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Los Choros De Ernesto Nazareth Como Repertorio Latinoamericano Para Estudiantes De Piano De Nivel Básico En La Universidad Nacional De Colombia

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Los Choros De Ernesto Nazareth Como Repertorio Latinoamericano Para Estudiantes De Piano De Nivel Básico En La Universidad Nacional De Colombia LOS CHOROS DE ERNESTO NAZARETH COMO REPERTORIO LATINOAMERICANO PARA ESTUDIANTES DE PIANO DE NIVEL BÁSICO EN LA UNIVERSIDAD NACIONAL DE COLOMBIA ANDRÉS GÓMEZ GARCÍA UNIVERSIDAD NACIONAL MAESTRIA EN INTERPRETACIÓN Y PEDAGOGÍA DEL PIANO 2021 AGRADECIMIENTOS Mi especial agradecimiento a mis padres, mi hermano y a Margarita que siempre estuvieron a mi lado dando ánimo y consejos. También agradezco a la maestra Angela Rodríguez y al maestro Miyer Garvin por todas sus enseñanzas y apoyo. TABLA DE CONTENIDO INTRODUCCIÓN .................................................................................................................. 4 1. ASPECTOS GENERALES DE LA INVESTIGACIÓN ................................................ 6 1.1 OBJETIVOS ................................................................................................................. 6 1.1.1 OBJETIVO GENERAL ......................................................................................... 6 1.1.2 OBJETIVOS ESPECÍFICOS ................................................................................. 6 1.2 JUSTIFICACIÓN ......................................................................................................... 7 2. REFERENCIAS .............................................................................................................. 9 2.1 ANTECEDENTES ....................................................................................................... 9 2.2 MARCO TEÓRICO ................................................................................................... 12 2.2.1 ORIGEN DEL CHORO ....................................................................................... 12 2.2.2 CHORO ................................................................................................................ 14 2.2.2 TANGO BRASILERO ......................................................................................... 16 2.2.3 BIOGRAFIA ERNESTO NAZARETH .............................................................. 18 2.2.3 PROGRAMA DE ESTUDIOS BASICOS MUSICALES ................................... 24 3. METODOLOGÍA ......................................................................................................... 27 4. ANALISIS DE LOS CHOROS DE ERNESTO NAZARETH ..................................... 29 4.1 Odeon .......................................................................................................................... 29 4.2 Escovado ..................................................................................................................... 33 4.3 Brejeiro ....................................................................................................................... 36 4.4 Escorregando .............................................................................................................. 40 5. CONCLUSIONES ........................................................................................................ 48 6. BIBLIOGRAFÍA ........................................................................................................... 50 7. ANEXOS ....................................................................................................................... 52 INTRODUCCIÓN La enseñanza del piano tiene una larga tradición basada en obras de origen europeo, gracias a ello se tiene una gran cantidad de repertorio que aborda muchas dificultades técnicas e interpretativas. Sin embargo, en América Latina existen muchas composiciones para piano que tienen características equivalentes y pueden extender el repertorio con fines educativos. Así la música de origen latinoamericano sirve como complemento en la formación del intérprete de piano y durante el proceso de aprendizaje del estudiante se exponen obras de la región latinoamericana. La música en Latino América tiene sus orígenes desde siglos atrás con el la llegada de Cristóbal Colon en 1492 y la colonización europea. La influencia de la cultura europea que sumada a la relación entre de diversos grupos culturales de esclavos de África y nativos americanos, genera una mezcla intercultural que se expresa a través de la música. Este proceso se va consolidando hasta alcanzar a principios del siglo XIX una explosión de estilos musicales de origen popular que son distintivos de la región. También se forman centros culturales en grandes ciudades a lo largo de toda Latinoamérica. Dentro de algunos de los principales centros de creación artística se encuentra la ciudad de México, La Habana, Rio de Janeiro, Buenos Aires, entre muchos otros (Torres, 2013). Cabe destacar que con