Tres piezas de música carranguera, para piano a cuatro manos
This research and creation work proposes an interpretation from the piano perspective, of the music that was born in the geographical area from which my father: land to which I feel tied by ties of love and blood. Also searched reflect at a sociocultural level, about the importance of carranguera mu...
Saved in:
| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Trabajo de grado (Pregrado y/o Especialización) |
| Language: | spa |
| Published: |
Universidad Antonio Nariño
2022
|
| Subjects: | |
| Online Access: | http://repositorio.uan.edu.co/handle/123456789/7245 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1812647113012543488 |
|---|---|
| author | Buitrago Ríos, Cesar Augusto |
| author2 | Mejía Flórez, Claudia María |
| author_facet | Mejía Flórez, Claudia María Buitrago Ríos, Cesar Augusto |
| author_sort | Buitrago Ríos, Cesar Augusto |
| collection | DSpace |
| description | This research and creation work proposes an interpretation from the
piano perspective, of the music that was born in the geographical area from which my
father: land to which I feel tied by ties of love and blood. Also searched
reflect at a sociocultural level, about the importance of carranguera music in the
consolidation of boyacense cultural identity and how this music was, has been and will be
a benchmark of the power that music and artists in general have, as cohesive
of a society and as guardians of the collective memory of communities and of the
cultural heritage.
It was proposed then, to try to interweave the sounds of some jewels of this
peasant music, with the technical and timbre possibilities that a
traditional piano and create from this a memory in principle familiar, of our
proud peasant roots, that in a world like today, take on an immaterial value that with
all conviction I think should be preserved.
Although the work of Jorge Velosa and the other carranga musicians who have
accompanied in his creations, has been a source of entertainment, dances and laughter, among the
peasant population to which it was initially addressed; beyond. ³LRV caUUaJXeURV of
RaTXLUi' initiated a cultural revolution in the Cundiboyacense region, which claimed, the
pride in being a peasant, historically a victim of dispossession and abandonment by a State
indolent towards its most humble populations. They vindicated the pride of belonging to
this region, full of material and cultural wealth, thanks to its people and their customs that
sadly, for decades they were despised and undervalued.Three representative pieces will be adapted in this project in the tradition of the
music by Jorge Velosa, to the language of the traditional piano, doing everything possible to
preserve his carranguero sound as a small tribute to him and to all the musicians
of carranga throughout these years.
Although, when beginning the approach to the work of Jorge Velosa y los Carrangueros, it was
found that his music today is widely known in the central region of the country, he
It is also evidence that with the passing of recent years, new popular music has
been stealing prominence among the younger population, since the music industry with the
help from the media, in which they also have a part; drive
tendencies far removed from the cultural roots of the regions globally, making the
new generations leave on an increasingly relegated plane, the traditions of which
we come from
I believe in the importance of preserving cultural identity as a
intangible heritage that from the academy must be promoted, conserved and also
develop: with this project, it is intended, even if it is, to contribute a small grain of sand to
this important task.
The reader will find a brief approach to what has been written and done to date.
moment from the academy, which involves carranguera music as thematic axis, as well as
as the process by which these adaptations were chosen and executed
finally achieved; including a formal musical analysis of each piece,
a transcription of the essential melodies, harmonies and rhythms in which it is played
develop them, as well as the process by which they are
will develop the project ³Three pieces of carranguero music for four hands piano´.
