Artes Musicales
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Ítem Sistematización de prácticas de interpretación del Bambuco aplicadas al lenguaje idiomático de la flauta traversaMartínez Fuya, Erika Johana; Castro Turriago, Jesús Augusto; Castro Turriago, Jesús Augusto [0000-0002-2265-1520]This document contextualizes, identifies and systematizes the interpretation practices of the bambuco on the transverse flute through the analysis of three musical pieces–Bambuquísimo, Los doce, and El Tato–in a population of Colombian flutists with a long trajectory. Through the theoretical inquiry of referents and the practical exercise of transcripts and analysis of the audios provided by the participating community, the three chapters of this document are developed as follows: practices based on ornaments, practices based on articulation, and practices based on extended techniques that correspond to the concern regarding the acknowledgement of the technical and interpretative elements used to approach this repertoireÍtem Adaptación para trombón e interpretación de tres obras del "Cholo" ValderramaVarela Suárez, Juan Diego; Lambuley Alférez, Edgar RicardoThe present work comes from a concern to nourish the trombone repertoire with materials coming from the music of the Colombian-Venezuelan plains. In order to achieve this purpose, two complementary activities have been carried out. On the one hand, a contextualization has been elaborated that places the musical practices of the plains in an artistic and social environment. On the other hand, three works by the Colombian musician "Cholo" Valderrama have been transcribed and adapted in three different golpes (rhythmic-harmonic cicles): pasaje, zumba que zumba and nueva onda. As part of the process, a link has been established between the most relevant challenges of playing the melodies coming from the harp and the guitar on the trombone, with some of the most used technical methods in the academic trombone department. In this sense, it is shown how the trombone technique connects with uses in non-academic music, while contributing to the articulation between various musical styles and practices.Ítem Semilla -volver a pasar por el corazón-Rodríguez Vargas, Nichols David Nicoyembe; Ariza Romero, Juan Camilo; Alvarado Silva, David LeonardoThe podcast Semilla - Volver a pasar por el corazón - is a sound creation that shows the violence embedded in the environment and culture of a fictitious town located in Montes de María region; besides the final product, this document is created to showcase a detailed analysis of the podcast’s script; emphasizing its narrative composition, an analysis of the compositional process of diegetic music, extradiegetic music and the varied sound design present in each chapter, we also appreciate a detailed analysis of the rhythmic, harmonic, and melodic elements of Semilla the original song, along with its pre-production, recording, and post production process.Ítem Intercambios: academia y tradición. Estudio para violín basado en tres bambucos de muestraMorales Chávez, David Asdrubal; Alba Cortés, Jenny MarcelaMany violin teachers, if not all, resort to multiple pedagogical tools for the training of their students in different stages of their process, one of the most important being violin studies: short and simple pieces, in musical terms, that strengthen technical aspects of the instrument and serve as preparation for more complex repertoire. On the other hand, the bambuco is a Colombian musical genre born in the 19th century, at a time when the search for a national identity led it to be consecrated as one of the most representative of the country, eventually colliding with what would be “the classical academy” coming from Europe and settled there. Despite being developed in different contexts and spaces, bambuco, and other traditional colombian music, have been able to establish contact on multiple occasions throughout history with the classical academy, which has led to the development of products such as this document. This degree project describes the process that its author took to compose a study for violin inspired by the elements found in three different bambucos, going through the history of the two chosen contexts, the academy and the tradition, as well to analyze some representative products of each one and collecting inputs that will be analyzed in the final composition.Ítem Guía para el director en formación fundamentos de la dirección sinfónicaMuñoz Vargas, Jhon Sebastián; Villamil Medina, CésarThe work of a conductor is based on the concept of leading a group with the purpose of unifying criteria and musical issues in terms of a common interpretation. In the educational field, specifically in symphonic conducting, learning processes are developed that focus mainly on the structuring of a good gestural technique, leaving only a short range of considerations around the conductor's professional practice. This document develops a guide that intends to provide information related to the profession of conductor in training, contemplating aspects such as basic skills, repertory selection and preparation, and rehearsal techniques. The work is structured in three chapters; the first one provides the conductor an overview of the technical skills, theoretical knowledge and communication skills that are required for conducting. The second chapter attempts to introduce the reader to the repertoire selection process, what aspects should be considered and what elements are involved in the preparation of a program. Finally, chapter three provides contributions on the structuring of a rehearsal plan, the creation of a work schedule and some of the rehearsal techniques that are essential for professional practice.