Estudios Musicales

URI permanente para esta comunidad

https://hdl.handle.net/10784/1617

Tiene como misión investigar, interpretar, generar y difundir conocimiento desde las diferentes esferas de la investigación musical, mediante la investigación propiamente dicha y la formativa.

Líneas de investigación: Composición; Dirección, Musicología Histórica; Interpretación; Música y Tecnología; Teoría de la Música.
Código Minciencias: COL0058209.
Categoría 2019: B.
Escuela: Humanidades.
Departamento académico: Música.
Coordinador: Andrés Gomez Bravo.
Correo electrónico: agomezbr@eafit.edu.co

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Mostrando 1 - 9 de 9

Los ecos de la villa: la música en los periódicos y revistas de Medellín (1886-1903)
(Tragaluz Editores, 2012) Velásquez Ospina, Juan Fernando; Universidad EAFIT. Departamento de Humanidades; Juan Fernando Velásquez Ospina (jvelasq8@eafit.edu.co); Estudios Musicales
Este libro, publicado gracias a una Beca en Investigación en el Patrimonio Cultural del Municipio de Medellín, es una investigación que busca recuperar el repertorio musical publicado en periódicos y revistas de Medellín entre 1886 y 1903, realizando una aproximación al contexto, los personajes y las publicaciones que hicieron parte de dicho proceso que reflejó nuevas dinámicas culturales en una ciudad que empezaba a ser reconocida como tal entre ciertos sectores de su población -- El período de estudio está delimitado por la aparición del primer periódico musical de Medellín en 1886 y la publicación de partituras en la revista Lectura y Arte en 1903 -- Adicionalmente, el trabajo incluye una grabación del repertorio recuperado, un catálogo y una edición musicológica de las partituras recuperadas
Ecos tras bambalinas: el impacto de la actividad de los teatros en la práctica musical, visto a través del caso de Medellín (1886-1903)
(2012-03-15) Velásquez Ospina, Juan Fernando; Universidad EAFIT. Departamento de Humanidades; Juan Fernando Velásquez Ospina ( jvelasq8@eafit.edu.co); Estudios Musicales
La ponencia aborda el impacto creciente de la Zarzuela y la Ópera en la ciudad de Medellín en la apreciación estética de la música a fines del XIX y principios del XX -- Según el investigador, este hecho coincide y, de alguna manera también propicia, con una toma de conciencia de los ciudadanos de su entorno urbano -- Precisamente, en ese periodo circulan manuales de urbanidad que rigen el comportamiento de los individuos en el teatro y en los espacios públicos
Iconography and Gesamtkunstwerk in Parsifal's two cinematic settings
(Publishing House LLC "Mediamusic", 2013-01-01) Alunno, Marco; Universidad EAFIT. Departamento Música; Marco Alunno (malunno@eafit.edu.co); Estudios Musicales
The concept of Gesamtkunstwerk (as expressed and realized in both, Wagner’s theoretical writings and music-dramas) has informed the aesthetics of cinema and filmic language since the early beginning of the last century -- However, over the past one hundred years, Wagner’s theories have undergone significant mutations that in some cases contradicted the original model -- Filmmakers have altered that model according to their own ideological aims, cultural background and individual taste -- With respect to Parsifal, one of the components of the "total work of art" that has been consistently reinterpreted is the opera’s imagery in terms of either scenographical reconstruction or visual representation -- The iconographical analysis of two cinematographic versions of Parsifal (Edison, 1904 and Syberberg, 1982) illustrate how the visual aspect of the Gesamtkunstwerk has changed and, in doing so, the concept of the "total work of art" has undermined itself
Narratività, ritmo e forma audiovisivi in Regen di Joris Ivens con musica di Hanns Eisler.
(2013) Alunno, Marco; Alunno, Marco; Universidad EAFIT. Departamento Música; Estudios Musicales
Joris Ivens’ experimental film Regen and the music Hanns Eisler composed for it represent individually two major achievements in the artistic career of both the Dutch director and the German composer. Their union yielded a peculiar audiovisual product for at least two main reasons: on the one hand the music was composed more than ten years later, on the other hand, a result of a research project, Eisler’s composition responded to specific theoretical intentions that ‘commercial’ film music does not generally have. It is mostly because of the latter aspect that we can look at ‘Eisler’s Regen’ with a unique analytic perspective aimed to highlight traces of continuity in both the video and the music under three complementary viewpoints: narrative, rhythmic and formal. The outcome of such an analysis is meant to give proof of a highly integrated audiovisual creation that is rarely found in the history of experimental cinema.
Proceso de ASC - MUSEO DE LOS ESFUERZOS INUTILES
(Universidad EAFIT, 2021) Henao, Rodrigo; Universidad EAFIT
It is an installation that aims to reproduce the idea portrayed in the short story "The Museum of Useless Efforts" by Cristina Peri Rossi. Although the story is used as a reference, the goal is not to reproduce it. An installation will be created in the style of an art gallery, where the artworks will be the useless efforts. Each piece can be composed of music, video, sculpture, and the use of augmented reality.
Proceso de ASC - MUSEO DE LOS ESFUERZOS INUTILES ETAPA 2
(Universidad EAFIT, 2022) Henao, Rodrigo; Universidad EAFIT
It is an installation in which thirteen useless objects are exhibited in conjunction with thirteen musical pieces. The curatorial text accompanying each useless object is a literary minifiction in the form of ironic instructions for use. The installation seeks to immerse the visitor in a sensory and cognitive experience that engages them in reflections and imaginings about the utility and futility of many human practices, desires, and projects. The idea is that through objectual, auditory, and textual materializations, an exploratory spirit is activated around the meaning of many vital efforts and even around the need to lucidly and aesthetically embrace their meaninglessness.
