The labels we use to classify artistic styles often mean very little, since we hide behind them very rich and diverse worlds. A good example is the use of the word Baroque to define the music composed in the 17th and 18th century, and the Spanish case is particularly revealing.
At the beginning of the 18th century a musical tsunami was flooding Europe: the Italian style. Paradoxically it arrived in Madrid thanks to the ascent to the Spanish throne of the French House of Bourbon. Until 1701, Spanish music had been ruled by its own traditions, with particular harmonies, non-idiomatic instrumental writing, syllabic vocal writing, and even with a special notation for its unique cross-rhythms—between binary and ternary: flamenco rhythms, we would say today. These characteristics are still recognizable in Sosieguen, descansen by Durón, and in the contemporary dances we use as instrumental interludes. […]