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TE-11034.Pdf (3.243Mb) UNA MIRADA AL JAZZ AFROPERUANO ANÁLISIS E IMPLEMENTACIÓN DE ELEMENTOS ARMÓNICOS DEL JAZZ EN EL FESTEJO “SACA LAS MANOS” RAMÓN ENRIQUE ANDRÉS HERNÁNDEZ PATIÑO UNIVERSIDAD PEDAGÓGICA NACIONAL DE COLOMBIA FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACIÓN MUSICAL LICENCIATURA EN MÚSICA BOGOTÁ D.C. 2012 UNA MIRADA AL JAZZ AFROPERUANO ANÁLISIS E IMPLEMENTACIÓN DE ELEMENTOS ARMÓNICOS DEL JAZZ EN EL FESTEJO “SACA LAS MANOS” RAMÓN ENRIQUE ANDRÉS HERNÁNDEZ PATIÑO MONOGRAFÍA PARA OPTAR POR EL TÍTULO DE LICENCIADO EN MÚSICA ASESORES: RAFAEL GUILLERMO SERRANO NÉSTOR URIEL ROJAS UNIVERSIDAD PEDAGÓGICA NACIONAL DE COLOMBIA FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACIÓN MUSICAL LICENCIATURA EN MÚSICA BOGOTÁ D.C. 2012 Agradecimientos: A Dios por colocarme en el camino musical y cumplirme el sueño olvidado de ser saxofonista. Gracias Dios por actuar en mi vida. A mis amigos de la vida que día a día alientan mis deseos de continuar siempre. A mi familia por el apoyo siempre. A mis maestros de la ALAC y la Universidad Pedagógica Nacional. A mis compañeros de semestre. A Paola…Gracias El viaje apenas está empezando… FORMATO UNIVERSIDAD PEDAGOGICA NACIONAL DE COLOMBIA RESUMEN ANALÍTICO EDUCACIÓN – RAE Código: FOR020GIB Versión: 01 Fecha de Aprobación: 10-10-2012 Página 1 de 2 1. Información General Tipo de documento: Trabajo De Grado Acceso al documento Universidad Pedagógica Nacional Facultad De Bellas Artes Titulo del documento: Análisis E Implementación De Elementos ARMÓNICOS Del Jazz En El Festejo “Saca Las Manos” Autor(es): Ramón Enrique Andrés Hernández Patiño Director: Rafael Guillermo Serrano Publicación: BOGOTÁ UNIVERSIDAD PEDAGOGICA NACIONAL DEL COLOMBIA 2012, N° DE PAGINAS: Unidad Patrocinante: Palabras Claves: Jazz, Latinjazz, Afroperu, Cultura Híbrida, Re Armonización, Festejo Afroperuano, Tonalidad Ampliada. 2. Descripción Trabajo de contextualización del jazz afroperuano, sus elementos comunes desde el contexto socio cultural con el jazz afroamericano, análisis de los tipos de armonía y la implementación de la tonalidad expandida del jazz en la obra “Saca las Manos” festejo interpretado por Eva Ayllon. 3. Fuentes Culturas híbridas: Estrategias para entrar y salir de la modernidad. Néstor García Canclini Análisis del estilo musical. Jan LaRue Historia del Jazz Ted Gioia “Una historia del Jazz Latino” y “Carambola” Luc Delannoy The Jazz Piano Book Mark Levine A Creative approach to the jazz Piano Bill Dobbins 4. Contenidos Contextualización del jazz afroamericano, su reflejo en el continente suramericano, los elementos comunes de la cultura negra en Norteamérica y Perú, el desempeño de la cultura negra en Perú. La música afroperuana y el festejo afroperuano como enfoque de análisis. La Armonía según Jan LaRue, la armonía de tonalidad extendida en el jazz. La implementación de la armonía usada en el jazz, aplicada a un festejo afroperuano. 5. Metodología El tipo de metodología empleado en este trabajo es Investigación cualitativa con carácter descriptivo y análisis de caso, el carácter cualitativo está presente en la recolección de información de carácter socio-histórico. 6. Conclusiones Conexión de la situación socio cultural de afro descendiente en Norteamérica y Perú. Los músicos suramericanos se inquietan en el uso de las armonías de jazz desde la intuición. El proceso de hibridación musical necesita de un manejo claro de armonía y las diferentes escalas tonales y sus modos. Documento Oficial. Universidad Pedagógica Nacional INDICE GENERAL INTRODUCCIÓN ............................................................................................................................ 11 1 DESCRIPCIÓN DEL PROBLEMA ............................................................................................ 25 1.1 ANTECEDENTES ................................................................................................................... 28 1.2 OBJETIVOS ............................................................................................................................. 33 GENERAL ........................................................................................................................................ 33 ESPECÍFICOS ................................................................................................................................ 33 1.3 JUSTIFICACIÓN ...................................................................................................................... 33 2 METODOLOGÍA DE LA INVESTIGACIÓN ........................................................................ 41 3 MARCO TEÓRICO .................................................................................................................... 43 3.1 EL LATIN JAZZ Y EL JAZZ SURAMERICANO .................................................................. 