Proceso de ASC - OPERA HOSPITAL MENTAL. OPERA DEL TERROR. PARTE 1
(Universidad EAFIT, 2023) Henao, Rodrigo; Universidad EAFIT
Creation of a horror opera based on events that occurred in a mental hospital. Presented in an unconventional warehouse-style setting, where the audience will be immersed in the performance through the use of 8.1 electroacoustic music and acoustic instruments. The atmosphere will be conditioned with systems of movable panels, video beam projections, lights, and other gadgets, all synchronized with the music to enhance a more vivid experience.
Proceso de ASC - VIOLONCHELO EN COLOMBIA. LISTADO DE OBRAS ESCRITAS ENTRE 1964 y 2022 POR MUJERES COMPOSITORAS. PREPARACION PARA LA EDICION DE LAS OBRAS DE JAQUELINE NOVA SONDAG
(Universidad EAFIT, 2022) Martínez, Luisa; Giraldo, Dafne; Arias, Javier; Universidad EAFIT
The doctoral thesis of Javier Arias from the National Autonomous University of Mexico collects 139 works located for cello, solo, duo, for multiple cellos and as a solo instrument written by composers in Colombia during 1896 to 2017 for a total of 67 creators of which 57 are men and only 10 women. The present research project seeks to answer a) why is there such a discrepancy in the range of men composers vs, women composers, b) why women composers and their works are not being considered in the same manner that those from male composers, c) how professional training for cellists in Colombia has commonly been addressed in the different educational institutions and how they formulate their curricula, d) why the study of works by Colombian composers has not been contemplated, e) what happened to the music for cello written by women composers since 2017 up to 2022. Javier Arias points out in his doctoral thesis that since there has not been a systematization and classification of works for cello written in Colombia, it is very difficult to promote the use of these works. Some professors from institutions of higher education had previously addressed the issue, and joined efforts so that, at least in their chairs, some of the repertoire could be used. However, it cannot be said that such efforts have been coordinated and generalized for all institutions: rather, they were specific cases. These problems generated the idea of the formulation of a research project that would contribute to making works from male and female composers equally known and accessible through the dissemination of their works and their implementation in the cello curricula. This research project was officially consolidated in 2022 to locate, classify and systematize the works for cello written by women composers in formats such as solo cello, duet, multiple cellos as well as soloist instrument written between 2017 and 2022 to promote and make them accessible to the actors of interest. It is important to clarify the figure of Jacqueline Nova Sondag, a pioneer and promoter of electroacoustic music in the country who was the first woman to graduate with a title in composition and an important reference of composition in Colombia. Her works with cello are: "Scherzo in primitive style" for violin and cello, composed in 1964, “Mesure” for cello and piano written in 1965, and "Scherzo bitonal" for viola and cello, from 1967. These works were the first ones found written by a woman composer, therefore are of high importance for publishing. In addition to preparing Sondag's works, this project seeks to compile and classify the works of Colombian women composers from 2017 to 2022 who, with their works, have contributed significantly to enriching the repertoire in question. With the data provided by composer Melisa Vargas Franco, it has been possible to search via email and social networks for the composers mentioned there. In addition to this, a call was made on Instagram, as a search, to which some composers who provided their works responded. With the above, 29 works were compiled in the various formats already mentioned and a consolidated of 18 composers among which are Violeta Cruz (Bogotá, 1986), Carolina Noguera Palau (Cali, 1979), Alba Fernanda Triana (Bogotá, 1969), Susana Vásquez (Medellín, unknown) Laura Fernanda Zúñiga (Bogotá, unknown), Laura Zapata Cortés (no data), Erika Sáenz Burdón (no data), Manuela Pulido Gutiérrez (no data), Maria Eugenia Gómez (no data) and Leidy Montilla (no data), all of them with one work; Claudia Calderón (Palmira, 1959), Alba Lucía Potes (Cali, 1954), Natalia Valencia (Medellín, 1976), Ana María Franco (no data), Michele Abondano (no data) and Laura Echeverri Rendón (no data) with two works each and Paola Arévalo Lasso (no data), with four works.
Proceso de ASC - WRÃ JÎBUSU (MUJER COLIBRI)
(Universidad EAFIT, 2020) Henao, Rodrigo; Universidad EAFIT
This project will create a musical work that takes the oral tradition discourses of the Embera culture and reimagines them under the aesthetic parameters of the 21st century. Tradition, music, dance, and technology will be integrated, creating a new vision of how Embera culture's beliefs are disseminated. Wẽrã Jîbusu (hummingbird woman) is a mythical musical character of the 21st century, created by the research group. She will be responsible for narrating and singing the stories of her Embera people from her present-day perspective. She is a living, multi-timbral instrument, and her soul in motion brings to life bodies, voices, songs, mystical soundscapes, words, and images. The mission of her songs is to awaken the souls that are unaware of the magic and wisdom of her people.

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