Which is finally the fruit that was born from this work. |
| format | Trabajo de grado (Pregrado y/o Especialización) |
| id | repositorio.uan.edu.co-123456789-7245 |
| institution | Repositorio Digital UAN |
| language | spa |
| publishDate | 2022 |
| publisher | Universidad Antonio Nariño |
| record_format | dspace |
| spelling | repositorio.uan.edu.co-123456789-72452024-10-09T22:43:04Z Tres piezas de música carranguera, para piano a cuatro manos Buitrago Ríos, Cesar Augusto Mejía Flórez, Claudia María carranga, piano adaptación música colombiana carranga piano adaptation This research and creation work proposes an interpretation from the piano perspective, of the music that was born in the geographical area from which my father: land to which I feel tied by ties of love and blood. Also searched reflect at a sociocultural level, about the importance of carranguera music in the consolidation of boyacense cultural identity and how this music was, has been and will be a benchmark of the power that music and artists in general have, as cohesive of a society and as guardians of the collective memory of communities and of the cultural heritage. It was proposed then, to try to interweave the sounds of some jewels of this peasant music, with the technical and timbre possibilities that a traditional piano and create from this a memory in principle familiar, of our proud peasant roots, that in a world like today, take on an immaterial value that with all conviction I think should be preserved. Although the work of Jorge Velosa and the other carranga musicians who have accompanied in his creations, has been a source of entertainment, dances and laughter, among the peasant population to which it was initially addressed; beyond. ³LRV caUUaJXeURV of RaTXLUi' initiated a cultural revolution in the Cundiboyacense region, which claimed, the pride in being a peasant, historically a victim of dispossession and abandonment by a State indolent towards its most humble populations. They vindicated the pride of belonging to this region, full of material and cultural wealth, thanks to its people and their customs that sadly, for decades they were despised and undervalued.Three representative pieces will be adapted in this project in the tradition of the music by Jorge Velosa, to the language of the traditional piano, doing everything possible to preserve his carranguero sound as a small tribute to him and to all the musicians of carranga throughout these years. Although, when beginning the approach to the work of Jorge Velosa y los Carrangueros, it was found that his music today is widely known in the central region of the country, he It is also evidence that with the passing of recent years, new popular music has been stealing prominence among the younger population, since the music industry with the help from the media, in which they also have a part; drive tendencies far removed from the cultural roots of the regions globally, making the new generations leave on an increasingly relegated plane, the traditions of which we come from I believe in the importance of preserving cultural identity as a intangible heritage that from the academy must be promoted, conserved and also develop: with this project, it is intended, even if it is, to contribute a small grain of sand to this important task. The reader will find a brief approach to what has been written and done to date. moment from the academy, which involves carranguera music as thematic axis, as well as as the process by which these adaptations were chosen and executed finally achieved; including a formal musical analysis of each piece, a transcription of the essential melodies, harmonies and rhythms in which it is played develop them, as well as the process by which they are will develop the project ³Three pieces of carranguero music for four hands piano´. Which is finally the fruit that was born from this work. Este trabajo de investigación y creación propone una interpretación desde la perspectiva pianística, de la música que nació en la zona geográfica de la que viene mi padre: tierra a la que me siento atado por lazos de amor y de sangre. También se busca reflexionar a nivel sociocultural, acerca de la importancia de la música carranguera en la consolidación de la identidad cultural boyacense y de cómo esta música fue, ha sido y será un referente del poder que tienen la música y los artistas en general, como cohesionadores de una sociedad y como guardianes de la memoria colectiva de las comunidades y del patrimonio cultural. Se propuso entonces, tratar de entretejer las sonoridades de algunas joyas de esta música campesina, con las posibilidades técnicas y tímbricas que puede ofrecernos un piano tradicional y crear a partir de esto una memoria en principio familiar, de nuestras orgullosas raíces campesinas, que un mundo como hoy, toman un valor inmaterial que con toda convicción creo que se deben preservar. Si bien, el trabajo de Jorge Velosa y los demás músicos de la carranga que lo han acompañado en sus creaciones, ha sido fuente de entretención, bailes y risas, entre la población campesina a la que