Sistematización del proceso de creación colaborativa de dos obras para piano en relación con un modelo conceptual de lo pianístico

Abstract

Early exposure to the piano through a self-taught, popular Caribbean music-playing grandfather, coupled with initial musical theory education gained while working with a children's choir, were decisive in shaping my relationship with the piano. Throughout my childhood and youth, I have been involved in both academic and popular musical practices, exploring music from diverse contexts and approaches. It's possible that I didn't choose to study music; rather, life's circumstances led me to the Faculty of Arts ASAB, where I began my professional training with a particular interest in Colombian and Latin American music that hasn't been entirely fulfilled. I've experienced my undergraduate studies in a debate between what is considered essential repertoire for a good pianist and what I am interested in playing, what the environment deems necessary for training and what seemingly lacks pedagogical value, what is valued and what is unknown. Consequently, the experiences during my years of study have been significant in several ways. On the one hand, subjects like Ensemble and Chamber Music have allowed me to connect with Colombian Andean music, including the opportunity to create and perform arrangements for piano and other instruments. These practices have been enriching and have also revealed that, while the piano is a very versatile instrument, sometimes what a non-pianist writes for the instrument can feel unfamiliar to a pianist, because it deviates from conventional practice. Furthermore, my experience with other piano students and teachers has revealed intuitive trends that reflect how pianists identify with certain types of repertoire, styles, composers, eras, and other characteristics that form a model. This model is then used to compare all unfamiliar or new works to determine how idiomatic they are for the instrument. This reveals a strong identity component in the definition of what a pianist understands as "pianistic" and what satisfies them both physically and psychologically.