The music of the Moors dates back to the occupation of Spain by an Islamic caliphate beginning in the 8th century. Southern Spain remained the Moorish capital until the Moors expulsion by the Catholic rulers Ferdinand and Isabella in 1492. Moorish music used minor scales and intervals, as well as elaborate melodic lines and a highly developed improvisational technique, that gave it a sound distinct from the music of Spain and western Europe. Many characteristics of Moorish music were eventually incorporated into flamenco style.
The Gypsies also contributed to flamenco. They were a nomadic people who moved into Europe from their original home in India. The cante or gypsy song became the basis for the dozens of flamenco musical forms that later developed.
The indigenous music of the Andalusians was a third major influence on flamenco. Soon after the guitar arrived in Spain in the 18th century, singers of the region began accompanying themselves on this new instrument. The solo guitar providing accompaniment for singing and dancing eventually became the hallmark of flamenco performance.
In the middle of the 19th century, public cafes known as cafe cantantes or "singing cafes" began to offer performances of folk music in Seville and other cities of Andalusia. Groups consisting of singers and dancers attracted popular followings and eventually new flamenco song forms, including the malaguena, alegria, fandango, and rondena, emerged as the art was refined for a mass appeal. Guitarists competed with the vocalists, developing unique techniques and sounds on the instrument to highlight their skills.
Makers of flamenco guitars built their instruments with material and techniques different from that of classical guitarmakers. They used lighter cypress wood, set the strings closer to the fretboard, and added protective golpeadores or "tapping plates" which were used by the guitarists to tap out rhythms on the face of the instrument.
One flamenco star of the early 20th century, Ramon Montoya, developed many of the guitar techniques familiar in the modern flamenco genre. The music suffered a decline in popularity after World War II, which ended in 1945. In the 1950s and 1960s, however, an interest in Spanish history and traditions led to a revival of flamenco performance, with Montoya's son Carlos becoming an internationally renowned performer. The star guitarists of more recent years include Paco de Lucia, Enrique de Melchor, and Tomatito.