Las texturas musicales en el pop: exploración desde la teoría de George Frederick McKay sobre la textura musical en el arreglo de una canción pop
Date
2024-06-06
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Pontificia Universidad Católica del Perú
Abstract
La presente tesis tiene como objetivo experimentar a través del uso de la teoría de George
Frederick McKay sobre la textura musical en la realización de un arreglo de una canción pop.
Esta teoría se encuentra en el libro Creative Orchestration (1963) y describe nueve texturas
musicales aplicadas a la orquesta sinfónica: monofónica, cordal, polifónica, homofónica,
politemática, polirrítmica, heterofónica, onomatopéyica y la combinación textural. En ese
sentido, esta investigación pretende explorar de qué manera se puede trasladar esta teoría
originalmente aplicada a la música académica en la realización de un arreglo de música pop.
En el presente documento se expone cómo es que se aplicó el marco teórico de McKay y con
qué intención se hizo en la realización del arreglo. El resultado de la experimentación mostró
que se pudo llevar a cabo el objetivo con la ayuda de distintas prácticas y herramientas de
producción musical y que, a pesar de ser una teoría creada desde una perspectiva académica,
se pudo mantener el aspecto estético y comercial de la música pop.
The purpose of this thesis is to experiment through the use of George Frederick McKay's theory on musical texture in the creation of an arrangement for a pop song. This theory is found in the book Creative Orchestration (1963) and describes nine musical textures applied to the symphony orchestra: monophonic, chordal, polyphonic, homophonic, polythematic, polyrhythmic, heterophonic, onomatopoeic, and textural combination. In this sense, this research aims to explore how this theory, originally applied to academic music, can be translated into the creation of a pop music arrangement. This document explains how McKay's theoretical framework was applied and the intention behind its use in the arrangement. The results of the experimentation demonstrated that the objective was achieved with the help of various music production practices and tools, and despite being a theory developed from an academic perspective, the aesthetic and commercial aspects of pop music were successfully maintained.
The purpose of this thesis is to experiment through the use of George Frederick McKay's theory on musical texture in the creation of an arrangement for a pop song. This theory is found in the book Creative Orchestration (1963) and describes nine musical textures applied to the symphony orchestra: monophonic, chordal, polyphonic, homophonic, polythematic, polyrhythmic, heterophonic, onomatopoeic, and textural combination. In this sense, this research aims to explore how this theory, originally applied to academic music, can be translated into the creation of a pop music arrangement. This document explains how McKay's theoretical framework was applied and the intention behind its use in the arrangement. The results of the experimentation demonstrated that the objective was achieved with the help of various music production practices and tools, and despite being a theory developed from an academic perspective, the aesthetic and commercial aspects of pop music were successfully maintained.
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Keywords
Arreglistas (Música), Composición musical, Música popular
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