Examinando por Materia "Jazz"

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    El bebop y su influencia en el lenguaje pianístico de Papo Lucca
    (Universidad EAFIT, 2022) Gaviria González, Juan Carlos; Gil Araque, Fernando
    This article provides an overview of the musical language and style of Papo Luca, his relationship with Salsa and how jazz and especially Bebop have influenced him. The first part of the text is divided into two sections to define Bebop and Salsa. Once the concept of "Salsa" is understood, Papo Lucca’s musical language and style, the center of interest in this article, is contextualized. It is essential to make some parallels, for example, with the pianist Richie Ray. This helps us to understand the musical dimension of Papo. Finally, an attempt is made to classify the main elements of his piano language and some characteristics applied to his way of orchestrating are also mentioned.
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    Diálogo entre el jazz y la música colombiana a través de cinco contrafacts
    (Universidad EAFIT, 2020) Muñoz Enríquez, Freddy Samuel; Manco, Juan David
    The objective of this article is to present the creative process through which a dialogue is carried out between the musical currents of jazz and Colombian music. For this, the Contrafact technique was used as the compositional method of the five pieces, which were based on five Colombian Andean rhythms (guabina, bambuco, pasillo, caña and vals). This resulted in an interaction where both currents proposed ideas from their perspective, generating a clear conversation between both parties.
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    Sugerencias interpretativas para los contrabajistas de Jazz con el concierto en Re Mayor de Dittersdorff
    (Vilma Patricia Pulgarín Duque, 2022) Serna Restrepo, Fabián; Gil Araque, Fernando Antonio
    Althought it is true, jazz contrabassist must know the applied jazz techniques to its instrument , it is also true that it could expand its technical knowledge by learning one of jazz predecesors techniques, classical music; jazz contrabassist haves a plus point, which is the pizzicato proficency, but it must learn strings concepts like the right weight distribution in the right, the right arm accurate movement or the right wrist accurate movement and turn, to get the best posible sound when playing with the bow, subsequently, it must learn how top lay the basic musical dynamics like staccato, legato, detaché and trill. In order to practice the already mentioned techniques implicit in a specific musical piece, jazz contrabassist must start by address a piece like Karl Dittersdorff concert for double bass and piano in D mayor; this piece haves all basic musical dynamics i mentioned earlier, which are useful to approach to classical world through its instrument.