ABSTRACT
Musical performance is said to be unusually invulnerable to the artist's self-deception. Flamenco films provide occasions, albeit relatively few, through which the conventional understanding of musical style is revised and reconsidered. Studio recordings of flamenco music provide additional occasions. In the light of this conduit-model, the meaning of flamenco music becomes clear: it is a music that transparently presents the intentions of the Studio Flamenco and gives voice to the Andalusian past. Sometimes third-stage sonic imagery intentionally subverts- as effectively as the visuals attributed to Warhol and Prince- the very idea of artistic intentionality, launching a direct assault against Platonic aesthetics. Territorializing rhythm is like a 'wave' at a football game. Reterritorializing rhythm Deleuze's third category, refers to processes through which music acquires new functions within a revised or newly-created territory. The concept of a reterritorializing flamenco is particularly promising for Andalusians who persist in seeking ways to rebuild an autonomous region on something other than a traditionally nationalist foundation.
