Dos piezas para quinteto de Jazz a partir de elementos de composición pictórica

A lo largo de la historia del jazz, se ha hecho evidente que esta expresión musical se ha nutrido tanto de su aspecto interpretativo como de la conjugación de este con la inquietud compositiva, inherente al músico. ¨I like any and all of my associations with music — writing, playing, and listening. We write and play from our perspective, and the audience listens from its perspective¨ Ellington (1919). Tras un sondeo general de la discografía del género, es acertado concluir que, si bien es cuantiosa la presencia de standards o canciones del repertorio tradicional, estas confluyen con propuestas de carácter inédito por parte del compositor e intérprete del trabajo discográfico. Lo anterior, articulado a través de consideraciones de estilo, formato e impecable interpretación. Algunos ejemplos de esto son los discos: Modern Art de Art Pepper (50’s), Coltrane’s Sound de John Coltrane (60’s), The Art of Organizing de Dr. Lonnie Smith (90’s) y Parallels de Lee Konitz (2001). En ese sentido, encuentro altamente pertinente, a modo de proyecto de grado, encontrar esa confluencia entre el estudio interpretativo de la tradición jazzística y mi busqueda como compositor dentro de este género, valiéndome tanto de la vastísima cantidad de herramientas de análisis y composición adquiridas en asignaturas como Literatura y materiales de la música y Teoría del jazz y músicas populares como de aspectos estéticos y extramusicales concernientes al estudio de la relación formal entre música y composición pictórica a la luz de la investigación y obra de artistas que ya han inquirido en este tema y han aportado cuantiosos elementos para exploraciones análogas.Throughout the history of jazz, it has become evident that this musical expression has been nourished both by its interpretative aspect and by the conjugation of this with the compositional restlessness inherent in the musician. ¨I like any and all of my associations with music - writing, playing, and listening. We write and play from our perspective, and the audience listens from its perspective Ellington (1919). After a general survey of the discography of the genre, it is correct to conclude that, although the presence of standards or songs from the traditional repertoire is considerable, these come together with proposals of unprecedented character on the part of the composer and performer of the record work. The above, articulated through considerations of style, format and impeccable interpretation. Some examples of this are the albums: Modern Art by Art Pepper (50's), Coltrane's Sound by John Coltrane (60's), The Art of Organizing by Dr. Lonnie Smith (90's) and Parallels by Lee Konitz (2001). In that sense, I find highly relevant, as a degree project, to find that confluence between the interpretative study of the jazz tradition and my search as a composer within this genre, using so much of the vast amount of analysis and composition tools acquired in subjects such as Literature and music materials and Jazz theory and popular music as well as aesthetic and extra-musical aspects concerning the study of the formal relationship between music and pictorial composition in light of the research and work of artists who have already inquired on this subject and they have contributed numerous elements for analogous explorations