Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language
The intention behind this article is to present and provide a methodological alternative to teach musical improvisation in an academic context in which classical or academic so-called music is transmitted or taught. This approach covers the basis for the realization of the parting and the continuous...
- Autores:
-
Benavides Isaza, Andrés
- Tipo de recurso:
- Fecha de publicación:
- 2016
- Institución:
- Universidad EAFIT
- Repositorio:
- Repositorio EAFIT
- Idioma:
- spa
- OAI Identifier:
- oai:repository.eafit.edu.co:10784/15256
- Acceso en línea:
- http://hdl.handle.net/10784/15256
- Palabra clave:
- Partitioning
Improvisation
Harmony On The Keyboard
Continuous Bass
Partimento
Improvisación
Armonía En El Teclado
Bajo Continuo
- Rights
- License
- Copyright (c) 2016 Andrés Benavides Isaza
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| dc.title.eng.fl_str_mv |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| dc.title.spa.fl_str_mv |
La armonía en el teclado o el partimento como estrategia metodológica para la enseñanza de la improvisación y el aprendizaje del lenguaje musical |
| title |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| spellingShingle |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language Partitioning Improvisation Harmony On The Keyboard Continuous Bass Partimento Improvisación Armonía En El Teclado Bajo Continuo |
| title_short |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| title_full |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| title_fullStr |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| title_full_unstemmed |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| title_sort |
Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical language |
| dc.creator.fl_str_mv |
Benavides Isaza, Andrés |
| dc.contributor.author.spa.fl_str_mv |
Benavides Isaza, Andrés |
| dc.contributor.affiliation.spa.fl_str_mv |
Haute École de Musique de Genève, Ginebra, Suiza |
| dc.subject.keyword.eng.fl_str_mv |
Partitioning Improvisation Harmony On The Keyboard Continuous Bass |
| topic |
Partitioning Improvisation Harmony On The Keyboard Continuous Bass Partimento Improvisación Armonía En El Teclado Bajo Continuo |
| dc.subject.keyword.spa.fl_str_mv |
Partimento Improvisación Armonía En El Teclado Bajo Continuo |
| description |
The intention behind this article is to present and provide a methodological alternative to teach musical improvisation in an academic context in which classical or academic so-called music is transmitted or taught. This approach covers the basis for the realization of the parting and the continuous bass, goes through Romanticism and reaches the rudiments or foundations of the language of jazz, which is a very effective tool to build a connecting bridge between musical traditions (the original academic music European and jazz) and understand French impressionism of the late 19th century. Behind this approach to the teaching of harmony on the keyboard is the interest in establishing improvisation as an essential element for the training of the academic musician and, if it is not to be an attainable goal in the short term, state the benefits that implies an accelerated appropriation of musical language. |
| publishDate |
2016 |
| dc.date.issued.none.fl_str_mv |
2016-12-12 |
| dc.date.available.none.fl_str_mv |
2019-12-09T15:42:39Z |
| dc.date.accessioned.none.fl_str_mv |
2019-12-09T15:42:39Z |
| dc.date.none.fl_str_mv |
2016-12-12 |
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article info:eu-repo/semantics/article publishedVersion info:eu-repo/semantics/publishedVersion |
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http://purl.org/coar/version/c_970fb48d4fbd8a85 |
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http://purl.org/coar/resource_type/c_6501 http://purl.org/coar/resource_type/c_2df8fbb1 |
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Artículo |
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publishedVersion |
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2346-4747 2346-4879 |
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http://hdl.handle.net/10784/15256 |
| dc.identifier.doi.none.fl_str_mv |
10.17230/ricercare.2016.6.1 |
| identifier_str_mv |
2346-4747 2346-4879 10.17230/ricercare.2016.6.1 |
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http://hdl.handle.net/10784/15256 |
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spa |
| language |
spa |
| dc.relation.ispartof.none.fl_str_mv |
Ricercare; Vol 2016, No 6 (2016) |
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http://publicaciones.eafit.edu.co/index.php/ricercare/article/view/4375 |
