Cyril Kubiš

In the second half of the 20th century flamenco – as flamenco nuevo – enjoyed great popularity in the world. Flamenco nuevo takes several impulses from pop music, in which the musical process concentrates around the chorus, and thus it changes its characteristics and becomes more accessible for the listeners of pop-music which enables its expansion in the global music space. The present flamenco nuevo has several various appearances – from the effort in authenticity, through sophisticated transcriptions to the crossing of musical genres aiming at a creation of a new aesthetical layer. At these degrees of elaboration of flamenco the transcription, collage, allusion and quotation, as demonstrations of post-modern aesthetics, come into effect. The author mentions the groups Los Remedios, Flamenco Clan and Dunya as examples of the penetration of flamenco to Slovakia and Central Europe. He analyzes them from the aspect of their treatment of melody, scales (phrygian mode, Spanish scale, Andalusian cadence), musical form, rhythmic patterns, he compares the traditional approach to flamenco (e.g. in a form of bulería, siguiriya, soleá) with a modern attitude (bossa nova, jazz) and searches for the relations between authentic traditional flamenco music and recent attitudes, e.g. in the use of jazz harmony in flamenco nuevo.