Examinando por Autor "Castillo, Francisco"
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Ítem Análisis de tres estilos: Guillot, Toña la Negra y Dipiní, para la interpretación del Bolero(Universidad Distrital Francisco José de Caldas) Ariza Dupont, Ginna Marcela; Castillo, FranciscoLas características del Proyecto Curricular de Artes Musicales de la Facultad de Artes ASAB y de la cátedra de canto del mismo, han permitido que algunos intérpretes de música vocal tengan mayor acercamiento a la música popular. Por ello, es necesario que el Proyecto Curricular y la cátedra mencionada aporten elementos de análisis para la interpretación de estos géneros y en éste caso particular, de una manifestación de la música popular tan importante como lo es el bolero. Este género ha sido una de las expresiones afrocubanas de mayor difusión a lo largo y a lo ancho de toda América Latina1. Un gran número de intérpretes y compositores han dedicado parte de su vida a éste género, cuyo nacimiento se atribuye a una derivación del danzón cubano. Aunque bien es cierto que el bolero como canción romántica nace en Cuba, donde se desarrolló alcanzando su época dorada en la década de los cuarentas, su relevancia en México y en Puerto Rico también fue significativa2. Éste proyecto establece tres cantantes nacidas en estos países como eje fundamental para llevar a cabo un análisis comparativo de tres estilos diferentes de interpretación del bolero. Se pretende entonces, desarrollar un análisis de la interpretación de cada cantante para establecer particularidades, diferencias, similitudes en sus respectivas formas de interpretación, examinar fraseos, timbre de sus voces, expresividad, articulación, emisión del sonido, homogeneidad en el registro, resonancia, registro utilizado, entre otros. A partir del análisis y de las observaciones pertinentes se realizará un texto que defina, compare y caracterice elementos derivados del análisis y paralelamente se elaborará una interpretación propia de tres boleros de cada cantante. Esta interpretación se construirá con elementos tomados del análisis de las intérpretes y con las posibilidades y las propuestas musicales de la estudiante.Ítem Análisis del movimiento número 1. "O Fortuna" de la obra Carmina Burana de Carl Orff, contextualización, estudio literario y descripción de elementos musicalesMoreno Poveda, Juan Alvaro; Castillo, FranciscoThe main objective of this project is the analysis of movement No. 1 “O Fortuna” by the cantata Carmina Burana. A look is taken of the historical context, where all the possible influences that goliards poets had in the XII and XIII century in the development of medieval Latin poetry; the journey is made from its origin, way of life, sociocultural environment, aesthetics and the importance of its extensive literary work, to the musical composition made by the composer Carl Orff and the impact it generates in the twentieth century, speaks in a timely manner on elements such as aesthetic and poetic approach from the perspective of Latin metrics, types of verse, types of rhyme and hermeneutics ; the different characteristics of Carl Orff compositional style used for this particular movement are treated, this aims to highlight the most recurrent elements of each of the aforementioned aspects, to account for a solid reference of the behaviors most representative musical.Ítem Análisis del rol y la ejecución del violín en dos obras de Bach y Schumann(Universidad Distrital Francisco José de Caldas) Morales Corrales, Sandra Patricia; Castillo, FranciscoAl iniciar estudio de una obra y luego de la solución de la parte técnica que nos permite la ejecución de la misma como músicos nos enfrentamos al problema interpretativo como tal, es decir al hecho de transformar esas notas plasmadas en el papel en un discurso musical coherente pero de igual manera propositivo, en el cual se hagan evidentes para el público y para nosotros mismos las ideas musicales tanto nuestras como del compositor de la obra. Este trabajo tiene por objetivo principal el análisis de elementos que ejecución de dos obras para violín: Los cuatro primeros movimientos de la Partita II en re menor para violín solo de J. S Bach BWV 1004 y la Sonata para violín y piano No 1, Op. 105 en la menor de Robert Schumann y el siguiente análisis es un complemento a la interpretación de las obras y es producto de la necesidad de comprender la función que como intérprete se tiene dentro de la estructura de la obra teniendo como finalidad mejorar la ejecución de la música. Teniendo en cuenta lo anterior, este trabajo no busca hacer un análisis de la construcción musical de la obra como tal sino de la participación del violín en la misma y su interacción con otros instrumentos para el caso de la Sonata de Schumann lo que nos llevará a entender los distintos enfoques que pueden tener aspectos como afinación ensamble y fraseo. Todo este proceso es algo que normalmente se hace de manera intuitiva pero que es necesario analizar para poder tomar decisiones correctas en lo que concierne a la interpretación. Básicamente este trabajo escrito consiste en mi aproximación analítica como intérprete a dos obras para violín las cuales hacen parte del trabajo de grado como tal, cuyo producto final es el recital de grado.Ítem Berio, Sequenza IXb para saxofón alto Análisis para la interpretaciónDiaz Poveda, Johnathan Jair; Castillo, FranciscoThis paper focuses on the convergence between musical analysis and interpretation for the Sequienza IXb by Luciano Berio. We aim to assess the possible solutions to the technical and physical problems that a musician has to deal with when playing his/her instrument in this particular piece of music. We based our analysis on the method proposed by Jean LaRue in his work Análisis del Estilo Musical which divides the types of musical information in three levels or dimension to conclude with interpreting approaches.