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CARRERA DE ESTUDIOS MUSICALES BOGOTÁ, JUNIO DE 2019 ASESORES: SANIAGO BOTERO, LUIS GUEVARA [Énfasis: Jazz Y Músicas Populares: Bajo Eléctrico]

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CARRERA DE ESTUDIOS MUSICALES BOGOTÁ, JUNIO DE 2019 ASESORES: SANIAGO BOTERO, LUIS GUEVARA [Énfasis: Jazz Y Músicas Populares: Bajo Eléctrico] TRABAJO DE GRADO PUNK JAZZ LAURA PRADA LARA CARRERA DE ESTUDIOS MUSICALES BOGOTÁ, JUNIO DE 2019 ASESORES: SANIAGO BOTERO, LUIS GUEVARA [Énfasis: Jazz y Músicas Populares: Bajo Eléctrico] 1 CONTENIDO PROBLEMA DE INVESTIGACIÓN ....................................................................................................................2 OBJETIVO GENERAL.......................................................................................................................................3 OBJETIVOS ESPECÍFICOS ...............................................................................................................................3 JUSTIFICACIÓN ..............................................................................................................................................3 1. CAPITULO 1 ...........................................................................................................................................4 1.1 Los escenarios que gestaron el género: ¿Proto-Punk en Perú?....................................................4 1.2 Punk Norteamericano ..................................................................................................................7 1.3 La escena de Nueva York ..............................................................................................................8 1.4 La escena Inglesa.........................................................................................................................10 2. CAPITULO 2 - EL PUNK, UNA MIRADA ACTUAL A UN FENÓMENO SOCIAL.........................................15 3. CAPITULO 3 - RELACIÓN SOCIAL ENTRE GÉNEROS: CULTURAS JUVENILES ........................................21 4. CAPITULO 4 - POST-PUNK: ¿Y AHORA, HACIA DÓNDE?......................................................................25 4.1 Revolución en el estilo: demoler, demoler, demoler…...............................................................27 4.2 El mañana pertenece a aquellos que pueden escucharlo ..........................................................30 4.3 El futuro no está escrito..............................................................................................................33 5. CAPITULO 5 - PUNK-JAZZ ....................................................................................................................34 6. CAPITULO 6 - DISCUSIÓN ....................................................................................................................38 Canción Proto-Punk 1: My Generation. Artista The Who. Escrita por Peter Townshend. Año 1965, álbum My Generation.........................................................................................................................38 Canción Proto-Punk 2: Piss Factory. Artista: Patti Smith. Escrita por: Patti Smith. Album: Hey Joe. Año: 1974............................................................................................................................................40 Canción Punk 1: God save the queen. Artista: The Sex Pistols. Escrita por: Glen Matlock, John Lydon, Paul Thomas Cook. Año 1977. Album: Never mind the bollocks, here’s the Sex Pistols...................45 Canción Punk 2: Holiday in Cambodia. Artista: The Dead Kennedys. Escrita por: Jello Biaffra, Bruce Slesinger, Klaus Flouride, East Bay Ray, John Greenway. Año 1980. Album Fresh fruit for rotting vegetables...........................................................................................................................................47 Canción Post-Punk 1: Decades. Artista: Joy Division. Escrita por: Bernard Sumner, Ian Kevin Curtis, Peter Hook, Stephen Paul David Morris. Año 1980 ............................................................................51 Canción Post-Punk 2: Typical Girls. Artista: The Slits. Escrita por Ariane Forster, Paloma Romero Mc Lardy, Tessa Pollitt, Viviane Katrina Albertine. Año 1979. Album Cut................................................52 7. CAPITULO 7 - CONSIDERACIONES FINALES.........................................................................................55 Lista de referencias Bibliográficas...........................................................................................................61 2 ANEXO . 