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Paezgonzalezjoanmauricio2020.Pdf (7.368Mb) UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS MORFOLÓGICO DEL BAJO ELÉCTRICO: ESTUDIO DEL COMPORTAMIENTO SONORO DE ACUERDO A LAS FORMAS, ELEMENTOS Y MATERIALES DE CONSTRUCCIÓN. JOAN MAURICIO PÁEZ GONZÁLEZ COD 20122098042 Modalidad: Monografía. BOGOTA DC 2020 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS MORFOLÓGICO DEL BAJO ELÉCTRICO: ESTUDIO DEL COMPORTAMIENTO SONORO DE ACUERDO A LAS FORMAS, ELEMENTOS Y MATERIALES DE CONSTRUCCIÓN. JOAN MAURICIO PÁEZ GONZÁLEZ PROYECTO TRABAJO DE GRADO Énfasis: Interpretación Instrumental Tutor: Maestro Cesar Méndez Modalidad: Monografía. BOGOTA DC 2020 AGRADECIMIENTOS Primero quiero agradecer a Dios y a mis padres, José Páez y Edilma González por apoyarme desde siempre en mí recorrido musical, por su paciencia, amor y por heredarme sus gustos musicales, engrandeciendo mi pasión por la música y el bajo eléctrico. A mi tutor y maestro Cesar Méndez, por todo el apoyo, paciencia, ánimo y seguimiento en mi trabajo, por orientarme y centrarme en cada uno de los contenidos del instrumento desde su experiencia musical y académica, por haber desenfundado de su estuche su bajo Roscoe LG 3005 hace muchos años, haciéndome entender que en este mundo existen muchos fabricantes que hacen instrumentos impresionantes. Agradecimientos especiales a mis maestros Ricardo Barrera Tacha y Luis Ramirez por sus enseñanzas, aportes musicales y experiencia. Al Luthier Cesar Cortés por su tiempo y por tan significativo aporte para mi trabajo con su entrevista, siendo un gran soporte en todos los capítulos de mi trabajo. Un agradecimiento a la Maestra Myriam Arroyave por su dedicación e interés en mi monografía, por apreciar y valorar mi trabajo de investigación. También quiero agradecer a Cristobal Castillo por permitirme grabar con sus increíbles bajos y a mis hermanos, por facilitarme los equipos necesarios para la realización de este trabajo. “La guitarra antes de ser instrumento fue árbol y en el cantaban los pájaros. La madera sabía de música mucho antes de ser instrumento” -Atahualpa Yupanqui A Gaby. Resumen Este trabajo de grado se basa en la investigación y análisis de los principales elementos y materiales que constituyen el bajo eléctrico, indagando sobre las propiedades físicas de cada uno, así como sus ventajas acústicas. El análisis morfológico del instrumento en este documento, esta seccionado en dos ejes temáticos principales que son: Los materiales de fabricación utilizados en la construcción del instrumento (maderas, hardware, materiales compuestos) junto con los métodos de ensamble y elaboración del bajo, por otro lado, el sistema eléctrico con sus diferentes configuraciones y sus componentes de captación (micrófonos). Para este trabajo, manejaremos cuatro capítulos que comprenderán desde el posible origen y la evolución del bajo eléctrico durante el siglo XX, la teoría en la construcción con la descripción de los materiales utilizados, la parte electrónica con el comportamiento de traducción sonora de la señal electromagnética y un último capítulo basado en un trabajo de campo, registrando información de cinco diferentes bajos a través de un análisis de espectro sonoro estandarizado. Todo esto teniendo en cuenta libros, documentos, artículos de internet y la realización de una entrevista a un fabricante de instrumentos eléctricos, que nos permita dar a conocer su experiencia con la construcción y el uso de distintos materiales a fin de soportar la información de nuestro trabajo de investigación. Palabras clave: Bajo, Eléctrico, Morfología, Construcción, Maderas, Electrónica, Análisis, Frecuencias Abstract This degree work is based on the investigation and analysis of the main elements and materials that constitute the electric bass, inquiring about the physical properties of each one, as well as its acoustic advantages. The morphological analysis of the instrument in this document is divided into two main thematic axes that are: The manufacturing materials used in the construction of the instrument (wood, hardware, composite materials) together with the methods of assembly and elaboration of the bass, on the other hand, and the electrical system with its different configurations and its pickups components. For this work, we will handle four chapters that will understand from the possible origin and evolution of the electric bass during the twentieth century, the construction theory with the description of the materials used, the electronic part with the sound translation behavior of the electromagnetic signal and a final chapter based on a field work, recording information from five different basses through a standardized sound spectrum analysis. All of this taking into account books, documents, internet articles and conducting an interview with a manufacturer of electrical instruments, which allows us to publicize their experience with the construction and use of different materials in order to support the information of our research work. Key words: Electric, Bass, Morphology, Construction, Tonewoods, Electronics, Analysis, Frequencies Contenido INTRODUCCIÓN ................................................................................................................................... 1 PLANTEAMIENTO DEL PROBLEMA ...................................................................................................... 2 ANTECEDENTES ............................................................................................................................... 2 JUSTIFICACION ................................................................................................................................ 3 PREGUNTA DE INVESTIGACIÓN ....................................................................................................... 4 OBJETIVO GENERAL ......................................................................................................................... 4 OBJETIVOS ESPECÍFICOS .................................................................................................................. 4 DOCUMENTOS QUE APOYAN LA REALIZACIÓN DEL TRABAJO DE GRADO ..................................... 5 METODOLOGIA................................................................................................................................ 9 CAPÍTULO I ........................................................................................................................................ 12 ANTECEDENTES HISTÓRICOS: ORIGEN Y EVOLUCIÓN DEL BAJO ELÉCTRICO .................................... 12 1. Paul Tutmarc ......................................................................................................................... 13 2. El primer bajo eléctrico ......................................................................................................... 15 3. Características del primer bajo Fender ................................................................................. 16 4. Los modelos posteriores ....................................................................................................... 17 4.1 Gibson .................................................................................................................................. 17 4.2 Rickenbacker ....................................................................................................................... 18 4.3 Musicman ............................................................................................................................ 18 4.4 Otros modelos: .................................................................................................................... 19 CAPÍTULO II ....................................................................................................................................... 21 CONSTRUCCIÓN DEL BAJO ELÉCTRICO .............................................................................................. 21 1. Maderas ................................................................................................................................ 21 2. Clasificación de las maderas en los instrumentos musicales (Tone woods) ......................... 22 2.1 Prueba de dureza ................................................................................................................ 23 2.2 Corte de la madera .............................................................................................................. 23 3. Parámetros de análisis y descripción de las maderas: .......................................................... 24 3.1 Maderas para el Cuerpo ...................................................................................................... 25 3.2 Maderas para el mástil ........................................................................................................ 27 3.3 Maderas para el diapasón ................................................................................................... 28 3.4 Maderas para la tapa: Top Woods (Maderas Exóticas) ...................................................... 29 4. Cuerpo y Formas de construcción ............................................................................................. 30 4.1 Ensamble ............................................................................................................................. 31 4.2 Peso ....................................................................................................................................
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