Ítem Características Vocales que Identifican Amy Lee y Matthew Bellamy, Cantantes de Rock AlternativoPimiento Patiño, Jythse Caterine; Castillo, FranciscoAmy Lee and Matthew Bellamy are considered two great singers of the Alternative Rock scene. Both have been chosen to undertake an observation that identifies the most significant vocal characteristics. This paper begins with a general contextualization of alternative rock from its origin to its main exponents, where the role occupied by Evanescence and Muse highlight. The second part designs and implements of a method for observation that shows step by step through eight songs of the selected singers the vocal features.Ítem ¡Champé champé! Contexto social y análisis musical de los géneros soukous, mbaqanga, juju, y su relación con la champetaRincón Almario, Yefersson Julián; Castillo, FranciscoThe first part documents the context of four musical genres: soukous, juju, mbaqanga (African) and champeta (Colombian). In the first chapter the reader is introduced to social events in the countries of the Congo, Nigeria, South Africa and Colombia, together with personal events of the leading artists of each genre. All three African genera are involved in the evolution of champeta. In the second part, the guitar analysis of sound effects and accompaniment and melodic fundamentals of the themes are evident: Tunni Ane and Gbe Mi Debute Ogo by the artist King sunny ade (juju genre), Mazina and Ekipe by Kanda Bongo man (soukous genre), Bophumthwalo by Mahlathini and the Mahotella Queens, Umthakathi "500" by West Nkosi (mbaqanga), The Axis of Caribe Star and Mini Ku Suto by Anne Swing (champeta).Ítem Contextualización, descripción, análisis de las principales características musicales y adaptación para el piano, de dos “Diferencias sobre guárdame las vacas”, un Polo margariteño tradicional y dos variaciones, para ilustrar el desarrollo del género, desde sus orígenes hasta nuestros díasRamos Flor, Andrés Mauricio; Castillo, FranciscoThe main purpose of this work is to develop an adaptation for the piano, of the margarita’s pole (musical genre from the Venezuelan east), in such a way that the development of this genre is evident, from the "Diferencias sobre Guárdame la vacas" ( musical variations for the vihuela, written by Luis de Narváez - Spanish Renaissance, XV and XVI centuries -, to a popular song of the time called "Guárdame la vacas"), until now, synthesizing different versions, ordered chronologically from the oldest even the most modern, without cuts, to illustrate its formal, instrumental, rhythmic, melodic and harmonic development, over the last five centuries. It is proposed to reflect changes in style and interpretation in this adaptation.Ítem Cuatro paráfrasis sobre los preludios corales BWV 599, 606,617 y 622 para órgano de J. S. Bach en formato de dúo de piano a cuatro manos, basadas en la teología de la reforma protestanteBeltrán Moreno, Cynthia Vanessa; Castillo, FranciscoConsidering the valuable repertoire written for organ, the difficulty of access to the organs of Bogotá and the lack of repertoire for piano four hands format, this work presents a paraphrase exercise between the organ and the piano four-hands, from four Chorale Preludes of the Orgelbuchlein of j S Bach. The exercise is proposed as paraphrase because it responds to subjective interpretation of the Lutheran Theological thinking that defined the music of Bach, specifically in the coral practice. It is assumed the importance of religious belief and his influence in musical exercise, as fundamental axis which turned into the process and outcome of four paraphrases, presenting a new repertoire for piano four hands format with meanings that enrich the music performance practice.Ítem Cuatro paráfrasis sobre los preludios corales BWV 599,607,616 y 622 para órgano de J.S Bach en formato de piano a cuatro manos, basadas en la teología de la reforma protestanteBeltrán Moreno, Cynthia Vanessa; Castillo, FranciscoConsidering the valuable repertoire written for organ, the difficulty of access to the organs of Bogotá and the lack of repertoire for piano four hands format, this work presents a paraphrase exercise between the organ and the piano four-hands, from four Chorale Preludes of the Orgelbuchlein of j S Bach. The exercise is proposed as paraphrase because it responds to subjective interpretation of the Lutheran Theological thinking that defined the music of Bach, specifically in the coral practice. It is assumed the importance of religious belief and his influence in musical exercise, as fundamental axis which turned into the process and outcome of four paraphrases, presenting a new repertoire for piano four hands format with meanings that enrich the music performance practice.Ítem Un cuento para ensamble vocalSegura Gonima, Jonnathan Alexander; Castillo, FranciscoA tale for vocal ensamble, This is a piece written for a voice octet, consists of four parts, it narrates a history where two characters participate, based on colombian music adapted to the vocal format, emulating the function of the instruments bandola, tiple and guitar.