"Fantasía en 6/8", the story of one bambuco through the history of bambuco

Main Article Content

Vanessa Jordán Beghelli
Universidad del Cauca

Martha Lucía Vargas Ante
Conservatorio Antonio María Valencia - Instituto Departamental de Bellas Artes, Cali

Paula Andrea Largo Pineda
Conservatorio Antonio María Valencia - Instituto Departamental de Bellas Artes, Cali

Keywords

musical interpretation, hermeneutic method, bambuco, Fantasía en 6/8, José Revelo Burbano

Abstract

This article is a qualitative and hermeneutic review about the historical context of Fantasia en 6/8, which is in the style of bambuco, a traditional music from Colombia, and composed by the Colombian musician José Revelo Burbano. The purpose of this review is to expand the social, esthetic and musical perspective of this music piece that has been well recognized in several ways and was conceived using academic and folk music elements. Following the order of these ideas, the history of Fantasia en 6/8 was reconstructed taking into account the historical evolution of bambuco, as well as the context of its conception according to the perspective of the composer. Consequently, it is expected that this review will increase the knowledge of the original Colombian repertoire for Clarinet and Guitar, enriching the possibilities of the musical interpretation in relation to the historical context and significance of this traditional music piece.

Downloads

Download data is not yet available.
Abstract 2569 | PDF (Español) Downloads 6640

References

Álvarez¬ Gayou,¬ J.¬ (2003).¬Cómo hacer investigación cualitativa. Fundamentos y metodología. México: ¬Paidós. ¬Areiza,¬ L.¬ y¬ García,¬ J.¬ (2011).¬Los nuevos bambucos, entre la tradición y la modernidad. X Congreso Nacional de Sociología. Herencia y ruptura en la sociología colombiana contemporánea. Noviembre 2, 3 y 4 de 2011. Cali: Universidad Icesi.

Bermúdez,¬E.¬ (1996).¬La música campesina y popular en Colombia. 1880-1930.¬Gaceta¬32¬33-(1996):¬113¬120. ¬

Bernal,¬ M.¬ (2004).¬Del bambuco a los bambucos.Ponencia ¬ para ¬ el ¬ V¬ Congreso¬ Latinoamericano¬ de ¬Músicas¬Populares.¬Rio¬de¬Janeiro:¬IASPM.

Casas, M.V. (2011). Música e identidad en los inicios de la república. A propósito de identidades colectivas.Rev. Entreartes. Cali: Universidad del Valle.

Cortés, J. (2004). La música nacional y popular colombiana en la colección Mundo al día (1924-1938).Bogotá:¬Universidad¬Nacional¬de¬Colombia.

Cruz, M. A. (2002). El papel del bambuco en la construcción de lo colombiano. Rev. Nómadas. Num. 17, 2002,¬ 219 ¬231.¬ ISSN:¬ 0121 ¬7550.¬ Bogotá:¬ Universidad¬Central.

De¬ Greiff,¬ O.¬ (1989).¬La música de Colombia. Nueva Historia de Colombia. Vol. 6. Ed. Álvaro Tirado Mejía. Bogotá:¬Planeta.Duque, E. A. (2007). La cultura musical en Colombia, siglos XIX y XX.¬Gran ¬Enciclopedia¬de ¬Colombia.¬Vol. ¬7. ¬Bogotá:¬Círculo¬de¬Lectores.

Gadamer,¬H.¬ G.¬ (2001).¬Verdad y método II.Salamanca: Sígueme. Guba,¬ E.¬ G.,¬ &¬Lincoln,¬ Y.¬ S.¬ (2005).¬Paradigmatic contro versies, contradictions, and emerging influences(p. 200). In N. K. Denzin & Y. S. Lincoln (Eds.), The Sage Handbook of Qualitative Research (3rd ed.), Thousand Oaks, CA: Sage.

Heidegger, M. (2000).Ontología: hermenéutica de la facticidad. Madrid: Alianza. Jordán¬ Beghelli, ¬ Vargas ¬Ante ¬ y¬ Largo ¬Pineda, ¬(2016). Círculo Hermenéutico e Interpretación Musical. Rev. Conservatorio Antonio María Valencia. Vol. 3. Cali: Instituto¬Departamental¬de¬Bellas¬Artes.-6161Vanessa Jordán Beghelli - Martha Lucía Vargas Ante - Paula Andrea Largo Pineda“Fantasía en 6/8”, la historia de un bambuco a través del bambuco

Martínez, A. (1932). Reseña histórica sobre la música en Colombia desde la época colonial hasta la fundación de la Academia Nacional de Música.¬Bogotá: ¬Anuario ¬Colombiano¬de¬la¬Academia¬de-Bellas¬Artes¬1.

