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Piezas Instrumentales Inspiradas En Poemas Haikus

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Piezas Instrumentales Inspiradas En Poemas Haikus Biblioteca Central "Vicerrector Ricardo A. Podestá" Repositorio Institucional Arrebol “Paisajes sonoros”. Piezas instrumentales inspiradas en poemas Haikus Satori - Volumen II Año 2021 Autora Cabrera, Johanna Judith Directores de tesis Rodríguez Garcés, David y Ramos Zalazar, Jorge Este documento está disponible para su consulta y descarga en el portal on line de la Biblioteca Central "Vicerrector Ricardo Alberto Podestá", en el Repositorio Institucional de la Universidad Nacional de Villa María. CITA SUGERIDA Cabrera, J. J. (2021). Arrebol “Paisajes sonoros”. Piezas instrumentales inspiradas en poemas Haikus: Satori. Volumen II. Villa María: Universidad Nacional Villa María Esta obra está bajo una Licencia Creative Commons Atribución 4.0 Internacional LICENCIATURA EN COMPOSICIÓN MUSICAL CON ORIENTACIÓN EN MÚSICA POPULAR Instituto Académico Pedagógico de Ciencias Humanas Universidad Nacional de Villa María Trabajo Final de Grado Arrebol “Paisajes sonoros” Piezas instrumentales inspiradas en poemas Haikus SATORI Por Johanna Judith Cabrera Director Lic. David Rodríguez Garcés Co-Director Jorge Ramos Zalazar Villa María, Córdoba, Argentina agosto 2021 Volumen II I Volumen II II Agradecimientos: Este trabajo reúne muchos años de búsqueda musical, artística, personal y, además, espiritual. En el proceso, muchos amigos sumaron sus esfuerzos y aportes amorosos desinteresadamente a través de la participación musical/interpretativa, consejos y apoyo emocional. Deseo brindarles toda mi gratitud y decirles que Satori es el resultado del esfuerzo de todos. A los músicos Jorge Ramos Zalazar, Jorge Pereyra, Arturo Jofiel Ibáñez Aponte, Cecilia Castelli, Javier Martínez, Romina Viotti, Germán Ruiz, Marcelo Suárez, Fernanda Quintás, Carla Odri, Alejandra Benavidez, Elías Miles, Florencia Veronese, Rolando Muñoz y Federico Bonino. A los amigos músicos que ayudaron y estuvieron presentes en diferentes partes del proceso compositivo: Pedro Gazzi, Lucas Leguizamón, Ezequiel “Ishiku” Infante, Florencia Veronese. A mi querida Universidad Nacional de Villa María, al grupo docente, bedeles y compañeros que durante tantos años acompañaron mi formación musical. A los elencos de la Universidad, la Sinfónica de Villa María y la Orquesta escuela de Tango “La Cabulera” por brindarme formación y contención. Muy especialmente a mi director, el Licenciado David Rodríguez por su tremenda asesoría y apoyo de años. A mi codirector y amigo Jorge Ramos Zalazar por su labor en dirección artística y musical. A Alexis Galfré por su ayuda técnica en la producción, edición y mezcla sonora. A Ariel Rodríguez por su trabajo en edición y masterización sonora. A Sofia Scalzo por el arte de tapa y a Rafael Riveras por las proyecciones y animaciones. A mi familia, a mi hermana Etel que me regaló mi primer instrumento, a mi madre que incondicionalmente me acompañó y apoyó en cada propuesta y sueño musical; al amor de mi padre y de mi hermano y a mis amigos que hace años me enseñan y nutren de amor. A Ana y a Vero. A Nacho. A cada uno de ellos: GRACIAS por el apoyo en la construcción de este camino artístico soñado. Villa María, Córdoba, abril 2021 Johanna Judith Cabrera (Yoa) III ÍNDICE Introducción .................................................................................................................. 8 Notas aclaratorias: ...................................................................................................... 12 Capítulo I: ORIENTE................................................................................................... 15 Introducción............................................................................................................. 15 Japón ...................................................................................................................... 16 El camino de los Dioses: El Shintoísmo .................................................................. 17 Los Haikus .............................................................................................................. 21 La relación Naturaleza-Humano reflejada en producciones artísticas, sonoras y audiovisuales japoneses. ........................................................................................ 25 El Manga, el Anime y GHIBLI .............................................................................. 26 Algunas características de la Música tradicional japonesa ................................... 30 Cierre del capítulo I: ............................................................................................. 32 Capítulo II: OCCIDENTE ............................................................................................ 34 Introducción............................................................................................................. 34 Conjuntos instrumentales de cuerdas ..................................................................... 35 Breve recorrido histórico de la música occidental que se valió de elementos extra musicales. Música descriptiva y programática. ........................................................ 36 El impresionismo musical ........................................................................................ 40 El minimalismo musical de Philip Glass y Arvö Pärt ................................................ 49 Consideraciones generales sobre la zamba y el tango ............................................ 56 El tango ............................................................................................................... 56 La zamba ............................................................................................................. 61 Cierre del capítulo II: ............................................................................................ 64 Capítulo III: INTERSECCIÓN ...................................................................................... 67 Introducción............................................................................................................. 67 SABI ........................................................................................................................ 68 Sabi I ................................................................................................................... 69 Sabi II .................................................................................................................. 72 Sabi III ................................................................................................................. 76 Sabi IV ................................................................................................................. 77 NINJÔ ..................................................................................................................... 79 Ninjô I .................................................................................................................. 79 Ninjô II: ................................................................................................................ 81 Ninjô III: ............................................................................................................... 83 NINGEN .................................................................................................................. 86 IV Ningen I: .............................................................................................................. 87 Ningen II: ............................................................................................................. 91 Ningen III: ............................................................................................................ 93 Cierre del capítulo III: ........................................................................................... 97 Consideraciones finales: ............................................................................................. 98 Anexos I: ................................................................................................................... 101 Anexos II ................................................................................................................... 103 Bibliografía, discografía y filmografía ........................................................................ 104 Bibliografía ............................................................................................................ 104 De música, orquestación, análisis y estilo musical: ............................................ 104 Del tango y la zamba: ........................................................................................ 105 De Japón y los haikus: ....................................................................................... 106 Discografía ............................................................................................................ 107 JAPONESA ....................................................................................................... 107 SOUNDTRACK de Producciones japonesas animadas (Anime): ....................... 108 Europea y Norteamericana: ............................................................................... 108 Argentina ........................................................................................................... 108 Filmografía: ........................................................................................................... 108 V SATORI1 “Paisajes sonoros” Piezas instrumentales inspiradas en poemas Haikus 1 N. de A: En una primera instancia se optó por el nombre “Arrebol “como título
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