switzerland: Springer. Doi: 10.1007/978–3–319–40637–4.

Romero, J. (1996). La Otra Historia del Flamenco [The Other History of Flamenco].

Sevilla: Junta de Andalucía.

Rosón, T. (2010). El Flamenco como Obra Musical, Coreográfica, and Escénica. Las

obras originales y derivadas: versiones, arreglos y utilización de las obras

[Flamenco as Musical, Choreographic, and Stage Work. The original and

derivative work versions, arrangements, and use of works]. In Castilla, M. (Ed.),

El Flamenco y los Derechos de Autor, pages 23-38. Madrid: REUS, 2010, pages

23–38.

Steingress, G., Flamenco postmoderno: entre tradición y heterodoxia: un diagnóstico

sociomusicológico (escritos 1989-2006). (Postmodern Flamenco: between

tradition and heterodoxy: a socio-musicological diagnosis. Signatura, 2007,

Sevilla.

Throsby, D. (1983). Perception of Quality in Demand for the Theatre. MAQUARIE

University, School of Economic and Financial Studies, vol. 250, pages 65-82.

Throsby, D. (2003). Determining the Value of Cultural Goods: How Much (or How

Little) Does Contingent Valuation Tell Us? Journal of Cultural Economics,

27(3-4), pages 275-285.

21

Throsby, D. (2006). An Artistic Production Function: theory and application to Australian

visual artists. Journal of Cultural Economics, 30(1), pages 1–14. Doi:

10.1007/s10824-005-9001-4.

Throsby, D. (2016). The Composer in the Market Place Revisited: the economics of music

composition today. In Rizzo, I & Towse, R. The Artful Economist. A New Look

at Cultural Economics pages 153-170. Springer.

Towse, R. (2005). A Handbook of Cultural Economics,” Glasgow: Edward Elgar

Publishing.

Towse, R. (2007). The Singer or the Song? Developments in Performers’ Rights from the

Perspective of a Cultural Economist. Review of Law & Economics, 3(3), pages

745-766. Doi: 10.2202/1555–5879.1158.

Tschacher, W., Bergomi, C., and Tröndle, M. (2015). “The Art Affinity Index (AAI): an

instrument to assess art relation and art knowledge.” Empirical Studies of the

Arts, 33(2), pages 161-174. Doi: 10.1177/0276237415594709.

Van Tongeren, C. (2017). “Distinctive Culture: framing flamenco artistry in Polígono

Sur: El Arte de las Tres Mil by Dominique Abel” Journal of Spanish Cultural

Studies 18(2), pages 169-189. Doi: 10.1080/14636204.2017.1308633.

Vartanian, O. and Suedfeld, P. (2011). “The Effect of the Flotation Version of Restricted

Environmental Stimulation Technique (REST) on Jazz Improvisation, Music

and Medicine, May 6. Doi: 10.1177/1943862111407640.

Vartanian, O., Navarrete, G., Chatterjee, A., Brorson Fich, L., Gonzalez-Mora, J. L.,

Leder, H., Modroño, C., Nadal, M., Rostrup, N., and Skove, M. (2015).

“Architectural Design and the Brain: effects of ceiling height and perceived

enclosure on beauty judgments and approach-avoidance decisions,” Journal of

Environmental Psychology, 41, pages 10-18.

Werck, K. & Heyndels, B. (2007). Programmatic choices and the demand for theatre: the

case of Flemish theatres. Journal of Cultural Economics, 31(1), pages 25–41.

Doi: 10.1007/S10824–006–9026–3.

22

Appendix I. Panel of Interviewed Experts

PERFORMERS AND

COMPOSERS 14

José Mercé

Award Masters of Mediterranean Music of

the Mediterranean Music Insitute (MMI) of

Berklee College of Music. 2010 Medalla de

Andalucía15. 1 double platinum record, 2

platinum records, and 2 golden records

Tomatito 2016 Gold Medal to Merit in Fine Arts16.

Winner of 6 Latin Grammy

Marina Heredia

2016 Giraldillo17 for Cante. 2010 Best

Cante Flanco CD Award by Crítica

Nacional de Flamenco

Paco Cepero 2003 Gold Medal to Merit in Fine Arts

Rocío Márquez 2008 Winner of the Lámpara Minera18 and

2016 Giraldillo for Innovation

Barullo Winner of the 2016 Concurso Nacional de

Córdoba 19 dance category

POLITICIAN AND

RESEARCHER

Juan Manuel Suárez

Japón

1990-1994 Culture and Environment

Counselor of the Junta de Andalucía.

Professor of Human Geography at the

Universidad Pablo de Olavide

REPRESENTATIVES SGAE 20

Javier Losada Calvo

Vice-president of Pequeño Derecho of

SGAE. 1999-2012 Member of the

Administration Council of the AIE

José Manuel Gamboa

Spanish journalist, writer, and musical

producer specialized in flamenco. Currently,

technical music analyst in the Flamenco

specialty and member of the academic

group of the Lecture of Flamencology at

Jerez de la Frontera.

REPRESENTATIVES AIE 21

Álvaro Hernández-

Pinzón

Director of Legal Consultancy and

Collection Strategy

Pedro Rivas Prieto Attorney of AIE

CULTURAL MANAGERS

Cristóbal Ortega Martos 2014 and 2016 Artistic Director of the

Bienal de Sevilla22

Isamay Benavente

Ferrera

Artistic director of the Festival de Jerez de

la Frontera 23

23

Manuel Herrera Rodas

Artistic Director of the Jueves Flamencos

organized by the Fundación Cajasol 24 and

member of the Advising Council of the

Biennale de Sevilla. 1997-2006 Artistic

Director of the Biennale de Sevilla

CENTRO ANDALUZ DE

DOCUMENTACIÓN DEL

FLAMENCO25

Ana María Tenorio

Notario

Manager of the CADF Documentation

Department

Appendix II: Questions asked to the personalities of flamenco interviewed

1. In your opinion, what are the main creative contributions to the flamenco musical

work? Of the aforementioned contributions, what do the performers provide?

2. In your opinion, what elements reflect the originality/creativity of the performer’s

contribution to the flamenco musical work?

3. How can this contribution be measured?

4. Explain your methodology of work. Specifically: how do you participate in the artistic

production process? Describe your performance.

5. What role does intuition and improvisation play in flamenco?

Distinguishable elements of the flamenco musical work. An ...

Documents

Transcript of Distinguishable elements of the flamenco musical work. An ...