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1 Análisis Comparativo Del Bullerengue Y La Rumba

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1 Análisis Comparativo Del Bullerengue Y La Rumba ANÁLISIS COMPARATIVO DEL BULLERENGUE Y LA RUMBA CUBANA Y SU APLICACIÓN EN LA CREACIÓN DE UNA PIEZA MUSICAL WILLIAM LEONARDO SIMARRA NIETO 1 UNIVERSIDAD DISTRITAL FRANCISCO JOSE DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS COMPARATIVO DEL BULLERENGUE Y LA RUMBA CUBANA Y SU APLICACIÓN EN LA CREACIÓN DE UNA PIEZA MUSICAL WILLIAM LEONARDO SIMARRA NIETO 20112098095 PERCUSIÓN LATINA ARTES MUSICALES TUTORA: MARÍA DEL PILAR AGUDELO VALENCIA MODALIDAD: CREACIÓN BOOGOTA D.C. MAYO 2017 2 Resumen En el presente documento se realiza una indagación y análisis de dos expresiones culturales de Cuba y Colombia, la rumba cubana y el bullerengue. Se busca desde un principio obtener conocimientos acerca del contexto y las características de cada género, explorando aspectos sociales, y principalmente enfocándose en la música y su expresión a través de las voces y percusión. Se realiza también un análisis musical comparando cada género y sus vertientes, tomando como elementos de estudio diferentes piezas musicales de cada tradición y transcripciones de entrevistas con intérpretes de dichas tradiciones. En el análisis se demuestran similitudes entre los ritmos característicos de cada género, la manera cómo se comporta el instrumento improvisador y cómo interactúa con las voces. Por último, se aplican los conocimientos adquiridos en la creación de una pieza musical integrando las dos tradiciones. La investigación tiene como finalidad medir las similitudes entre la rumba cubana y el bullerengue, y demostrar cómo se les puede aplicar en la construcción de una pieza musical nueva. Palabras clave: Bullerengue, rumba cubana, percusión, música. Abstract This paper investigates and cross analyzes two cultural expressions from Cuba and Colombia, the Cuban Rumba and Bullerengue. It seeks from the outset to establish background knowledge about the contexts and characteristics of each genre; exploring their social aspects, and principally focusing on the music and its expression through vocals and percussion. This investigation uses various musical works, along with transcriptions from interviews with artists of each tradition, as research tools to analyze and compare the characteristics of the percussion of the two musical traditions and their sub-genres. The results of this analysis found similarities between the rhythms characteristic of each genre, the behavior of the improvising instrument and how they interact with the vocals. The paper culminates in the creation of a new musical work integrating the two traditions, using the knowledge gained through the research and analysis. The main motivation for this investigation was to define the similarities between the two traditions, Cuban Rumba and Bullerengue, and how their characteristics can be applied to construct a new piece of music. Key words: Bullerengue, rumba cubana, percussion, music. 3 Tabla de contenido INTRODUCCIÓN............................................................................................................................................. 6 Antecedentes ............................................................................................................................................ 7 Justificación ............................................................................................................................................... 8 Pregunta de Investigación......................................................................................................................... 8 Objetivos General...................................................................................................................................... 9 1.1.1 Objetivo general.................................................................................................................... 9 1.1.2 Objetivos Específicos............................................................................................................. 9 MARCO REFERENCIAL................................................................................................................................ 9 1.1.3 Características principales de La Rumba cubana y El Bullerengue. ...................................... 9 1.1.4 Análisis de piezas musicales y determinación elementos resultantes................................ 10 1.1.5 Construcción de la pieza musical. ....................................................................................... 11 Metodología ............................................................................................................................................ 12 1.1.6 Actividades .......................................................................................................................... 12 1.1.7 Herramientas Metodológicas.............................................................................................. 13 2. CARACTERÍSTICAS PRINCIPALES DE LA RUMBA CUBANA Y EL BULLERENGUE ................................... 14 2.1 El Bullerengue.............................................................................................................................. 14 2.1.1 Bailes cantados.................................................................................................................... 16 2.1.2 Formato Instrumental ......................................................................................................... 17 2.1.3 Bullerengue Sentao ............................................................................................................. 19 2.1.4 Fandango............................................................................................................................. 22 2.1.5 Bullerengue Chalupeao ....................................................................................................... 23 2.2 LA RUMBA CUBANA .................................................................................................................... 24 2.2.1 Formato Instrumental ......................................................................................................... 27 2.2.2 El Yambú.............................................................................................................................. 31 2.2.3 El Guaguancó....................................................................................................................... 33 2.2.4 La Columbia ......................................................................................................................... 35 3. ANÁLISIS DE TEMAS Y ADAPTACIÓN DE ELEMENTOS ......................................................................... 36 3.1 Convenciones generales para la notación musical...................................................................... 36 3.2 ANÁLISIS DE PIEZAS MUSICALES Y TRANSCRIPCIONES................................................................ 39 4 3.2.1 De ti estoy enamorado........................................................................................................ 40 3.2.2 Machete pa’ trabajar........................................................................................................... 48 3.2.3 Si se quema el monte .......................................................................................................... 56 3.2.4 Entrevista a Abelardo Jiménez ............................................................................................ 68 3.2.5 Oye mis cantares ................................................................................................................. 79 3.2.6 Homenaje a los Fundadores................................................................................................ 87 3.2.6 “Columbia Andilanga” ......................................................................................................... 98 3.3 Elementos resultantes............................................................................................................... 102 3.3.1 Patrones rítmicos definidos............................................................................................... 102 3.3.2 Figuras y frases rítmicas para la improvisación................................................................. 104 3.3.3 Características estructurales o de forma: ......................................................................... 104 3.3.4 Cualidades del canto y su temática:.................................................................................. 105 4. PIEZA MUSICAL.................................................................................................................................. 107 5. CONCLUSIONES ................................................................................................................................. 160 BIBLIOGRAFIA............................................................................................................................................ 162 Webgrafia.......................................................................................................................................... 164 TABLA DE FIGURAS.................................................................................................................................... 165 5 INTRODUCCIÓN Durante el siglo pasado y en la actualidad se han identificado y reconocido en el territorio latinoamericano diferentes expresiones artísticas y culturales producto de la confluencia de prácticas y costumbres pertenecientes a las comunidades africanas, europeas y nativas que se entremezclaron en el
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