inicialmente se dirigía; más allá. ³LRV caUUaJXeURV de RaTXLUi´ iniciaron una revolución cultural en la región cundiboyacense, que reivindicó, el orgullo de ser campesino, históricamente víctima del despojo y del abandono de un Estado indolente hacia sus poblaciones más humildes. Ellos revindicaron el orgullo de pertenecer a esta región, llena de riqueza material y cultural, gracias a sus gentes y sus costumbres que tristemente, por décadas fueron despreciadas y subvaloradas. Se adaptaran en este proyecto, tres piezas representativas en la tradición de la música de Jorge Velosa, al lenguaje del piano tradicional, haciendo todo lo posible por conservar su sonoridad carranguera como un pequeño homenaje a él y a todos los músicos de carranga a lo largo de estos años. Si bien, al iniciar el acercamiento al trabajo de Jorge Velosa y los Carrangueros, se encontró que su música hoy en día es ampliamente conocida en la región central del país, se evidencia también, que con el pasar de los últimos años, nuevas músicas populares han venido robando protagonismo entre la población más joven, pues la industria musical con la ayuda de los medios de comunicación, en los que también tienen parte; impulsan globalmente tendencias alejadas de las raíces culturales de las regiones, haciendo que las nuevas generaciones dejen en un plano cada vez más relegado, las tradiciones de las que provenimos. Creo en la importancia de la preservación de la identidad cultural como un patrimonio inmaterial que desde la academia se debe promover, conservar y también desarrollar: con este proyecto, se pretende aunque sea, aportar un pequeño grano de arena a esta importante tarea. El lector encontrará un breve acercamiento a lo que se ha escrito y hecho hasta el momento desde la academia, que implique a la música carranguera como eje temático, así como el proceso mediante el cual se escogieron y se ejecutaron estas adaptaciones finalmente logradas; incluyendo un análisis formal musicalmente hablando de cada pieza, una transcripción de las melodías esenciales, las armonías y los ritmos en los que se desarrollan las mismas, así como se documentará el proceso mediante el cual se desarrollará el proyecto ³Tres piezas de música carranguera para piano a cuatro manos´. Que es finalmente el fruto que nació de esta labor. Maestro(a) en Música Pregrado Presencial Proyecto 2022-11-15T15:33:34Z 2022-11-15T15:33:34Z 2020-05-20 Trabajo de grado (Pregrado y/o Especialización) info:eu-repo/semantics/acceptedVersion http://purl.org/coar/resource_type/c_7a1f http://purl.org/coar/version/c_970fb48d4fbd8a85 http://repositorio.uan.edu.co/handle/123456789/7245 Canal Trece (2020). Canta el pueblo: La historia de los carrangueros de Ráquira. [Archivo de video]. Recuperado de https://www.youtube.com/watch?v=dly1PzNXUhk&t=398s Cerda Gutiérrez, H. (1993). Los elementos de la investigación. Quito: El Búho Ltda Cárdenas, Luis. Rojas Campos, Sonia. (2015) Ruana y carranga. Una visión cinematográfica de la música carranguera como fenómeno social y de resistencia cultural del campesinado cundiboyacense. Bogotá. D`olivares, Nelson. (2015) Aproximación socio critica a la canción carranguera la china que yo tenía. Bogotá. Garzón, José. (2017) Características interpretativas de la música Carranguera. Zipaquirá: Universidad de Cundinamarca. Martínez, Milena. (2014) Adaptaciones y arreglos de música carranguera para cuarteto de clarinetes. Bogotá: Universidad Pedagógica Nacional, Ministerio de cultura. [Ministerio de cultura]. (2015, Abril 30). El peso trascendental de la Palabra. Jorge Velosa [Archivo de video]. Recuperado de https://www.youtube.com/watch?v=gexrP4RlWVw. Morales, G. A. (1997). Guabinas y mojigangas. Bogotá: Ministerio de Cultura de Colombia Paone, R. (1999). La Música Carranguera. Medellín: Escuela Popular de Arte instname:Universidad Antonio Nariño reponame:Repositorio Institucional UAN repourl:https://repositorio.uan.edu.co/ spa Acceso abierto Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) https://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 application/pdf application/pdf application/pdf application/pdf Colombia(Bogotá,Dc) Universidad Antonio Nariño Música Facultad de Artes Bogotá - Circunvalar |
| spellingShingle | carranga, piano adaptación música colombiana carranga piano adaptation Buitrago Ríos, Cesar Augusto Tres piezas de música carranguera, para piano a cuatro manos |
| title | Tres piezas de música carranguera, para piano a cuatro manos |
| title_full | Tres piezas de música carranguera, para piano a cuatro manos |
| title_fullStr | Tres piezas de música carranguera, para piano a cuatro manos |
| title_full_unstemmed | Tres piezas de música carranguera, para piano a cuatro manos |
| title_short | Tres piezas de música carranguera, para piano a cuatro manos |
| title_sort | tres piezas de musica carranguera para piano a cuatro manos |
| topic | carranga, piano adaptación música colombiana carranga piano adaptation |
| url | http://repositorio.uan.edu.co/handle/123456789/7245 |
| work_keys_str_mv | AT buitragorioscesaraugusto trespiezasdemusicacarrangueraparapianoacuatromanos |
