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With literature, music constituted the most important activity of poet and playwright Federico Garcia Lorca's life. The two arts were closely related to each other throughout his career. As a child, Lorca imbibed traditional Andalusian songs from the lips of the family maids, whom he would remember with affection years later. At a very early age he began to study piano, and during his adolescence, music and poetry competed for primacy among his interests. His first book was dedicated to his music teacher, who instilled in him a love for the world of art and creation.
In part I of this study, Edward F. Stanton examines Lorca's theoretical and practical approach to cante jondo, the traditional music of Andalusia, as seen in his lectures on the subject and in the 1922 concurso. In part II, he searches for direct and—far more important—indirect echoes of this music in his work. Part III explores the mythic quality of Lorca's art in relation to cante jondo. Throughout, Stanton illuminates a new dimension of the poet's work.
"The author's enthusiasm for his subject and the clear-cut relationship he underscores between cante jondo and Lorca's verse encourage the reader to return to the Poema del cante jondo and the Romancero gitano with an increased understanding of their roots."—Journal of Spanish Studies
The University Press of Kentucky
Place of Publication
Federico García Lorca, Cante jondo, Andalusia
Stanton, Edward F., "The Tragic Myth: Lorca and Cante Jondo" (1978). Spanish Literature. 30.