Ítem Pasantía en el centro de formación artística CESFA enseñanza a los niños y jóvenes, y apoyo como trompetista en la banda obra salesiana del niño Jesús OSNJ.Carvajal Vásquez, Juan David; Agudelo, María del PilarThis degree work is carried out in the internship modality, since it is based on the experience acquired by developing an internship at the Salesian Center for Artistic Training, an institution dedicated to the teaching and musical practice of children and young people interested in carrying out this process. . The internship is aimed at the trumpet students of said institution, seeking to be a part of their musical training, providing basic tools for the study of the instrument from my experience as a trumpeter. This in order to achieve practical theoretical enrichment in each of the students.Ítem Adaptación e interpretación para bajo eléctrico solista y dueto de bajos de dos obras del compositor Joe HisaishiEnríquez Santacruz, Juan Pablo; Méndez, César DavidThe present work consists of the analysis, adaptation to electric bass and interpretation of two musical pieces by the composer Joe Hisaishi. The origin of the musical pieces is contextualized through a brief presentation of Studio Ghibli, the animation studio in charge of producing the movies Howl's Moving Castle and Spirited way, where we can find these musical pieces. In adittion, it inquires about the type of music composed by Joe Hisaishi. A musical analysis is carried out on specific elements of each piece, with the objective of understanding first-hand the musical style of the composer and the resources that will be relevant when making the adaptation. A review is made of the techniques and interpretive possibilities of the electric bass, which is later integrated with the analysis in order to organize and plan the adaptation work. Finally, the process of each adaptation is exposed through a description focused on technical implementation and decision making.Ítem Tres composiciones basadas en los estilos interpretativos de la música llanera: criollo, torrealbero y estilizadoGuacarapare Trejos, Magdarys; Bernal Martínez, ManuelThis paper describes the process of creation and interpretation of three compositions for the llanera harp and voice, each of them framed in one of the three most recognized styles of interpretation in the musical environment: criollo, torrealbero and stylized. The characterization of these styles was based on what was found in the bibliography, in the discography and in the information gathered in semi-structured interviews with three renowned harpists. Although a so-called 'commercial' style is also mentioned, a discussion and personal position is presented in relation to this style, since it is not considered as such from the point of view of the harp's performance and, consequently, a corresponding piece was not composed. In the same way, the characterization and explanation of the patterns of interpretation on the harp was made, as well as the analysis of each of the works from the point of view of each of the mentioned styles.Ítem Propuesta de iniciación musical para el eje formativo instrumental en instrumentos de viento-metal, cartilla con juegos didácticos para la enseñanza de las técnicas de respiración, buzz y glissandoCely Samaniego, Carlos Felipe; Rivera Roja, Néstor IgnacioIn the production of the booklet, a set of exercises is compiled, classified and created for the elaboration of 10 games based on the breathing, buzz and glissando techniques, facilitating their teaching to preadolescents. These games are not a universal rule to properly interpret a brass instrument since pre adolescents can discover it naturally, even so, everything is relative and that is why there are various paths that facilitate the understanding and internalization of techniques. The purpose is to show a logical path from the understanding of the breathing technique (how we breathe naturally is the basis that allows us to build everything) followed by the buzz and finally the glissando. If we compare these techniques with a building; the breathing technique is the base that supports the entire structure, the buzz the columns and the glissando is the representation of the other parts of the structure. If one day there is an earthquake and you have to shake what you have learned to relearn, depending on the firmness of each part, the construction will remain standing or it will collapse part by part; a well-constructed base with solid columns allows us to build from houses to skyscrapers. In this way, wind instruments need the same bases in breathing to then begin to build according to their specifications, in the case of wind-brass instruments, the next step is the buzz that, together with the glissando, allows us to understand how it is that generates the sound and full register without the need for pressure.Ítem Aspectos teóricos, estilísticos y técnicos del concerto suite for electric guitar and orchestra del guitarrista Yngwie MalmsteenCastro Rojas, Daniel Leonardo; Alvarado, LeonardoThis document inquires about the relation between heavy metal music and Yngwie Malmsteen’s electric guitar. in order to achieve the above, the fundamental aspects that define heavy metal music were described and these were contrasted with the musical pieces composed by the guitarist on the album Concerto Suite for electric guitar and Orchestra. In this way, the used methodology was descriptive and analytical.