O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

Colombian composer Jaime León (1921-2015) is known for his art songs. Most of the current scholarly literature about León defines him as a nationalist composer even though a majority of his songs do not appear to have nationalist traits. This document examines a representative selection of León's songs divided into three categories: songs influenced by the bambuco (the Colombian genre most present in his songs); songs whose text refers to Colombian culture; and songs without Colombian elements present in their text or music. After examination of these songs, my conclusion is that León, rather than being nationalist, was a cosmopolitan composer who used national elements as rhetorical tools in an isolated and experimental way.

Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).

abstract: This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list. / Dissertation/Thesis / D.M.A. Music 2012