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http://publicaciones.eafit.edu.co/index.php/ricercare/article/view/4375 |
| dc.rights.eng.fl_str_mv |
Copyright (c) 2016 Andrés Benavides Isaza |
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http://purl.org/coar/access_right/c_abf2 |
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Acceso abierto |
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Copyright (c) 2016 Andrés Benavides Isaza Acceso abierto http://purl.org/coar/access_right/c_abf2 |
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Universidad EAFIT |
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Medellín de: Lat: 06 15 00 N degrees minutes Lat: 6.2500 decimal degrees Long: 075 36 00 W degrees minutes Long: -75.6000 decimal degrees2016-12-122019-12-09T15:42:39Z2016-12-122019-12-09T15:42:39Z2346-47472346-4879http://hdl.handle.net/10784/1525610.17230/ricercare.2016.6.1The intention behind this article is to present and provide a methodological alternative to teach musical improvisation in an academic context in which classical or academic so-called music is transmitted or taught. This approach covers the basis for the realization of the parting and the continuous bass, goes through Romanticism and reaches the rudiments or foundations of the language of jazz, which is a very effective tool to build a connecting bridge between musical traditions (the original academic music European and jazz) and understand French impressionism of the late 19th century. Behind this approach to the teaching of harmony on the keyboard is the interest in establishing improvisation as an essential element for the training of the academic musician and, if it is not to be an attainable goal in the short term, state the benefits that implies an accelerated appropriation of musical language.La intención detrás de este artículo es presentar y proveer una alternativa metodológica para enseñar la improvisación musical en un contexto académico en el que se transmite o se enseña la música llamada clásica o académica. Este acercamiento cubre las bases de realización del partimento y del bajo continuo, pasa por el Romanticismo y llega hasta los rudimentos o fundamentos del lenguaje del jazz, que es una herramienta muy efectiva para construir un puente conector entre tradiciones musicales (la música académica de origen europeo y el jazz) y comprender el impresionismo francés de finales del siglo XIX. Detrás de esta aproximación a la enseñanza de la armonía en el teclado está el interés en instaurar la improvisación como un elemento esencial para la formación del músico académico y, si no ha de ser una meta alcanzable en el corto plazo, enunciar los beneficios que implica una apropiación acelerada del lenguaje musical.application/pdfspaUniversidad EAFITRicercare; Vol 2016, No 6 (2016)http://publicaciones.eafit.edu.co/index.php/ricercare/article/view/4375http://publicaciones.eafit.edu.co/index.php/ricercare/article/view/4375Copyright (c) 2016 Andrés Benavides IsazaAcceso abiertohttp://purl.org/coar/access_right/c_abf2instname:Universidad EAFITreponame:Repositorio Institucional Universidad EAFITRicercare; Vol 2016, No 6 (2016)Keyboard harmony or partimento as a methodological strategy for teaching improvisation and learning musical languageLa armonía en el teclado o el partimento como estrategia metodológica para la enseñanza de la improvisación y el aprendizaje del lenguaje musicalarticleinfo:eu-repo/semantics/articlepublishedVersioninfo:eu-repo/semantics/publishedVersionArtículohttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1PartitioningImprovisationHarmony On The KeyboardContinuous BassPartimentoImprovisaciónArmonía En El TecladoBajo ContinuoBenavides Isaza, AndrésHaute École de Musique de Genève, Ginebra, SuizaRicercare20166939ricercareTHUMBNAILminaitura-ricercare_Mesa de trabajo 1[634].jpgminaitura-ricercare_Mesa de trabajo 1[634].jpgimage/jpeg182034https://repository.eafit.edu.co/bitstreams/e618bc0f-0b85-4b87-9e2a-8b9d60460726/downloada0d2ce2dd3fc2bd2c5aa7702f779f7ceMD51ORIGINALdocument - 2020-03-08T132135.692.pdfdocument - 2020-03-08T132135.692.pdfTexto completo PDFapplication/pdf4252342https://repository.eafit.edu.co/bitstreams/ea290b6f-c773-4e9e-be9f-f12049ec282b/downloade691220d1d7af430b076b12bc54773e5MD52articulo - copia (2).htmlarticulo - copia (2).htmlTexto completo HTMLtext/html373https://repository.eafit.edu.co/bitstreams/95126da2-1835-4de6-bc52-66ccfc4dc17b/download7bf7a609a877b9b67d9ed10701e2b720MD5310784/15256oai:repository.eafit.edu.co:10784/152562020-03-08 13:23:55.293open.accesshttps://repository.eafit.edu.coRepositorio Institucional Universidad EAFITrepositorio@eafit.edu.co |