Música - instrumentación
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Item Hacía el Estado de Mago, Analogía entre un viaje espiritual y la versatilidad vocal(Universidad Antonio Nariño) Moreno Cepeda, María Fernanda; Mejía Flórez, Claudia María; Contreras García, Nury StellaThis work shows an artistic, auditory and visual proposal about the construction of a voice that, in singing, grants the vocal versatility with which one wants to give way to development of an artist from his Subject, as the versatility and artistic integrity are reflected, during an initiation journey on the Method of the 11 Steps of Magic, which has with it the compilation of teachings and esoteric knowledge of initiatory cultures of humanity, which continue the same pattern to transform reality: Warrior, Merchant, Priest and Magician.Item Creación de 4 obras adaptadas para la banda Pa ́SumerCé (Dos guitarras, bajo y batería). Elementos de fusión entre la cumbia, bambuco, salsa, bolero y funk, rock, jazz, disco, country y rap.(Universidad Antonio Nariño) Coral Oviedo, Andrés Felipe; Mejía Flórez, Claudia María; Carrascal Gómez, David AndrésThis work will support a degree idea that is based on the composition of 4 works which are the result of fusions between Colombian genres with other genres global, as follows: -Main station: Fusion between cumbia and funk. -Cumbia To kill this pain: Fusion between cumbia and rap. -Nariñense tradition: Fusion between bamboo and rock. - El perro chichero: Fusion between cumbia, country and disco music. The songs will be presented in a montage with my group Pa'SumerCé where responds in the same way to the musical characteristics of the group and for a need explore musical fusions and compositions. All this posed from my electric guitar emphasis.Item ¿Soy Nasa? Identificación de rasgos estilísticos, técnicos e interpretativos del canto en el idioma Nasa Yuwe.(Universidad Antonio Nariño) Chate Pito, Jaider Eneyser; Díaz Sánchez, Rodrigo IvánCon el fin de identificar los rasgos estilísticos, técnicos e interpretativos del canto en el idioma Kwe´sx Yuwe, se partirá de la interiorización del importante funcionamiento de nuestro instrumento vocal y cuáles métodos se han desarrollado para comprender su estudio y los cuestionamientos acerca del manejo de la respiración, la corporeidad y la corporalidad, sumamente importantes para una buena ejecución a la hora de interpretar, estudiar las obras o piezas musicales. De igual forma comprender cómo una buena dicción y fonética influyen en la interpretación musicalItem Tres piezas de música carranguera, para piano a cuatro manos(Universidad Antonio Nariño) Buitrago Ríos, Cesar Augusto; Mejía Flórez, Claudia MaríaThis 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.Item Los Fenómenos de la Interpretación musical. Un análisis consciente a los diferentes fenómenos musicales participantes en el proceso de intencionalidad de un intérprete. Aplicaciones en el repertorio pianístico.(Universidad Antonio Nariño) Tejada Prieto, Nicolás; Mejía Flórez, Claudia MaríaFacing the field of research - creation, this work is born from "the set of diverse knowledge, in principle transdisciplinary” (Rincón, 2019). A common starting point in research works with this approach. Through psychological, ideological, semiologists and philosophers that respond to said transdisciplinarity propose investigations and results in need of an attitude of openness to joint work, to enable results that, although they start from different approaches, encompass aspects that they touch with life itself in its complexity (Rincón, 2019). Musical learning is involved in various phases, processes, paradigms, intentions and multiple interpretations that are rarely reflected upon. this in a moment determined led me to question myself in the face of a process, in which, although I was immersed, He didn't pay the required attention. At the same time, questions were raised regarding the practice on the piano The questioning formed investigatively huge questions that triggered the first starting point for this research: What is interpreting? Of course, the question itself is enormous and contains processes that would hardly be addressed in the present work. Even so, it works as an introduction to the research topic.And it is that, the approach to musical works fixes its attention on the visible phenomenon of music, being able to show how an interpreter executes a musical work seems to come to center the end of the musical process that complies with an industrialized mechanism that seeks to train certain number of years a musician suitable for the market, who can function in a industry and is suitable for production. The problem is that the process of understanding of the various phenomena that interact in musical performance does not respond to a pre-established scheme, but to the progress of each musician. Know the intent of each work allows the musician to feel comfortable at the time of a musical performance and happiness comfort allows the musician to become a participating agent of the musical interpretation, not just an executor. Such a reflection is taken from Favio Shifres, who, through a analysis of the performance of the same work by two pianists, reflects on the intervention of different agents that affect the interpretive results, showing that every interpretation and decoding of a score depends on these agents. Although there is some "guides" in the score that help determine the style and basis of the work (Shifres, 2001) the interpretive part comes from the consciousness of each interpreter (Lacárcel, 2003). The Phenomena of Musical Interpretation. 