Ítem Música tradicional colombiana para percusión sinfónica. Contextualización, análisis e interpretación de tres obras.Gutiérrez Afanador, Cesar Augusto; Lambuley Alférez, NéstorThis work's purpose is the contextualization, structural analysis, and interpretation of three musical pieces written by Colombian composers. These pieces were created by composers who emphasized their works on percussion instruments such as marimba, vibraphone, and drummer. Each piece is based on Colombian traditional rhythms such as pajarillo, porro, and bambuco. Each chapter of this research includes these musical works. Therefore, there is a part dedicated to introducing composers, their compositional techniques, and the explication of the original rhythms. On the other hand, there is an interest in enhancing the features in Colombian compositions through symphonic percussion instruments. This proposal uses an unusual ensemble, which nowadays is used exclusively for the accompaniment of strings or winds traditional ensembles. Finally, the Colombian repertoire created for symphonic percussion is limited. This research aims to acknowledge the few composers who dedicate their compositions to percussion instruments.Ítem Arreglo e interpretación de las canciones mundo interior y olvidé cuidar mi huerto del compositor Jesús Adrian Romero para el dueto de guitarras acústicasOliveros Ordoñez, Jonathan David; Ángel Ortega, Pedro AugustoThis work aims at the arrangement and interpretation of the songs Mundo interior and Olvidé cuidar mi huerto by the composer Jesús Adrián Romero making use of some of the extended techniques for guitar based on percussion and muting the extended techniques for guitar to expand the sound possibilities of the acoustic guitar when making the arrangements. The above in order to make a musical contribution from an academic point of view to Christian music in churches, and to the current form of Christian worship, using as a main tool the research and use of extended techniques for acoustic guitar, in this way the timbral and sound capabilities of the acoustic guitar are expanded in this way this work contributes musically and academically to the music of Christian worship and also expands the repertoire of the acoustic guitar and the possible tools to use when making an arrangement or researching a specific performance.Ítem El saxofón: entre el jazz, el tango y la música sinfónica. Análisis interpretativo de concertango de Luis Serrano AlarcónPinzón Rodríguez, Jorge Iván; Villamil Medina, CesarThis work shows an analysis for the interpretation of the saxophone in the work Concertango by the composer Luis Serrano Alarcón, this work integrates symphonic music, tango and jazz, for which part of the context of the saxophone is exposed in each of these genres. Also an analysis proposed by Jhon Rink in his book Musical Performance. A Guide to Understanding or known in spanish as La Interpretación Musical, which is specifically aimed at the performer, since it analyzes the form, the harmony, the movement of the time throughout the work, the movement of the dynamics throughout the work and, finally, the main motifs and phrases of the work.Ítem Juegos sonoros: una estrategia didáctica para la enseñanza de la música en preescolarMéndez Ramírez, Sergio Alejandro; Bocanegra, Guillermo; 0009-0005-9675-4222This monograph aims to design a series of seven didactic sequences for children aged four and five, by adapting and applying concepts from pedagogy and experimental music. Key figures such as François Delalande, Murray Schafer, Brian Dennis, Walter Thompson, John Cage, and Morton Feldman are considered. Additionally, elements from the educational models of Lev Vygotsky, Violeta Hemsy de Gainza, and Judith Akoschky are incorporated to structure formative activities with classroom evaluation criteria. The goal of these activities is to stimulate creativity and musical experimentation in children, avoiding aesthetic conditioning and encouraging the use of various musical references in early childhood education. Each sequence includes evaluation indicators, complemented by a field diary and videos of the sessions. These tools serve as qualitative measurement instruments to assess and refine the implementation of the strategy.Ítem Una reflexión y musicalización de textos alrededor del concepto justicia social de Darrow L. MillerBeltrán Martínez, Carlos Alberto; Guapacha Marin, Olga LuciaOn this document you will find a description of the ideas presented by the philosopher and writer Darrow L. Miller about the concept of social justice and its reformulation, in terms of the idea of compassion taken from the biblical perspective, in one of his books entitled Rethinking Social Justice: Restoring Biblical Compassion. Likewise, you will be able to enter into the author’s reflection of the present work in relation to Miller's thought. In addition, you will become aware about the process of writing and musicalization of three texts that are created from this process of analysis and reflection on the social justice concept.Ítem Latin jazz. Improvisación creativa sobre Cayeye y Brisa Nocturna. Análisis de los manuscritos "50" y "Nueva Cubana" Realizados por Gonzalo RubalcabaSalcedo Tovar, Cristian David; Caro Gómez, AurelioThis degree work, registered in the modality of creation - interpretation, has as its central axis the creation of the pieces Cayeye and Brisa nocturna through the resource of improvisation and, likewise, to allow the musical extension of the structural elements exposed in each section of each piece at the moment of improvising in the style of Latin jazz. To understand this in a more solid way, a brief historical context around jazz is made, showing how the different musical cultures were mixed through time, giving birth to what we know today as Latin jazz. Gonzalo Rubalcaba is a clear exponent of the convergence of jazz and Latin jazz, therefore, we will analyze the manuscripts "50" and "Nueva Cubana" belonging to the discographic work XXI Century in which he will investigate the way in which the element of improvisation is manifested both in the creation of the pieces, as well as in their extension.