48 3.2 MÚSICOS DE REFERENCIA ................................................................................................ 51 3.3 EL JAZZ PERUANO ................................................................................................................ 54 3.4 CONTEXTO AFROPERUANO .............................................................................................. 64 3.4.1 Contextualización Del Festejo ............................................................................................ 69 3.4.2 El vestuario ............................................................................................................................ 69 3.5 ANÁLISIS MUSICAL DEL FESTEJO .................................................................................. 70 3.6 CONTEXTUALIZACIÓN DEL JAZZ ...................................................................................... 76 3.7 ANÁLISIS DEL JAZZ ............................................................................................................. 100 4 IMPLEMENTACIÓN DEL ANÁLISIS .................................................................................... 111 4.1 SISTEMA DE ANÁLISIS DE JAN LARUE ........................................................................ 111 4.2 SISTEMA DE ANALISIS MELÍÓDICO “SACA LAS MANOS” ........................................ 114 4.3 ANÁLISIS MELÓDICO .......................................................................................................... 118 4.4 IMPLEMENTACIÓN ARMÓNICA ........................................................................................ 126 CONCLUSIONES ......................................................................................................................... 131 BIBLIOGRAFÍA ............................................................................................................................. 135 ANEXOS ........................................................................................................................................ 137 INDICE DE IMÁGENES ILUSTRACIÓN 1: QUIJADA, CAJITA O CONGAS DE ORIGEN CUBANO. .................... 20 ILUSTRACIÓN 2: ALEX ACUÑA, PERCUSIONISTA: ..................................................... 56 ILUSTRACIÓN 3:EVA AYLLON, CANTANTE Y COMPOSITORA ................................... 57 ILUSTRACIÓN 4: RICHIE ZELLON, GUITARRISTA ....................................................... 58 ILUSTRACIÓN 5: JEAN PIERRE MAGNET, SAXOFONISTA Y COMPOSITOR. ............ 59 ILUSTRACIÓN 6: PILAR DE LA HOZ CANTANTE .......................................................... 60 ILUSTRACIÓN 7: GABRIEL ALEGRÍA, TROMPETISTA Y COMPOSITOR ..................... 60 ILUSTRACIÓN 8: LAURA ANDREA LEGUÍA. SAXOFÓN SOPRANO Y TENOR ............ 61 ILUSTRACIÓN 9: FREDDY “HUEVITO” LOBATON ........................................................ 61 ILUSTRACIÓN 10: KAHRLOS MISAJEL. SAXOFONES, CLARINETE, FLAUTA TRAVERSA ..................................................................................................................... 62 ILUSTRACIÓN 11: HUGO ALCÁZAR. BATERÍA Y MULTI PERCUSIÓN ........................ 62 ILUSTRACIÓN 12: YURI JUÁREZ GUITARRA ACÚSTICA ............................................. 63 ILUSTRACIÓN 13: CESAR PEREDO. FLAUTA .............................................................. 63 ILUSTRACIÓN 14: TRIÓ MANANTE. .............................................................................. 64 ILUSTRACIÓN 15: TRAJES TRADICIONALES DE NEGROS ......................................... 69 ILUSTRACIÓN 16: EJEMPLOS DE TRANSCRIPCIÓN RITMICA DEL FESTEJO: .......... 71 ILUSTRACIÓN 17 OPCIÓN DE ESCRITURA PARA CAJÓN PERUANO ........................ 72 ILUSTRACIÓN 18 DISEÑO RAMÓN HERNÁNDEZ ........................................................ 73 ILUSTRACIÓN 19:CONGORITO ..................................................................................... 75 ILUSTRACIÓN 20: QUE VIVA MAMÁ ............................................................................. 75 ILUSTRACIÓN 21 CHARLES "BUDDY" BOLDEN JUNTO AL CONTRABAJISTA DE SU BANDA. ........................................................................................................................... 77 ILUSTRACIÓN 22: JELLY ROLL MORTON (FERDINAND LAMOTHE ) .......................... 79 ILUSTRACIÓN 23: JOE “KING” OLIVER ......................................................................... 80 ILUSTRACIÓN 24: LOUIS ARMSTRONG ....................................................................... 82 ILUSTRACIÓN 25: THE ORIGINAL DIXIELAND JAZZ BAND ......................................... 83 ILUSTRACIÓN 26: TONY SBARBARO ........................................................................... 84 ILUSTRACIÓN 27: SCOTT
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