la llegada de la independencia cada país latinoamericano se enfrenta a la necesidad de buscar una identidad nacional, donde la música tiene un papel fundamental al aportar obras de corte nacionalista, que ayudan a las personas a encontrar un punto de cohesión entre los diversos grupos culturales. Brasil tiene una larga tradición musical que a partir de su independencia en 1815 se presta a la relación entre diversas clases sociales donde esclavos, indígenas y la élite europea se prestan a una fusión de culturas, que derivan en una producción musical muy variada con la formación de nuevos estilos y géneros. Dentro de los géneros que surgen de esta mezcla cultural se encuentra el choro que nace de estilos musicales de origen europeo como la polca, la cuadrilla, el vals y muchas otras danzas convirtiéndolos a un estilo propio influenciado por 4 un espíritu nacionalista, mediante la fusión de estilos propios del Brasil como el lundu y la modinha (Olsen & Sheehy, 2008). Frente a la basta cantidad de géneros y estilos musicales latinoamericanos este trabajo pretende enfocarse en los choros del compositor brasilero Ernesto Nazareth, también llamado por su creador “tango brasilero”, que no tiene ninguna relación con el tango de origen argentino. Según Sandroni (2005), en su articulo El tango brasileño antes de Ernesto Nazareth, el compositor reunió de manera genial características musicales asociadas a Brasil. Por eso es un compositor pertinente para ahondar en el estudio de sus obras y darles visibilidad al incluirlas dentro del repertorio usado en la enseñanza del piano. Este trabajo pretende analizar los choros de Ernesto Nazareth en aspectos rítmicos, armónicos, melódicos con el fin de tener una clara determinación de los elementos que podrían aportar al repertorio utilizado en la enseñanza del piano del PBEM (Programa Básico de Estudios Musicales) adscrito al conservatorio de música de la Universidad Nacional. Así mismo mediante estas características se puede determinar para que ciclos de enseñanza dentro de dicho programa se sugiere que es pertinente el uso de estas obras y de ser posible agruparlas dentro de clasificación de corte más estándar: iniciación, intermedio o avanzado. El aporte que da la música de Ernesto Nazareth se evidencia en el abordaje de aspectos musicales, fundamentales en la formación del pianista, de una manera alternativa a las obras del repertorio tradicional. Por ello al lograr establecer los elementos destacados que ayudan a mejorar o profundizar algún aspecto técnico o interpretativo, daría lugar a una ampliación de la diversidad del repertorio utilizado para el aprendizaje del piano. 5 1. ASPECTOS GENERALES DE LA INVESTIGACIÓN 1.1 OBJETIVOS 1.1.1 OBJETIVO GENERAL Determinar los elementos técnicos e interpretativos de los choros de Ernesto Nazareth que podrían aportar al proceso de formación de los estudiantes de piano del PBEM de la Universidad Nacional. 1.1.2 OBJETIVOS ESPECÍFICOS i. Seleccionar choros representativos de Ernesto Nazareth que serán objeto de análisis. ii. Buscar e identificar registros sonoros y escritos (partituras) de los choros escogidos para la investigación. iii. Determinar las características estructurales, rítmicas y melódicas que posee los choros escogidos de Ernesto Nazareth. iv. Evaluar las posibles dificultades técnicas que abordan los choros. v. Clasificar a qué ciclo y nivel de enseñanza del PBEM corresponden los choros de Ernesto Nazareth a partir de las dificultades técnicas evaluadas y las características musicales halladas. 6 1.2 JUSTIFICACIÓN La relevancia de este trabajo está en darle un espacio a la música para piano de Latinoamérica para que sea reconocida y valorada, pues puede extender la enseñanza en música con el uso de lenguajes propios de esta región. Entre más variedad de lenguajes sean usados en la enseñanza del piano se logrará que el estudiante tenga una formación más integral y completa respecto al basto mundo musical. La música de Ernesto Nazareth tiene sus orígenes en un sentimiento nacionalista que fue común para muchos países latinoamericanos después del proceso de independencia. La música sirve como canal de afirmación del sentimiento de independencia de las naciones al fomentar un entorno cultural y social común, con el cual la sociedad se logra identificar. De aquí que el choro surge como uno de los primeros géneros musicales autóctonos de Brasil que son orgullo nacional de la producción artística del país. Este nacionalismo musical surge a finales del siglo XIX como lo expresa Dale A. Olson: A finales de 1800, el nacionalismo musical se había convertido en un rasgo artístico de la música brasileña, […], estos nacionalistas se fueron atraídos principalmente por las tradiciones musical de Rio: el lundu, la modinha y el choro. (Olsen & Sheehy, 2008, pág. 348) El choro es un símbolo de la música latinoamericana a principios finales del siglo XVIII y principios del siglo XIX. Además, el compositor Ernesto
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