Top 10 similar words or synonyms for jácaras

cançoneta    0.753201

hechizos    0.752383

pasacalles    0.741761

plegarias    0.732257

santoral    0.721098

saúl_salinas    0.716178

campanilleros    0.713255

burlata    0.710406

encinasola    0.710100

maría_nicolasa_cruz    0.709389

Top 30 analogous words or synonyms for jácaras

Article Example
Jácara Jácaras are Spanish songs which are accompanied with instruments and are performed during the entr'acte of a theatrical performance and also as an accompaniment to many types of dance.
Rumba flamenca Rumba flamenca was primarily influenced by guaracha, an uptempo style of vocal music which originated in Havana's musical theatre. Some elements from Cuban rumba were also incorporated, although minor, despite the name. Although unlikely, both guaracha and Cuban rumba might have been influenced by flamenco earlier in the 19th century. Guarachas can be traced back to the Spanish jácaras, thus justifying the classification of rumba flamenca as a "cante de ida y vuelta".
Music of Cuba The "guaracha" occupied a predominant place within the development of vernacular theater in Cuba, which appearance at the beginning of the 19th century coincides with the emergence of the first autochthonous Cuban musical genres, the "guaracha" and the"contradanza.". Since 1812, Francisco Covarrubias (considered as the father of the Bufo Theater) gradually substituted in his theatrical pieces the typical characters of the Spanish "tonadilla escénica" with creole characters such as "guajiros", "monteros", "carreteros" or "peones". Those structural transformations were also associated to certain changes in the musical background of the pieces. Thus, the Spanish genres sucha as "jácaras", "tiranas", "boleras" or "villancicos", were substituted by "guarachas", "décimas" and "canciones cubanas."
La púrpura de la rosa Until recently, there were only two surviving original scores of Torrejón's opera, one at the Biblioteca Nacional del Perú in Lima and the other at the Bodleian Library at Oxford University in England. Musicologist Robert Stevenson made a study and transcription of the score in Lima which was published in 1976. The Oxford score was used for a 1990 publication edited by Ángeles Cardona, Don Cruickshank, and Martín Cunningham which was published by Kassel. The two scores, although largely uniform, are not exactly identical. For example, a large portion of the music for the vivacious jácaras in Venus's garden is missing from the Lima copy but appears in its entirety in the copy at Oxford (beginning at lines 1570, measure 2847 of the Kassel edition). Recent revivals of the opera have used both scores, adding music that may not be found in the other edition, in an attempt to create what may have been heard in 1701.
Guatemalan literature At this time, traditional poetic forms were developed to be sung. These include the villancico for use on the eves of main religious holidays. These were the only liturgical occasions on which songs in vernacular languages were permitted. (All other events were exclusively in Latin.) In Guatemala, as throughout the Spanish empire, other musical compositions with Spanish lyrics included consisted sainetes, jácaras, tonadas, and cantatas. Authors of these poems, who also put their works to music, include Manuel José de Quirós (ca. 1765-1790), Pedro Nolasco Estrada Aristondo, Pedro Antonio Rojas, and Rafael Antonio Castellanos (ca. 1725-1791). Castellanos is one of the most important in the Hispanic world and in the music of Guatemala.
Corral de comedias During the Spanish Golden Age, any theatrical event was known as "comedia". The public came in masses for entertainments like this, whether comedy, drama or tragedy. The season of performances usually began on Easter Sunday, ending on Ash Wednesday. Smoking was forbidden because of the risk of fire, and from October to April the "comedia" began at two in the afternoon, in the spring at three and at four during summer, in order for all to finish before sunset. The performance's duration was approximately four to six hours, structured in six different rounds: the first act or "loa", the opening round, then an appetizer, the second round, the masquerade or "jácaras", a third round and the final act. Men and women could not sit together; men occupied the courtyard, side stands, the benches or the central stands, and the women watched the performance from their "cazuelas" above. The only place where they were allowed to be together was in the chamber corridors. Children were not allowed to attend. The audience paid fees at different points: at the entrance, then a tip to the "brotherhood" or beneficiary, and a third one for the privilege of a seat so they could watch the play comfortably. The theatrical company rarely received as much as 20% of the total. In university towns, it was forbidden to perform on weekdays, so the students would not be distracted. Two characters were instantly recognized in the "corrales": the "mozo", maintainer of order, equipped with a big garrote to calm the exited spectator, and the "spacer", that is, the one in charge of finding a suitable place for an individual in between two others. The first regulation on the operation of corrals was published by the Royal Council of Castile for the "corrales" of Madrid, later extended to the whole kingdom. Among its provisions, were the presence of a bailiff whose function was to ensure that no noise, tumults, or scandals ensued, and that men and women were kept separated in their respective seating by the required entrances and exits.