4 Nicolás Tejada Prieto – UAN music program This work takes Umberto Eco as its last pillar, who in his work “The limits of Interpretation” (1992) analyzes himself, restating four major problems of modern semiotics: i. the "Limits of interpretation", ii. the excessive waste of "energy interpretation", iii. "the criteria of economy of reading" and iv. a polemical attack on the "practice of deconstruction", thus trying to restore the balance between the "reader's intention" (Intentio Lectoris), "the intention of the author" (Intentio Auctoris) and "the intention in the text, regardless of the intentions of its author” (Intentio Operis) 1 (Eco, 1992.), at the time which shows that the principle of unlimited semiosis cannot consist in a derivation uncontrollable sense. (Echo, Umberto (1957). Taking these 3 pillars, it is intended to analyze three phenomena that in my opinion are part of interpretation: the phenomenon that I will call embodied technique, thamusical consciousness and structural decryption, in relation to the three intentions mentioned by Eco, reflecting on the role of the interpreter in phenomena interpretations other than visual, just as Shifres does, in a conscious and stable way. In this way it is intended to present everything in a final creative sample, my degree recital, where there will be elements perfected through this inner search, which will allow me discover myself and reach a state of calm that avoids the despair that I can reach feel as a performer when interpreting a piece.Item Aproximación al Teatro Musical Desde el Canto y la Danza(Universidad Antonio Nariño) Asprilla Rubiano, Stephannie; Mejía Flórez, Claudia MaríaThe musical is a broad genre, which offers the artist multiple interpretive possibilities in where theater, song and dance are its main components, demanding from the artist a interdisciplinary training that expands their creative and interpretive capacities. This stimulates my need from the song, investigate this genre and delve into the interrelation of the disciplines that according to this apparently unknown genre and with little presence on stage and national repertoires. Almazán (2015) tells us “musical theater allows the artist to cultivate values, attitudes and habits linked to coexistence and teamwork, as well as to the processes that it entails taking risks and solving problems creatively” (p. 7,8). In this sense of the quote, I consider essential a comprehensive training that allows me as artist, to have tools that strengthen my research and creation processes that can replicated in the future, understanding that artistic training requires permanent work. In addition, this is developed as a team exchanging knowledge and experiences, where taking risks is part of the approach to an artistic project. For me the dance in the interpretation musical and dramatic is a fundamental communicative fact to be able to transmit feelings and visual and auditory emotions.Item Simbiosis ; a la luz que ilumine mi sendero(Universidad Antonio Nariño) Olarte Fuentes, Alejandra; Mejía Flóres, Claudia MaríaIt is the result of an artistic search in which music, poetry, visual arts and literature carry and converge.Item Haciendo del ritmo una performance a ciegas(Universidad Antonio Nariño) Molina Yaima, Richard Fernando; Mejía Florez, Claudia MariaItem Fundamentos para la identificación y solución de problemas técnicos e interpretativos asociados al proceso de transición del teclado al piano(Universidad Antonio Nariño) Bustacara Rubio, Julián David; Arbeláez Doncel, DorisItem Aportes de la improvisación: inserción de elementos estructurales y de estilo del porro colombiano en la cadencia del pasillo “sincopando para un solista” de León Cardona(Universidad Antonio Nariño) Castellanos Ladino, Diego Fernando; Maestra Claudia Mejía, Maestro Stefano Eulogi06-18-2020Item Pánico escénico: estrategias de combinación psicológicas y performativas para su superación.(Universidad Antonio Nariño) Jaimes Parra, Carlos Eduardo; Mejía, Claudia MariaWithin the academic spaces in the training of future professionals in music the skills they are acquiring must be constantly tested. Many times these tests are carried out in scenarios that can become contexts in which stage panic appears; this panic understood as an expression characterized by high levels of anxiety as a consequence of exposing oneself to situations that can be threatening or uncomfortable (Itziar Iruarrizaga, 1999). For him particular case, the fact of making presentations in front of experts who issue concepts, or the general public that watches the performances, make it possible for musicians to be in a constant evaluation situation, since those who observe have the ability to express opinions or concepts against what they are seeing and thus judge the technical and professional capabilities of musicians.