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De Lo Afroantillano a La Salsa: Recorrido Y Desarrollo Desde Cinco Generos Representativos

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De Lo Afroantillano a La Salsa: Recorrido Y Desarrollo Desde Cinco Generos Representativos DE LO AFROANTILLANO A LA SALSA: RECORRIDO Y DESARROLLO DESDE CINCO GENEROS REPRESENTATIVOS JAIR ANDRES SERRANO FIGUEROA UNIVERSIDAD INDUSTRIAL DE SANTANDER FACUTAD DE CIENCIAS HUMANAS ESCUELA DE ARTES MUSICA BUCARAMANGA 2016 DE LO AFROANTILLANO A LA SALSA: RECORRIDO Y DESARROLLO DESDE CINCO GENEROS REPRESENTATIVOS JAIR ANDRES SERRANO FIGUEROA Trabajo de grado presentado como requisito para obtener el título de Licenciada En Música Director Carlos Eduardo Basto Quijano Magister en Pedagogía Musical UNIVERSIDAD INDUSTRIAL DE SANTANDER FACULTAD DE CIENCIAS HUMANAS ESCUELA DE ARTES MUSICA BUCARAMANGA 2016 3 ENTREGA DE TRABAJOS DE GRADO, TRABAJOS DE INVESTIGACION O TESIS Y AUTORIZACIÓN DE SU USO A FAVOR DE LA UIS Yo, JAIR ANDRES SERRANO FIGUEROA, mayor de edad, vecino de Bucaramanga, identificado con la Cédula de Ciudadanía número 1.098.694.891 expedida en Bucaramanga, actuando en nombre propio, en mi calidad de autor del trabajo de grado, del trabajo de investigación, o de la tesis denominada(o): “DE LO AFROANTILLANO A LA SALSA: RECORRIDO Y DESARROLLO DESDE CINCO GENEROS REPRESENTATIVOS”, hago entrega del ejemplar respectivo y de sus anexos de ser el caso, en formato digital o electrónico (CD o DVD) y autorizo a LA UNIVERSIDAD INDUSTRIAL DE SANTANDER, para que en los términos establecidos en la Ley 23 de 1982, Ley 44 de 1993, decisión Andina 351 de 1993, Decreto 460 de 1995 y demás normas generales sobre la materia, utilice y use en todas sus formas, los derechos patrimoniales de reproducción, comunicación pública, transformación y distribución (alquiler, préstamo público e importación) que me corresponden como creador de la obra objeto del presente documento. PARÁGRAFO: La presente autorización se hace extensiva no sólo a las facultades y derechos de uso sobre la obra en formato o soporte material, sino también para formato virtual, electrónico, digital, óptico, uso en red, Internet, extranet, intranet, etc., y en general para cualquier formato conocido o por conocer. EL AUTOR – ESTUDIANTE, manifiesta que la obra objeto de la presente autorización es original y la realizó sin violar o usurpar derechos de autor de terceros, por lo tanto la obra es de su exclusiva autoría y detenta la titularidad sobre la misma. PARÁGRAFO: En caso de presentarse cualquier reclamación o acción por parte de un tercero en cuanto a los derechos de autor sobre la obra en cuestión, EL AUTOR / ESTUDIANTE, asumirá toda la responsabilidad, y saldrá en defensa de los derechos aquí autorizados; para todos los efectos la Universidad actúa como un tercero de buena fe. Para constancia se firma el presente documento en dos (02) ejemplares del mismo valor y tenor, en Bucaramanga , a los Veintinueve (29) días del mes de Agosto de Dos Mil Dieciséis 2016 EL AUTOR / ESTUDIANTE: JAIR ANDRES SERRANO FIGUEROA 4 DEDICATORIA Este proyecto está dedicado primero a mis padres; Mario Elías Serrano Ojeda y Yorleth Figueroa Torres, quienes me han apoyado en todos los procesos y proyectos de mi vida, a mi hermana Dayana Serrano, y por último y no menos importante, a quién es hoy mi más grande amor, mi futura esposa Erika Alvarado Cabeza, porque siempre creyó en mí y ser mi inspiración. 5 AGRADECIMIENTOS Agradezco primero que todo a Dios, por no dejar de mostrarme la luz. A todos los maestros y profesores que aportaron en mi proceso musical, como el profesor Eduardo Mateus, al profesor Carlos Basto que me acompaño en todo éste proceso y a quien considero un amigo. A la familia de la orquesta “La Esquina” que me acompañaron en la presentación y desarrollo de éste concierto y proyecto, en especial a Javier Serrano quien me guió con sus ideas y consejos. A mi amigo saxofonista Cesar A. Rodríguez, que me acogió casi como su hermano menor en la ayuda de éste proyecto. A todos los que nombre, a los que no, a todos Muchas Gracias. 6 CONTENIDO Pág INTRODUCCION ............................................................................................................... 10 2. JUSTIFICACION ........................................................................................................... 12 3. OBJETIVOS ................................................................................................................... 14 3.1. OBJETIVO GENERAL .............................................................................................. 14 3.2. OBJETIVOS ESPECIFICOS.................................................................................... 14 4. DELIMITACION ............................................................................................................. 15 4.1. Geográficamente ....................................................................................................... 15 4.2. Temporalmente .......................................................................................................... 16 5. MARCO REFERENCIAL ............................................................................................. 17 5.1. ESTADO DEL ARTE ................................................................................................. 17 5.2. MARCO CONCEPTUAL........................................................................................... 18 5.2.1 Organología .............................................................................................................. 18 5.2.2 Conceptos y Ritmos ................................................................................................ 33 5.3. Análisis de obras........................................................................................................ 43 5.3.1 “El Manisero” ............................................................................................................ 43 5.3.2 “Que rico el mambo” ............................................................................................... 45 5.3.3 “El Bodeguero” ......................................................................................................... 50 5.3.4 “La pachanga se baila así”..................................................................................... 55 5.3.5 “Micaela” ................................................................................................................... 57 5.4. Marco Teórico............................................................................................................. 59 7 5.4.1 Recorrido y Desarrollo de la Salsa ....................................................................... 59 5.4.2 El Son: Columna vertebral de la Salsa ................................................................ 62 5.4.3 El Mambo .................................................................................................................. 64 5.4.4 El Chachachá y La Pachanga ............................................................................... 66 5.4.5 Boogaloo ................................................................................................................... 69 5.4.6 La Salsa .................................................................................................................... 70 6. ASPECTOS METODOLOGICOS............................................................................... 71 6.1. PLAN DE TRABAJO ................................................................................................. 71 7. CONCLUSIONES ......................................................................................................... 72 BIBLIOGRAFÍA .................................................................................................................. 73 8 LISTA DE FIGURAS Pág. Figura 1. Las Claves ......................................................................................................... 18 Figura 2. El Tres Cubano ................................................................................................. 19 Figura 3. El Bongó............................................................................................................. 20 Figura 4. La Tumbadora ................................................................................................... 21 Figura 5. Los Timbales ..................................................................................................... 22 Figura 6. La Batería........................................................................................................... 23 Figura 7. El Güiro............................................................................................................... 24 Figura 8. Las Maracas ...................................................................................................... 25 Figura 9. La Campana ...................................................................................................... 26 Figura 10. La Guitarra....................................................................................................... 26 Figura 12. El Violín ............................................................................................................ 27 Figura 14. La Trompeta .................................................................................................... 28 Figura 15. El Trombón ...................................................................................................... 29 Figura 16. El Saxofón ....................................................................................................... 30 Figura 17. La Flauta .......................................................................................................... 31 Figura 18. El Contrabajo
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