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Guayacán: Caracterización Musical De La Agrupación En Los Años 80 Y 90 Desde La Producción Discografía

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Guayacán: Caracterización Musical De La Agrupación En Los Años 80 Y 90 Desde La Producción Discografía Guayacán: caracterización musical de la agrupación en los años 80 y 90 desde la producción discografía. Luis Antonio Guevara Calderón Universidad Nacional de Colombia Facultad de Artes Instituto de Investigaciones Estéticas Maestría de Musicología Bogotá D.C, Colombia 2020 Guayacán: caracterización musical de la agrupación en los años 80 y 90 desde la producción discográfica. Luis Antonio Guevara Calderón Trabajo de investigación presentado como requisito parcial para optar al título de: Magister en Musicología Director: Carlos Miñana Blasco Doctor en Antropología Social y Cultural Línea de Investigación: Musicología Grupo de Investigación: Musicología en Colombia Universidad Nacional de Colombia Facultad de Artes Instituto de Investigaciones Estéticas Maestría de Musicología Bogotá D.C, Colombia 2020 III A mi madre, a mi padre, a mi hermana, a mis amigos cercanos y la música de este territorio, su amor incondicional me permite renacer y existir donde la hierba nunca crece. Agradecimientos Agradezco infinitamente al maestro Carlos Miñana Blasco por estar siempre a la orden para resolver mis dudas y atender mis comentarios, así como para señalar todas las falencias y necesidades de este trabajo. A Leidy Katherine Montilla Escudero por su aporte académico invaluable; a mi madre María Patricia Calderón Pérez por alentarme siempre a terminar con este estudio, a mi padre Mario Enrique Guevara Moreno por soportar mi genio y largas jornadas y a mi hermana Mónica Andrea Guevara Calderón por ser el norte y ejemplo necesarios para abordar los proyectos con tenacidad. También a la Universidad Nacional de Colombia por ser mi casa, patio de juegos, lugar de verdad y crecimiento desde que tengo cuatro años. Resumen/ Abstract V Resumen Este trabajo hace una revisión de la producción discográfica (LP, sencillos, y EP) de la Orquesta Guayacán, nacida en el año 1983 en Bogotá, de la mano de Alexis Lozano con el fin de caracterizar el estilo de la agrupación. Diferentes medios periodísticos, e incluso algunos trabajos académicos sostienen que existe una “salsa chocoana” en Colombia, de la que Guayacán sería su máximo exponente y promotor. Para dicha revisión, se plantea una matriz de análisis fundamentada en los estudios de Moore, Tagg y Guerrero, desde las perspectivas del análisis formal llevado a las capas estructurales (capa rítmica, capa de bajos, capa melódica y capa armónica) que permiten entender las funciones e interconexiones de los instrumentos dentro de las obras. Asimismo, un análisis melódico y armónico que delimite las estructuras y referentes de la orquesta. La idea de intertextualidad de Guerrero permite comprender las relaciones de la música analizada con su contexto (industria de la salsa y de la música tropical) y con las expresiones de la música chocoana a las que se hace referencia en las diferentes producciones discográficas. La orquesta Guayacán, si bien utiliza algunos elementos de la música y la cultura chocoanas, es principalmente una orquesta de salsa internacional que responde y se adhiere a los cánones que esta etiqueta plantea. Palabras clave: Orquesta Guayacán, análisis discográfico, análisis musical, intertextualidad, música popular, salsa colombiana, música colombiana. Abstract This work makes a review of the discography (LP’s, singles, and EP’s) of the Orquesta Guayacán, founded in 1983 in Bogotá, by Alexis Lozano, to find the style of the group. Different journalistic media, and even some academic works holds that there is a "salsa chocoana" in Colombia of which Guayacán would be its leading exponent and promoter. For this review, a matrix of analysis based on the studies of Moore, Tagg and Guerrero is proposed, from the perspectives of formal analysis taken to the structural layers (rhythmic layer, bass layer, melodic layer and harmonic layer) that allow to understand the functions and interconnections of the instruments within musical production. Likewise, a melodic and harmonic analysis that delimits the structures and references of the orchestra. Guerrero's idea of intertextuality allows us to understand the relationship of the analyzed music with its context (salsa and tropical music industry) and with the expressions of the música chocoana, referred to in the different musical productions of the band. The Orquesta Guayacán, although uses some elements from música chocoana and its culture, is mainly an international salsa orchestra that responds and adheres to the canons that this label raises. Keywords: Orquesta Guayacán, discographic analysis, musical analysis, intertextuality, popular music, Colombian salsa, Colombian music Contenido VII Contenido AGRADECIMIENTOS ....................................................................................................................... IV RESUMEN ....................................................................................................................................... V ABSTRACT ..................................................................................................................................... VI CONTENIDO .................................................................................................................................. VII LISTA DE FIGURAS.......................................................................................................................... IX LISTA DE TABLAS ......................................................................................................................... XIII INTRODUCCIÓN .............................................................................................................................. 1 1. GUAYACÁN Y LA SALSA EN COLOMBIA.................................................................................... 3 INICIOS DE LA SALSA EN COLOMBIA (DE LA MÚSICA ANTILLANA A LA MÚSICA TROPICAL)........................... 3 DE LA MÚSICA TROPICAL A LA SALSA (ORQUESTAS COLOMBIANAS EN LOS AÑOS 60 Y 70) ........................ 5 LA SALSA EN LOS AÑOS 80 Y 90 EN COLOMBIA ............................................................................... 7 LOS ORÍGENES DE GUAYACÁN .................................................................................................... 11 CARACTERIZACIÓN MUSICAL DE LA AGRUPACIÓN Y ANÁLISIS DE REPERTORIO .................... 14 AÑOS 80: LA MADURACIÓN DE UN ESTILO .................................................................................... 19 Llegó la hora de la verdad ............................................................................................. 19 Que la sangre alborota .................................................................................................. 30 Guayacán es la orquesta ............................................................................................... 35 La más bella ................................................................................................................... 39 PRIMERA MITAD DE LOS AÑOS 90: GUAYACÁN ROMÁNTICO ............................................................ 44 5 años aferrados al sabor .............................................................................................. 45 Sentimental de punta a punta / Oiga, mire, vea ........................................................... 57 Con el corazón abierto ................................................................................................... 63 A verso y golpe .............................................................................................................. 66 Marcando la diferencia ................................................................................................. 68 SEGUNDA MITAD DE LOS AÑOS 90: VUELTA A LAS RAÍCES Y LA ERA DIGITAL ..................... 76 Como en un baile ........................................................................................................... 76 Contenido VIII Con sabor tropical ........................................................................................................ 79 Nadie nos quita lo bailao ............................................................................................... 87 De nuevo en la salsa ...................................................................................................... 89 LA SALSA CHOCOANA, HACIA UNA COMPRENSIÓN DEL ESTILO DE GUAYACÁN .................... 93 Influencias en la música ................................................................................................ 94 Elementos de la cultura y poética chocoanas.............................................................. 107 CONCLUSIONES ................................................................................................................... 117 ANEXO A: DISCOGRAFÍA DETALLADA DE GUAYACÁN AÑOS 80 Y 90 ........................................... 124 ANEXO B: SELECCIÓN DE REPERTORIO DE MÚSICA ANALIZADA QUE NO ES DE LA ORQUESTA GUAYACÁN .............................................................................................................................................. 160 FUENTES Y BIBLIOGRAFÍA ........................................................................................................... 162 DISCOGRAFÍA ................................................................................................................................... 162 ENTREVISTAS .................................................................................................................................... 162 NOTAS PERIODÍSTICAS .......................................................................................................................
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