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Bogotá, D.C. Julio De 2020 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ¡CHAMPÉ CHAMPÉ! CONTEXTO SOCIAL Y ANÁLISIS MUSICAL DE LOS GÉNEROS SOUKOUS, MBAQANGA, JUJU, Y SU RELACIÓN CON LA CHAMPETA YEFERSSON JULIÁN RINCÓN ALMARIO 20161098042 Bogotá, D.C. Julio de 2020 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ¡CHAMPÉ CHAMPÉ! CONTEXTO SOCIAL Y ANÁLISIS MUSICAL DE LOS GÉNEROS SOUKOUS, MBAQANGA, JUJU, Y SU RELACIÓN CON LA CHAMPETA YEFERSSON JULIÁN RINCÓN ALMARIO 20161098042 Énfasis en Interpretación Instrumental: Guitarra Eléctrica Modalidad: Monografía Tutor: Francisco Castillo Bogotá, D.C. Julio de 2020 II Resumen El trabajo consta de dos partes, la primera documenta el contexto de cuatro géneros musicales: soukous, juju, mbaqanga (africanos) y champeta (colombiano). En el primer capítulo se introduce al lector alrededor de acontecimientos sociales de los países del Congo, Nigeria, Sudáfrica y Colombia junto a sucesos personales de los artistas protagonistas de cada género. Los tres géneros africanos están involucrados en la evolución de la champeta. En la segunda parte, se evidencia el análisis guitarrístico de efectos de sonido y fundamentos de acompañamiento y melódicos de los temas: Tunni Ane y Gbe Mi Debute Ogo del artista King sunny ade (género juju), Mazina y Ekipe de Kanda Bongo man (género soukous), Bophumthwalo de Mahlathini and the Mahotella Queens, Umthakathi “500” de West Nkosi (mbaqanga), El Eje de Caribe Star y Mini Ku Suto de Anne Swing (champeta). Palabras clave: Música africana, soukous, juju, mbaqanga, champeta, guitarra. Abstract. The first part documents the context of four musical genres: soukous, juju, mbaqanga (African) and champeta (Colombian). In the first chapter the reader is introduced to social events in the countries of the Congo, Nigeria, South Africa and Colombia, together with personal events of the leading artists of each genre. All three African genera are involved in the evolution of champeta. In the second part, the guitar analysis of sound effects and accompaniment and melodic fundamentals of the themes are evident: Tunni Ane and Gbe Mi Debute Ogo by the artist King sunny ade (juju genre), Mazina and Ekipe by Kanda Bongo man (soukous genre), Bophumthwalo by Mahlathini and the Mahotella Queens, Umthakathi "500" by West Nkosi (mbaqanga), The Axis of Caribe Star and Mini Ku Suto by Anne Swing (champeta). Key words African music, soukous, juju, mbaqanga, champeta, guitar III AGRADECIMIENTOS Agradezco con todo mi corazón a mis padres Fabio Rincón y Nubia Almario, por siempre apoyarme en el proceso académico musical y en todos los aspectos de mi vida incondicionalmente. A mi hermano Fabian Rincón Almario por brindarme sus consejos, experiencia y apoyo en los procesos que me ha brindado la vida. A mi Novia Angie Suárez por su colaboración, tiempo y apoyó en todos los aspectos de mi vida. Al maestro Francisco Castillo por su tiempo, consejos, experiencia, paciencia y por siempre estar dispuesto a colaborar en el proceso con la mejor actitud y entrega. IV TABLA DE CONTENIDOS 1. Introducción ............................................................................................... 2 2. Contextualización de los géneros ............................................................... 9 2.1. Soukous .............................................................................................. 9 2.2. Juju. ..................................................................................................... 15 2.3. Mbaqanga. .......................................................................................... 19 2.4. Champeta. .......................................................................................... 24 3. Análisis ........................................................................................................ 32 3.1. Selección de las canciones y representatividad ................................. 32 3.2. Categorías y metodología de análisis ................................................. 35 3.3. Análisis ................................................................................................ 38 3.4. Tabla Guía ........................................................................................... 48 4. Conclusiones ............................................................................................... 52 5. Índice de ilustraciones ................................................................................ 55 6. Bibliografía .................................................................................................. 