Published
2023-03-22
Metrics
Metrics Loading ...

Restoration of Muiscan musical practices based on miscegenation

DOI: https://doi.org/10.22490/25394150.6732
Section
Artículos
Iván Dario Aguilar Garavito

This article gives an account of the research production and the analysis of the state of the art of the muisca music of Bacatá in the last twenty years and asks about the musical elements that are part of the muisca. The general objective of this work is to compose a work for classical guitar based on the musical elements that have traditionally belonged to the Muisca culture. For this purpose, historical and musical information of the Muisca culture was compiled, and its elements were identified and analyzed. Additionally, pedagogical elements (written and sonorous) were produced for the analysis and composition of this type of music.
The model of this research is qualitative and exploratory, with a creative purpose. This research is defined in three general stages: recognition of Muisca music through the state of the art, musical analysis of Muisca music and synthesis of a musical design of Muisca music.
It was identified that many of the Muisca songs have an approximation to the pentatonic scale, evidencing a recurrence of the use of rhythm-melodic ostinatos, thus creating a circular and repetitive music, by using a regular pulsation and by the reiteration of musical phrases such as figures and cells, giving a static appearance. These musical practices are present in their different uses and customs, especially in ritualistic matters. The work for classical guitar Zaita, el vuelo del Tymanso was composed, with particular motívicas characteristics, according to the Muisca cosmogony, with extended techniques for classical guitar, appropriate for a contemporary language.