Examinando por Materia "Requinto"
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Ítem Digitalización y catalogación de música de siete artistas de la música andina colombiana presentes en el Fondo de Documentos Sonoros Antonio CuéllarRubio Gaviria, José Camilo; Millán Grajales, GloriaThe work digitalization and cataloguing music of seven artists of colombian andean music present in the Antonio Cuéllar Sound Documents Fund, was carried out at the Centro de Documentación de las Artes “Gabriel Esquinas” de la Facultad de Artes ASAB de la Universidad Distrital Francisco José de Caldas. This work brings the sound digitization of 412 audio tracks of which 227 are strictly linked to six artists who have in common the interpretation and creation of Colombian Andean Music related to the strings pressed into the tiple and the requinto. They are: Pacho Benavides, Peregrino Galindo, José A. Morales, Jorge Ariza, Marcos Murcia and Luis Lorenzo Peña. In addition, the pianist, composer and conductor Miguel Oriol Rangel Rozo was included for their importance in Colombian popular music of the twentieth century. The work also provides 168 photos of the labels of the digitized discs. In addition, the work provides information related to each of the digitized parts, in a catalog organized in a Excel, which allows to expand the pre-existing catalog. Finally, it includes a small research work with which a biographical review of each of the artists mentioned was prepared.Ítem Pasantía en la Fundación Ser, Arte y Cultura la escuela itinerante de música campesina y carranguera como medio facilitador de la práctica musical, las técnicas y la forma poética de la música campesina cundiboyacenseOrjuela Flérez, Jaider; Arbelaez Franco, EfrainThe degree work developed and narrated in this document proposes to work on some peasant artistic expressions (oral tradition, sonorities and musical creations, literary creation, in land tenure and tillage, community organization, choreography of dance, spinning of wool and gastronomy); which are the primary source of intangible cultural heritage of Cundinamarca (PCI), which are assumed from generation to generation form the cultural and artistic fabric of the region, which are expressed in family parties, baptisms, communions, weddings, bazaars, in community parties , community meetings, religious and civic festivals, festivals, popular reigns, artistic festivals. Also the coplas, proverbs, sayings, riddles and lyrics accompanied by instruments (tiple, requinto, guitar and guacharaca), which, with chords and melodies, form a creative unit that enhances the spirituality of neighbors and residents of the region and therefore requires a process of recognition by the new peasant generations through the recovery, creation and dissemination of the sound-musical heritage of literary composition and knowledge of musical instruments. The creative height reached in rural music and Carranguera, is seriously threatened, due to the new economic opening programs promoted by governments, which weaken the peasant economy, generate population displacement and search for new income alternatives, these new conditions complicate the creation complicated even more by the fatigue resulting from the search for economic survival, which diminishes, the times and spaces required for creation and enjoyment; To this is added violence and social exclusion. The lack of an institutional offer for recovery, creation and training, as well as its registration and dissemination of the artistic and musical expressions of the peasant population, which are intangible cultural heritage of the region, is in danger of vanishing.