Artes Musicales
URI permanente para esta colecciónhttp://hdl.handle.net/11349/28
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Examinando Artes Musicales por Materia "Acompañamiento"
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Ítem El bajo eléctrico en la música llanera. Aspectos técnicos e interpretativos a partir del golpe y del pasaje criollo Castaño Villate, Germán Eduardo; Agudelo Valencia, María del PilarThis work looks up to enter the reader into the plains cultural context from the historical point of view, recognizing their customs, beliefs, and facts that determine the particularities of this region, creating a sound concept linked to dairy work, the patron saint, and well-liked festivals, establishing contact with other cultures that permeate the llanero. Due to this cultural syncretism, forms and rhythms are developed and popularized through parrandos and festivals, obtaining a consolidation in the compositional structures that are classifieds in strokes and passages, furthermore, the learning of these forms brings with it rhythmic parameters that determine the sensation of pulse and accent that functions as a characteristic for the hits and the passage, these parameters are related, as rhythmic keys that are cleaved into corrío and right. A historical reconstruction of the inclusion of the electric bass in music Llanera from the appearance of his predecessor bass to the participation of bass in the llaneros festivals as an instrument of format, from the perspective of three references of this instrument, was performed as they are the pedagogue and bassist Ricardo Zapata from Colombia in the other hand bassist, composer and producer Adelmar Peace from Venezuela and finally Colombia renowned bassist and educator Flavio Cuta; in them was evident chronology in incorporating techniques and ornaments of the instrument, which would broaden the prospect of making music Llanera. Likewise, and taking as reference the different contexts previously exposed, an analysis is carried out through examples about the interpretation of the electric bass in llanera music, trying to compile the most basic and specific elements of the accompaniment linked to the learning process of the instrument in this cultural sound context.Ítem Ideas Sobre el tumbao basadas en un análisis comparativo entre el estilo intrepretativo de los pianistas Óscar Iván Lozano y Ariacne Trujillo entre los géneros de la salsa y la timbaBenítez Corredor, Tatiana Angélica; Marcial, Arminda; Villareal Solar, Juan GuillermoAfro-Caribbean music genres such as salsa and timba are very popular, causing many pianists to be curious about learning how to play these genres correctly, and about learning what are the musical elements that make these genres so attractive and popular. In this document, tumbaos by two key players of the genre are transcribed and analyzed. In regards to salsa, this document includes work by Óscar Iván Lozano, who was the pianist and the musical director of the Cali based band Grupo Niche. In regards to the timba, work by Ariacne Trujillo Durand is analyzed. Trujillo Durand was the pianist and singer of the musical project Pedrito Martínez Group (PMG). Based on the analyses of their work, musical elements that contribute to the style of each artist are isolated in several exercises; these elements can be studied and inform my own playing style.Ítem Sistematización de Variaciones Rítmicas para la Interpretación de los Géneros Bambuco y Pasillo en el Tiple Colombiano: Un Análisis de la Ejecución de la Mano Derecha a Partir de la Recopilación de Formas de Acompañamiento Generadas por tiplistas de Diferentes Regiones del País.Acevedo Ortiz, Manuel Alfonso; Bernal Martinez, ManuelTiple is one of the most representative colombian instruments. In fact, It is one of the most emblematic instruments of Colombian andean genres. Throughout the instrument´s history, many rhythmic and timbric possibilities have been explored by tiple players -all of these are played with the right hand. This exploration was influenced by their own experiences, personal interests and their direct and indirect relatinoships with different musical systems. Despite there are general paramaters that determine each genre´s specific characteristics, every musician continuously uses their own skills and personal rhytmhic approaches to create a distinct way of playing the instrument. This research paper encourages academic research into this phenomenon and proposes to systematically collect the rhythmic patterns played with the right hand. These patterns were gathered from tiple players from different regions of the country that play bambuco and pasillo.