Martínez, C. (2009). Composición y producción de bambucos y pasillos basados en el estilo musical bogotano de la primera mitad del siglo XX. Trabajo de grado para optar por el título de Maestro en Música. Departamento de¬Música.¬Bogotá:¬Pontificia¬Universidad¬Javeriana.¬

Mazuera, L. E. (1972). Orígenes históricos del bambuco. Teoría musical y cronología de autores y compositores colombianos. Cali: Imprenta Depar¬tamental.

Miñana, C. (2000). Entre el folklore y la etno-musicologia: 60 años de estudios sobre la musica popular tradicional en Colombia. A Contratiempo. Revista de música en la cultura 11 (2000): 36-49.

Mosquera, J. A. (2016).Aproximaciones sobre una identidad musical andina en Cali. Conferencia presentada en el Coloquio Tamborimba. IX Festival Internacional¬de¬ Percusión¬Tamborimba.-Junio¬ 22¬ de ¬2016. Cali: Fundación Tamborimba.

Ochoa, A. (1997). Tradición, género y nación en el bambuco. En: A Contratiempo: Música y Danza. No 9 (1997 ): 35¬ 4 4.

Ospina, S. (2013). Los estudios sobre la historia de la música en Colombia en la primera mitad del siglo XX: de la narrativa anecdótica al análisis interdisciplinario. Artículo ¬ de¬ Reflexión.¬ Universidad¬ Nacional ¬ de¬Colombia. Vol. 40. Nº 1. Ene. ¬ jun. (2013): 299¬336.

Perdomo,¬J.¬ (1963).¬Historia de la música en Colombia. 3a Ed. Bogotá:¬Academia¬Colombiana¬de-Historia.¬

Restrepo, H. (1986). A mí cánteme un bambuco.

Medellín: Autores Antioqueños. Varney, J. (1999). Colombian bambuco: the evolution of national music style.¬ South¬ Brisbane,¬Queensland,¬Australia, disertación doctoral.

Zamudio,¬D.¬ (2001).¬El folklore musical en Colombia. Musicología en Colombia: una introducción.Eds.¬ Egberto¬Bermúdez¬y¬ Jaime¬ Cortes.¬ Bogotá:¬Universidad Nacional de Colombia.

Article Sidebar

PDF (Español)
Published
Dec 12, 2016
DOI https://doi.org/10.17230/ricercare.2016.5.4

Article Details

How to Cite
Jordán Beghelli, V., Vargas Ante, M. L., & Largo Pineda, P. A. (2016). "Fantasía en 6/8", the story of one bambuco through the history of bambuco. Ricercare, (5), 46–62. https://doi.org/10.17230/ricercare.2016.5.4
Issue
No. 5 (2016)
Section
Artículos
Supporting Agencies
Author Biographies

Vanessa Jordán Beghelli, Universidad del Cauca

Colombian Psychologist of the Pontificia Universidad Javeriana, Cali, Colombia. Master in Psychology, Research Plan of the National University of Colombia, Bogotá headquarters. Student of the Traditional Music Program of the Popular Institute of Culture IPC, Cali, Colombia. PhD Student in Music, Musical Education line, of the National Autonomous University of Mexico, UNAM. Director of the Foundation for Human Development and the Arts (Develop yourself). Teacher of the Master in Music of the University of Cauca. Coordinator of the Develop Group: Music, Arts and Human Development and the Tamborimba Research Group of the Tamborimba Foundation

Martha Lucía Vargas Ante, Conservatorio Antonio María Valencia - Instituto Departamental de Bellas Artes, Cali

Master in Musical Interpretation with emphasis on Classical Guitar of the Antonio María Valencia Conservatory - Departmental Institute of Fine Arts, Cali. Master's Student in Music Theory of the Technological University of Pereira. Professor at the Antonio María Valencia Conservatory. Member of the Development Group Develop: Music, Arts and Human Development.

Paula Andrea Largo Pineda, Conservatorio Antonio María Valencia - Instituto Departamental de Bellas Artes, Cali

Master in Musical Interpretation with emphasis on Clarinet of the Antonio María Valencia Conservatory - Departmental Institute of Fine Arts, Cali, Colombia. Master's Student in Music with emphasis on Clarinet Interpretation from the University of Cauca, Colombia. Professor at the Antonio María Valencia Conservatory. Clarinetist of the Departmental Band of Fine Arts, Cali, Colombia. Member of the Development Group Develop: Music, Arts and Human Development.

Authors who publish with this journal agree to the following terms:

- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.

- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.

- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).