Ítem Estudio del arco del violín como una de las principales herramientas que apoyan al instrumentista en el desarrollo de su interpretación. Revisión histórica de su desarrollo morfológico y elementos técnicos relevantes.Aguirre Sankar, Indra Joanne; Castillo, FranciscoThis work presents a development around the aspect of the importance that exists for a violin performance, to reach the possibility of having a diversity of tools that could be used by the performer to transform his execution during its preparation and presentation process, in order to obtain the musical result that he wants. Among all the variety of tools that one can find in this topic, the present work emphasizes two that are related with the bow and are considered to be between the main ones that influence the above mentioned performance process. The first one refers to a huge knowledge about the bow morphology, the development it has gone through history and an approach to the characteristic form of the bow in the different musical periods. Including some of the authors that talked about this development together with the bow constructors that have their part in this aspect. In second place, with the intention to join this study with practical elements, one has found the knowledge of bow techniques as another tool, which refers to the basic physical concepts that take part in the sound production in the instrument with the bow, and to the most representative bow strokes that have been found on the instrument study aspect.Ítem ¿Una fuga para violín solo? problemas y retos de resolver polifonía en el violín: el caso de la fuga de la sonata para violín solo nº 1 en sol menor bwv 1001 de Johann Sebastian BachLópez Franco, Diego; Castillo, FranciscoThis paper detects the fundamental challenges in the performance of J.S. Bach’s Fugue in the sonata for solo violin BWV 100, focusing on the chords. Some guidelines are proposed to make the rehearsal process more effective, for which all the chords of the fugue are identified, classified, analyzed and discussed; they are later articulated with the form and structure of the work and collated with five performances of professional violinists. This shows the different ways of making each type of chord, information that feeds the decisions that have been made in our own performance version of the fugue. The conclusions discuss the process and reflect on the ways in which the musicians approach our repertoire.Ítem Interpretación y edición crítica de cuatro obras para contrabajo y ensamble de cuerdasArdila Orozco, Julián Leonardo; Castillo, FranciscoThe double bass is an instrument that is historically associated with others. The great majority of the eighteenth-century repertoire for the instrument corresponds to orchestral passages, and its use as a solo instrument is usually reduced to a small set of particular works or transcriptions of original materials for cello. In this sense, identifying repertoire that makes use of double bass in conditions of soloist or concertante in works of the classical period, is a constant challenge for students. This work is proposed in the first instance to transcribe and edit four works of the late eighteenth century where the contrabass is the protagonist. Then, a careful observation of interpretative aspects, suchas tuning and articulation, among others, has been made. The effective culmination of this work involves a live presentation of some of the pieces. The methodology includes a review of the manuscripts, a discussion of their characteristics and a critical edition in Finale that is suitable for a current interpretation of the works. The conclusions show the richness of the experiences that, both theoretical and practical, left a mark on my process as a bass player.Ítem Mente, cuerpo e instrumento : reflexión acerca de cómo lograr un estado profundo de conexión durante el acto interpretativo.Ramírez Grattz, David Esteban; Castillo, FranciscoThis is a degree document that relates the academic vision of instrumental practice with methods or procedures of unorthodox study, which are more related to deep states of mental quietness and with the pure contemplation or perception of the present moment. Here is presented a proposal of connection with the performance and with the instrument that has been less studied within an academic framework, which directly involves non ordinary states of perception and positive experiences within the practice of an instrument. The purpose is to grow the understanding of art and the performance, as well as the conception of discipline and learning. The main theme of the degree document is how to achieve a deep state of connection with the instrument during the interpretive act, as well as explain that state.Ítem La música de Julián Guerrero Eraso. Fragmentos de una propuestaNarváez Moncayo, Laura Gabriela; Castillo, FranciscoTHE MUSIC OF JULIÁN GUERRERO. FRAGMENTS OF A PROPOUSAL is a degree work that inquirer about the musical work little known of a musician who has been always present in the Musical scene, specially in Bogota. This initiative was born from my interest in performing the composer´s songs which lead me to do a biographical review from the conversations and stories contributed by him; It underlines three facets that define his work and is complemented with a list of his works. These previous aspects are in the first chapter, followed by detailed descriptions of three particular musical works as well as their musical edition.Ítem Recopilación de cantos litúrgicos católicos para celebraciones eucarísticas, de acuerdo con los tiempos del año litúrgicoJaner Vásquez, Tatiana; Castillo, FranciscoConsidering the profound relationship between musical activity and the religious practice of our society, it is crucial that musicians help strengthen the communication channels between the church and the musical art. Having said this, the present paper includes a set of songs that contribute to the repertoire that make up the liturgical celebrations of the Catholic Church, organized according the liturgical time and the order in which these songs should be interpreted. The document is aimed to musicians who wish to perform within the musical ministry or who simply want to know how music acts within a eucharistic celebration following the norms and parameters dictated by the Church, and the reasons why certain songs may or may not be included, according to the lyrics and relevance.