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1 Descripción El Proceso De Ensamble Del Dueto De DESCRIPCIÓN EL PROCESO DE ENSAMBLE DEL DUETO DE EUFONIO Y PIANO POR MEDIO DEL ANÁLISIS ESTRUCTURAL Y LOS PARÁMETROS TÉCNICOS DEL REPERTORIO, DURANTE LOS SEMESTRES COMPRENDIDOS ENTRE 2013-2014. CESAR AUGUSTO GRAJALES SUAREZ CÓDIGO: 1.090.149.168 UNIVERSIDAD TECNOLÓGICA DE PEREIRA FACULTAD DE BELLAS ARTES Y HUMANIDADES PROGRAMA LICENCIATURA EN MÚSICA PEREIRA 2015 1 DESCRIPCIÓN EL PROCESO DE ENSAMBLE DEL DUETO DE EUFONIO Y PIANO POR MEDIO DEL ANÁLISIS ESTRUCTURAL Y LOS PARÁMETROS TÉCNICOS DEL REPERTORIO, DURANTE LOS SEMESTRES COMPRENDIDOS ENTRE 2013-2014. CESAR AUGUSTO GRAJALES SUAREZ CÓDIGO: 1.090.149.168 Trabajo de Grado presentado como opción parcial para optar al título de Licenciado (a) en Música. Director LEOPOLDO DANTE LÓPEZ GONZÁLEZ Magister en Música con énfasis en Dirección de Orquesta Docente Universidad Tecnológica de Pereira UNIVERSIDAD TECNOLÓGICA DE PEREIRA FACULTAD DE BELLAS ARTES Y HUMANIDADES PROGRAMA LICENCIATURA EN MÚSICA PEREIRA 2015 2 AGRADECIMIENTOS Dedico este proyecto con el cual termino mis estudios universitarios, a mi madre María Elena Suarez Giraldo, el cual siempre estuvo apoyándome y ayudándome desde un principio, es decir desde que era un niño hasta ahora que me he convertido en hombre y lograr la culminación de esta licenciatura. Gracias por todo el apoyo brindado todos estos años. Así mismo también quiero agradecer a todas las personas que me ayudaron en el desarrollo de este proyecto como lo fueron: el Maestro Ignacio Antonio Ríos Torres, Director de la Banda Sinfónica de Pereira, el Maestro Leopoldo Dante López González, Director de la Banda Sinfónica y Orquesta Sinfónica de la Universidad Tecnológica de Pereira, Jorge Quinteros, Alexander Calvo y Francisco Ruiz quienes fueron mis profesores de Eufonio durante la carrera, Diana Edith Calvo, Clara Inés Valencia, ya que sin ellas no hubiera sido posible la realización del mismo. Por ultimo quiero agradecer a: Luis Eduardo Malagón Gil, Alba Marcela Buitrago, Sofía Caro Carrillo, Leonardo Sánchez, Guillermo Toro, Gustavo Adolfo Franco, Héctor Vargas Bonilla, y Alba Yuliana Zapata por el afecto emocional que me brindaron en todo este proceso musical y así lograr la culminación de este proyecto. 3 A continuación se relacionan las personas que tuvieron participación en la elaboración de éste trabajo. 1 NOMBRE COMPLETO: CESAR AUGUSTO GRAJALES SUAREZ FUNCIÓN EN EL PROYECTO Autor X Asesor Director INFORMACIÓN ACADÉMICA Estudiante de Licenciatura en música de la Universidad Tecnológica de Pereira. 2 NOMBRE COMPLETO: LEOPOLDO LÓPEZ GONZÁLEZ FUNCIÓN EN EL PROYECTO Autor Asesor Director X INFORMACIÓN ACADÉMICA Docente de la Universidad Tecnológica de Pereira en las Asignaturas de Estructuras musicales, Lenguaje Musical, Banda Sinfónica, Orquesta Sinfónica, Coro y Cuerdas Típicas. 4 Tabla de contenido 1. INTRODUCCIÓN ...................................................................................................................... 8 2. ANTECEDENTES .................................................................................................................. 10 3. JUSTIFICACIÓN .................................................................................................................... 12 4. PLANTEAMIENTO DEL PROBLEMA ............................................................................... 13 5. OBJETIVOS ............................................................................................................................ 14 5.1 OBJETIVO GENERAL ....................................................................................................... 14 5.2 OBJETIVOS ESPECÍFICOS ............................................................................................. 14 6. CAPÍTULO UNO: DEFINICIONES CONTEXTUALES .................................................... 15 6.1 EL EUFONIO ........................................................................................................................ 15 6.2 El PIANO ......................................................................................................................... 21 6.3 LA MÚSICA DE CÁMARA ................................................................................................ 24 7. CAPÍTULO DOS: CARACTERIZACIÓN DE LOS PARÁMETROS TÉCNICOS DEL REPERTORIO SELECCIONADO POR EL ENSAMBLE DE EUFONIO Y PIANO ............ 27 7.1.2 El Concierto ................................................................................................................. 29 7.1.3 Joseph Horovitz .......................................................................................................... 31 7.1.4 La Rapsodia .................................................................................................................... 