1 - DESCRIPCIÓN DEL REPERTORIO...............................................................................................63 Remember-Acoustic Ladyland ................................................................................................................63 Cuts and Lies- Acoustic Ladyland ............................................................................................................64 Faceplant-Donny Mc Caslin ....................................................................................................................66 David Bowie - (Is There) Life On Mars?...................................................................................................67 Of You -Acoustic Ladyland ......................................................................................................................71 Cartagena Tiene- Paíto y los Gaiteros de Punta Brava. ..........................................................................71 Sayonara (Composición) .........................................................................................................................72 ANEXOS 2 – IMÁGENES...............................................................................................................................74 ANEXO 3 - LÍNEA DEL TIEMPO DEL POST PUNK ..........................................................................................78 ANEXO 4 - CHARLAS FERIA INTERNACIONAL DEL LIBRO (FILBO) 2019 ......................................................80 ANEXO 5 – TRANSCRIPCION LINEAS DE BAJO.............................................................................................81 ANEXO 6 - SCORES DEL CONCIERTO ...........................................................................................................82 3 INTRODUCCIÓN Más que un texto histórico o musical, este trabajo pretende apuntar a lo que va más allá de las progresiones armónicas, los análisis melódicos o la teoría. Se aspira identificar que sea cual sea el género, la región o la historia, las circunstancias y las realidades sociales afectan la creación artística. Esta declaración se puede ver en todo tipo de arte y literatura. En este sentido, esta afirmación es el punto de partida para lograr hacer un paralelo extra-musical específico entre dos géneros que suenan opuestos, pero que se pueden encontrar juntos desde inicios de los 80: Punk- Jazz. Desde la segunda mitad de la década de los setenta, la fuerza creativa del movimiento hippie empezó a decaer y el Punk emergió. Al mismo tiempo, re- emerge el Jazz acústico de la mano de artistas como Dexter Gordon, Woody Shaw y Don Ellis. El Punk sin embargo, tuvo una vida muy corta y para finales de los setenta, ya estaba en decaimiento. Desde 1978 en adelante surgiría el Post Punk, del cual derivaría el Punk-Jazz. El presente trabajo pretende centrarse en este último género. Las fuentes documentales serán los libros de Marta Marín y Germán Muñoz, Phil Strongman, Nick Crossley, Simon Reynolds y Stacy Thompson, quienes han indagado y escrito sobre lo concerniente a este género musical. A partir de la lectura, análisis y comprensión de éstos, se intentará dar cuenta de cuáles son los elementos extra-musicales entre el Jazz y el Punk; qué característica tiene el Punk como fenómeno social y qué aspectos de tipo social, asociados al Punk, fomentaron la creación y/o repercuten de alguna manera en la consolidación del Punk-Jazz. Lo anterior con el fin de establecer una reflexión profunda sobre qué aspectos del Punk como género musical comprometido con una realidad social específica, está relacionado a otros 1 géneros de música o, en otras palabras, cómo los contextos sociales afectan la creación musical, y qué participación tienen las ideologías en el desempeño creativo de las expresiones artísticas y musicales. PROBLEMA DE INVESTIGACIÓN Teniendo en cuenta las transformaciones socio-culturales que hubo en la década de los años setenta y hacia finales de ésta, vemos que surgieron cambios determinantes en los diferentes aspectos de la vida social. Es en este periodo donde la música disco1 tiene un auge importante. Como contrarespuesta, el Rock se vuelve más agresivo haciendo uso de distorsiones y solos en las guitarras, dándole a este instrumento una mayor atención y un papel protagónico. En este sentido, como contrarespuesta también son importantes el Jazz Fusión, el Soul y el Funk. Esta afluencia de música popular pronto se transformará en Rock and Roll. Los elementos extra-musicales que definieron la estética de los estilos populares durante los años 1978-1984, de alguna manera estuvieron relacionados con géneros aparentemente distantes, 1Género de música bailable que dominó la música popular estadounidense a finales de los años setenta. El término "disco" deriva de "discoteca", que se refiere a los clubes nocturnos que tocaban este género. Se originó clandestinamente en Nueva York y Filadelfia. El corazón de esta música radicaba en el impulso por los acentos regulares de la batería y un tempo constante. Estaba dominada por sintetizadores e instrumentos orquestales, especialmente cuerdas, y a menudo combinaba el soul con ritmos latinos. La melodía se centraba en letras simples o repetitivas sobre el romance y la cultura de la danza. A diferencia del rock, la
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