56 Introducción Antecedentes Cuando ingresé en la universidad a estudiar música, lo hice con el propósito de disfrutar mi profesión. En el preparatorio analicé que la forma de ver la música en la academia era muy distinta a como lo imaginaba, me abrieron las puertas al conocimiento, pero algo emocional se cerraba. No me preocupé en buscar ese equilibrio entre lo académico con lo personal y continué semestre tras semestre tratando de cumplir con los procesos académicos. Observaba a mis compañeros en las muestras musicales y no me conectaba con los géneros ni con los estilos de las obras. Tomé la decisión de experimentar en el recital de cuarto, cambiando la monotonía de las presentaciones de guitarra interpretando en el repertorio una champeta. En cuarto semestre el recital es la prioridad. Estaba un poco perdido, no sabía qué interpretar, no tenía claridad, solo sabía que debía hacer algo distinto. Fue ahí cuando un compañero guitarrista me habló de una agrupación de champeta colombiana llamada Tribu Baharú. Escuché el disco Pa´l más exigente bailador y en verdad me gustó demasiado. Esto fue una inspiración y en ese momento decidí tocar dentro del repertorio una champeta. Comencé a idear un medley de arreglos y fragmentos de varias canciones de Tribu Baharú con la canción popular “Busco a alguien que me quiera” de El Afinaito. Preparé a lo largo del semestre el tema, y aunque tuve algunos imprevistos de tiempo, se logró formar un medley champetuo. El día del recital, organicé los temas dejando para el final la champeta. El primer y segundo tema no llamaron tanto la atención, el tercero mejoró, pero la champeta fue la que más emoción causó. En ese momento la champeta se volvió una bonita obsesión, y quise saber más acerca del género; de dónde venía, qué influencias la alimentaron; así tuve la inspiración para lograr hacer este trabajo. En el trabajo ¡África ruge (2015) realizado por José Luis Angulo torres, se presenta el proceso de composición de tres canciones de género soukous (champeta africana) fusionados con elementos pop. En éste se emplean elementos históricos, de contexto y se hacen análisis a este género de origen africano; igualmente, el autor analiza aspectos del género pop para poder facilitar la fusión. En el análisis se basa en transcripciones melódicas, rítmicas, armónicas y formales de varias canciones, planteándolas como ejemplo para entender y palpar el soukous y el pop. Una parte importante del documento es la información biográfica y personal presentada, la cual se obtuvo por medio de una entrevista hecha al maestro Leopoldo Calderón, músico barranquillero que ha hablado sobre la importancia de abarcar otros géneros dentro del contexto académico como, en este caso, el soukous, juju, mbaqanga. Este documento tiene varios elementos que dan ideas y herramientas sobre lo que se puede escribir en un trabajo de grado sobre la champeta y los géneros africanos. Pregunta problema Cuál es la historia y el contexto social y musical en el cual se desarrollan los géneros soukous, juju mbaqanga y champeta, en qué momento histórico se convirtieron los géneros africanos en una influencia en la champeta y qué características sonoras, armónicas y melódicas tiene la interpretación de la guitarra en los temas: Tunni Ane y Gbe Mi Debute Ogo del artista King Sunny Ade (género juju), Mazina y Ekipé de Kanda Bongo Man (soukous), Bophumthwalo de Mahlathini and the Mahotella 2 Queens, Umthakathi “500” de West Nkosi (mbaqanga), El Eje de Caribe Star y Mini Ku Suto de Anne Swing (champeta) Objetivo general Conocer el contexto social y musical de los géneros soukous, juju mbaqanga y champeta, indagar acerca estos géneros y analizar los temas: Tunni Ane y Gbe Mi Debute Ogo del artista King Sunny Ade (género juju), Mazina y Ekipé de Kanda Bongo Man (género soukous), Bophumthwalo de Mahlathini and the Mahotella Queens, Umthakathi “500” de West Nkosi (género mbaqanga), El Eje de Caribe Star y Mini Ku Suto de Anne Swing con el fin de dar a conocer las principales características sonoras y musicales de la guitarra. Objetivos específicos • Investigar acerca del contexto e historia de los géneros soukous, juju mbaqanga y champeta • Lograr identificar elementos que ayudan a la identidad sonora de la guitarra con efectos como reverberación, delay y wah. • Analizar elementos de efectos sonoros, acompañamiento y melodía de la interpretación de guitarra en las canciones Tunni Ane y Gbe Mi Debute Ogo del artista King Sunny Ade (género juju), Mazina y Ekipé de Kanda Bongo Man (género soukous), Bophumthwalo de Mahlathini and the Mahotella Queens, Umthakathi “500” de West Nkosi (género mbaqanga), El Eje de Caribe Star y Mini Ku Suto de Anne Swing Metodología Este trabajo sigue una metodología de tipo cualitativo, con varias características relacionadas con la etnografía, ya que se estudian varios géneros musicales en un contexto social e histórico
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