32 7.1.5 James Curnow ........................................................................................................... 33 7.2 CUESTIONES INTERPRETATIVAS DERIVADAS DEL ANÁLISIS DE LAS PARTITURAS Y LAS IMPLICACIONES TÉCNICAS INDIVIDUALES Y DE ENSAMBLE ....................................................................................................................................................... 35 7.2.1 Rapsodia para Eufonio de James Curnow. ......................................................... 36 7.2.2 Concierto para Eufonio de Joseph Horovitz ....................................................... 39 8. CAPÍTULO TRES: ANÁLISIS ESTRUCTURAL Y FORMAL DEL REPERTORIO SELECCIONADO ........................................................................................................................... 52 8.1 CONCIERTO PARA EUFONIO ........................................................................................ 52 Jospeh Horovitz 1972 .............................................................................................................. 52 8.2 Rapsodia para Eufonio ..................................................................................................... 63 James Curnow .......................................................................................................................... 63 9. CAPÍTULO CUATRO: EL ENSAMBLE DEL REPERTORIO: OBSERVACIONES SOBRE EL DIARIO DE CAMPO ................................................................................................. 68 5 9.1 PRIMER Y SEGUNDO SEMESTRE DE 2013 ................................................................ 69 9.2 PRIMER Y SEGUNDO SEMESTRE 2014....................................................................... 75 10. Conclusiones y recomendaciones .............................................................................. 80 11. Bibliografía ......................................................................................................................... 82 12. Lista de Anexos ................................................................................................................ 83 ANEXOS. ......................................................................................................................................... 84 6 RESUMEN El siguiente trabajo tiene como objeto la descripción del proceso de ensamble del dueto de Eufonio y Piano por medio del análisis estructural y los parámetros técnicos del repertorio, durante los semestres comprendidos entre 2013-2014; hace énfasis en la caracterización de ciertos parámetros técnicos del repertorio seleccionado que se han declarado como relevantes para la consecución del mismo, así como el análisis estructural y formal de la música; también de detalla el desarrollo del ensamble por medio del análisis de un Diario de Campo que compila todos los ensayos realizados en los cuatro periodos 2013-2014. ABSTRACT The following project takes as an object the description of the assembly process of the duet of Euphonium and Piano by means of the structural analysis and the technical parameters of the repertoire, during the semesters covered between 2013-2014; it does emphasis of the characterization of certain technical parameters of the selected repertoire that have been declared as relevant to the achievement of the same, as well all the structural and formal analysis of the music; also details the development of the assembly through the analysis of a field that compiles all of the test realized in the four periods 2013-2014. 7 1. INTRODUCCIÓN La mutabilidad de los estudiantes de licenciatura en música refleja la amplitud de su perfil, son instrumentistas, investigadores, pedagogos, compositores, orquestadores, teóricos, y más; en las siguientes páginas, se presentan varias facetas del egresado que lo confirman como un explorador de las artes musicales y sociales; mediante las descripciones cualitativas de los sucesos explorados durante dos semestres de estudio de un repertorio específico, y por la profundización en las cuestiones técnicas-musicales referente al análisis de los contenidos musicales, se confirman dichas cualidades y se deja abierto un nuevo espacio de investigación. El presente trabajo representa un adelanto en la inclusión de un instrumento de metal al contexto musical pereirano y nacional, el Eufonio es sin duda, versátil, capaz, audaz por sus intérpretes y merecedor de la plena atención del público; incluirlo en el reparto de diversos ensambles, no sólo como instrumento de acompañamiento en las orquestas de viento, sino como solista es tarea diaria de sus dedicados instrumentistas; su repertorio es cada vez más amplio, poco a poco ocupa a jóvenes y veteranos compositores como Joseph Horowitz, que dedican sus horas de trabajo artístico a ampliar
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