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Pontificia Universidad Javeriana Facultad De Artes Maestria En Musica

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Pontificia Universidad Javeriana Facultad De Artes Maestria En Musica PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES MAESTRIA EN MUSICA LAS LOGICAS DE APROPIACION DE LA MUSICA ANDINA TRADICIONAL SURAMERICANA EN LOS CONTEXTOS DE APRENDIZAJE INFORMAL, NO FORMAL O FORMAL YESID MIRANDA PINEDA TRABAJO DE GRADO Presentado como requisito parcial Para optar al título de MAESTRIA EN MUSICA CON ENFASIS EN EDUCACION MUSICAL Bogotá, D.C. 27 de Febrero de 2015 1 NOTA DE ADVERTENCIA: “La universidad no se hace responsable por los conceptos emitidos por sus alumnos en sus trabajos de tesis. Solo velará porque no se publique nada contrario al dogma y a la moral católica y porque las tesis no contengan ataques personales contra persona alguna, antes bien se vea en ellas el anhelo de buscar la verdad y la justicia”. Artículo 23 De la Resolución N°13 de julio de 1946. 3 Contenido Tablas ..................................................................................................................................... 7 Figuras ................................................................................................................................... 8 Introducción ........................................................................................................................ 10 1. Planteamiento del problema y justificación ................................................................. 13 1.1 Planteamiento del problema ........................................................................................ 13 1.2 Justificación ................................................................................................................ 17 2. Objetivos .......................................................................................................................... 20 2.1 Objetivo general .......................................................................................................... 20 2.2 Objetivos específicos .................................................................................................. 20 3. Antecedentes ................................................................................................................... 21 3.1 Iniciación musical y músicas tradicionales ................................................................. 21 3.2 Educación musical basada en el contexto de la música campesina ............................ 22 3.3 Educación musical basada en el contexto de la MATS .............................................. 23 3.4 Estudios relacionados con las lógicas de apropiación en la música tradicional ........ 29 4. Marco Teórico ................................................................................................................. 30 4.1 Aprendizaje musical y contexto .................................................................................. 30 4.1.1 La enculturación ................................................................................................... 31 4.1.2 Aprendizaje en grupo .......................................................................................... 32 4.1.3 Aprendizaje musical comunitario........................................................................ 33 4.1.4 Contextos complementarios ................................................................................ 35 4.2 Aprendizaje musical formal, no formal e informal ..................................................... 36 4.3 La interculturalidad en la educación musical ............................................................. 39 4.4 Las lógicas de apropiación en las músicas tradicionales ............................................ 40 4.5 La música andina tradicional suramericana ................................................................ 43 4.5.1 Las formas musicales de la MATS ancestral y ritual ........................................... 46 4.6 Difusión de la MATS en el ámbito global y local ...................................................... 47 4.7 El grupo de MATS ..................................................................................................... 49 4 4.8 Los métodos de enseñanza de instrumentos tradicionales andinos ............................ 51 4.9 Proceso de traducción del saber ................................................................................. 54 5. Metodología ..................................................................................................................... 57 5.1 Muestra ....................................................................................................................... 58 5.2 Instrumentos ................................................................................................................ 60 5.3 Proceso Metodológico ................................................................................................ 64 6. Resultados ....................................................................................................................... 68 6.1 Formas de transmisión ................................................................................................ 68 6.1.1 El proceso de enculturación musical .................................................................... 69 6.1.2 La contextualización ............................................................................................ 70 6.1.3 La práctica colectiva ............................................................................................. 72 6.1.4 Referentes ............................................................................................................ 74 6.1.5 La exploración ...................................................................................................... 79 6.1.6 Escuchar, observar e imitar ................................................................................. 83 6.1.7 El proceso de copiado ......................................................................................... 87 6.1.8 Explicación verbal y gestual ................................................................................ 90 6.1.9 La propuesta corporal ........................................................................................... 92 6.1.10 Aprendizaje entre pares y en grupo .................................................................... 95 6.1.11 La integralidad.................................................................................................... 97 6.1.12 El proceso creativo ............................................................................................. 99 6.1.13 Recursos ........................................................................................................... 102 6.1.14 Relación de formas de transmisión de la MATS con la teoría disponible ....... 103 6.2 Contenidos ................................................................................................................ 106 6.2.1 Conocimiento declarativo .................................................................................. 106 6.2.2 Conocimientos procedimentales ........................................................................ 120 6.2.3 Repertorio .......................................................................................................... 149 6.3 Procesos de traducción .............................................................................................. 153 6.3.1 Procesos de traducción que representan el traslado de lógicas de apropiación de un contexto a otro ........................................................................................................ 154 6.3.2 Los procesos de traducción en lo estético .......................................................... 160 6.3.3 Lo que no se traduce o se mantiene estable entre los contextos ........................ 161 7. Conclusiones .................................................................................................................. 163 5 Bibliografia ........................................................................................................................ 171 Anexo 1. Formato de entrevistas ........................................................................................................ 176 Anexo 2. Actividades para la práctica de la zampoña....................................................................... 181 Anexo 3. Consentimiento informado para participantes en la investigación: .................................. 198 Anexos para biblioteca Anexo 2. Carta de autorización del autor…………………………………………………199 Anexo 3. Descripción del trabajo de grado……………………………………………….201 6 Tablas Tabla 1: Caracterización de métodos de zampoña……...………………………………….52 Tabla 2: Trabajo de campo……………………………………...………………………….63 Tabla 3: Fuentes de información……………………………………………………...……64 Tabla 4: Registro de zampoña..………………………………………...…………………131 Tabla 5: Tipos de quena…………...……………………………………………..……….133 Tabla 6: Formato de cuerdas…………….………………………………………..………136 Tabla 7: Interpretación de charango…………….…………………………………..…….137 Tabla 8: Repertorio ………………………………………………………………………150 Tabla 9: Rasgos contrastantes…...….……………………………………………………151 Tabla 10: Repertorio en compás binario para zampoña……….…………………………196 Tabla 11: Repertorio en compás ternario para zampoña….…..……..……………………196 7 Figuras Figura 1. Caracterización de ritmo san juanito……………...……………………………114 Figura 2. Sikuri…...………………………….…………………………………………...115 Figura 3. Características rítmicas……...………………………………………………….117 Figura 4. Características de melodía...……...……………………………….………........117 Figura 5. Características de armonía………………………….….…….……….………...118
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