Clasificación del uso de métricas irregulares, polirritmias, desplazamientos y modulaciones métricas a partir del análisis e interpretación de cinco temas de jazz y rock

Abstract

During the learning process that takes place in an arts faculty, one has the privilege of being surrounded by an academic environment loaded with a lot of information extracted from various cultures due to the circulation of audio material, scores, and methods among the student community, in addition to the experience of each and every teacher. This allows for delving into the search for information, creating an ideal environment for developing solid concepts regarding the vision of music, the performance of the instrument, and the role it plays in the various areas of professional life. If, when starting the learning process at university, musical preferences lean solely towards genres like rock or punk, it is likely that the school of jazz, and therefore the roots of the drums, are being partially or almost completely ignored, which may initially present itself as something conflicting. This is because, when starting a process in a space like this, one can see how groups of Rock drummers and another group of Jazz drummers are formed, whose influences and interests are so far apart that at some point one might even think that these two groups of drummers play completely different instruments. But how to find a point of equilibrium in the midst of these apparently irreconcilable differences between jazz musicians and rockers, where the only victim is music? The answer to this can only be found through the practice of music and contact with the academy, where, through the teachers, one can find clues that show the way to that equilibrium that has its own name and is not precisely being a rock or jazz drummer. It is simply about becoming something that is far beyond this discussion that sometimes revolves in circles without finding an answer, becoming a good musician. But how to achieve this? A serious study of the drums introduces the student to new names such as Max Roach, Philly Joe Jones, Joe Moerello, Virgil Donati, Steve Smith, Marco Minnemann, and Jojo Meyer, among other outstanding artists, and musical styles such as ragtime, swing, bebop, acid jazz, progressive rock, and drum n Bass, as well as different drum methods which directly influence the development of the performer, leading him to understand that music is a language and to become a good musician he must first learn to speak it.