Ítem Descripción del proceso de creación, preproducción y montaje de dos canciones en género Worship para la banda cristiana RestorerLandinez Fajardo, Arley Mauricio; Arbeláez, Efraín FrancoIn the present work, some vital elements for the creation, pre-production and assembly of Christian Music in the Worship genre are presented in a specific way. Initially, some historical data are presented describing how the Worship genre emerged in Contemporary Christian music and the musical impact it has produced not only in the entire Christian community, but also in current composers and psalmists. Following this contextual basis, we proceeded to make the two compositions in this musical genre for the Christian band Restorer, specifically describing the process of creating the texts of the songs from the Psalms of the Bible and using specific references for the sound and music such as the band Elevation Worship and Bethel Music. The purpose of this work is not only to write about a musical genre of religious character, but also to contribute to the apprentice musicians and also professionals, composers and music academics, elements that can be useful for their work, due to the fact that the whole process of composition and pre-production of the demos of the two songs was carried out from a Home studio. Finally, some elements are described about the process of assembly and collective arrangement of the two songs in this genre.Ítem Transcripción-análisis interpretativo del percusionista Samuel Formell en los temas “De la Habana a Matanzas”; “Anda, camina Juan”, y “Legado opening”Cantor Fuentes, Camila Andrea; Guzmán Romo, Jorge AlbertoThis document shows a brief historical overview of Cuban music, covering the music genres that preceded the songo and the Cuban timba, with the purpose of delving into the analysis of the transcriptions of Samuel Formell on the drums-timbal in songs from the orchestra Los Van Van, analysis carried out in the present work. Considering the scarcity of transcriptions material from prominent drummers and the lack of documentation, especially on the hybrid drums-timbal, these transcriptions have been made to provide an analysis that can offer additional tools to performers. Samuel Formell is a renowned performer in these musical genres and in this instrument (drums-timbal) in particular and also comes from a distinguished heritage and is currently part of the Van Van orchestra, to which the creation of the songo and the inclusion of the batería.timbal in this format is attributed. Despite the limited information available on his interpretation, it is essential to document his contribution for future generations and for our current understanding.Ítem Análisis, adaptación y montaje de la sonata k 24 de Doménico Scarlatti para dueto de guitarras acústicas y una exploración sonora de la sonata k 486Giraldo Leal, Carlos Alberto; Gómez, Juan DiegoThe following paper is developed under a modality of creation and interpretation. This document describes the process of analysis, adaptation and assembly for guitar duet of the sonata K24, and a sound exploration of sonata k 486 by Domenico Scarlatti, in order to explore these pieces in the sonority of the acoustic guitar and the interpretative possibilities offered by this instrument. To this end, it is intended to take into account aspects such as the form, melody and texture of the same in the original instrument (Harpsichord) for which they were composed and thus be able to have a more comprehensive vision of the musical content before carrying out its adaptation. This work aims to exhibit the technical possibilities offered by the guitar through a duet performance, in order to be able to play some pieces that are not idiomatic for this instrument and try to maintain as much as possible, the musical qualities of the original work.Ítem Arreglo e interpretación de dos temas estadounidenses de los años 70 y 80 a géneros musicales afrolatinoamericanos salsa y merengueMoreno Saavedra, Mariana Lucía; Guzmán Romo, Jorge AlbertoThis work was born with the idea of adapting examples from the Anglo repertoire to Afro-Latin American genres, so that Latin percussionists can play them. Particularly, two pieces of Anglo music were turned into salsa and merengue. To achieve this, the first step was to use the context of the origin, rhythmic patterns and evolution of the original genres to have a critical concept that would allow recognition, appropriation and musical and interpretative analysis, ensuring that the arrangements preserved the essence of the original pieces. Additionally, it was necessary to determine which aspects of Latin genres were going to be considered as essential to establish musical, rhythmic and instrumental ideas methodically ordered, presenting them with the highest sensitivity. Also, several interviews were conducted with instrumentalists and arrangers who, according to their experience, dictate the way to undertake and develop these arrangements. Finally, the most important part is the practical one, in which I apply my knowledge as an instrumentalist in Latin percussion to develop the arrangements, orchestration and ensemble to obtain audible and written material that fuses the mentioned above rhythms that will serve as a guide in the percussive rhythmic bases for future studies.