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Tipo de material : bachelorThesis
Título : El arte de robar: análisis de técnicas de sampling empleadas en la producción de tres temas seleccionados de hip-hop estadounidense, aplicado en la creación de un portafolio de cinco temas de hip-hop
Autor : Crespo Sánchez, José Francisco
Tutor : Cifuentes Moreta, Juan Fernando
Palabras clave : ANÁLISIS MUSICAL;COMPOSICIÓN MUSICAL;HIP-HOP;RITMO MUSICAL;ESTÉTICA MUSICAL;GRABACIÓN DE SONIDO
Fecha de publicación : 2017
Editorial : Quito: Universidad de las Américas, 2017.
Citación : Crespo Sánchez, J. F. (2017). El arte de robar: análisis de técnicas de sampling empleadas en la producción de tres temas seleccionados de hip-hop estadounidense, aplicado en la creación de un portafolio de cinco temas de hip-hop (Tesis de pregrado). Universidad de las Américas, Quito.
Resumen : Desde que el hip hop pasó a formar parte de la cultura musical popular estadounidense a inicios de los años ochenta, la expansión de su influencia a escala global no se ha detenido…
Descripción : Ever since hip-hop became part of American popular music culture in the early eighties, its influence has been growing non-stop across the globe. Today, hip-hop is undoubtedly one of the most popular musical genres in the world, and its sound and aesthetics are part of the collective imagination. In the academic field, the relevance of hip-hop in pop culture has motivated the publication of a large number of studies of musicological, ethnographic, and political nature, among others. Most of these, however, propose their arguments based on the analysis of the meanings of the lyrical element of the music. This paper addresses the technical and musical aspects concerning the production of sample-based hip-hop tracks, and offers in-depth descriptions of a matter relatively overlooked by hip-hop scholars: the process by which beats are created, i.e., the instrumental tracks to which vocals or rapping are then added. To start off, the origins of hip-hop are outlined, emphasizing the contributions made by the DJs and later by sample-based producers to the construction of the aesthetic principles and the distinctive sound of the genre. Next, a typology of hip-hop sampling was established, which allowed to codify the different ways in which hip-hop producers make use of sampling. The second part is made up of transcriptions and analysis regarding the use of sampling in three songs of world-renowned hip-hop acts. Each case offers valuable lessons concerning the process of creating beats. Chapter III thoroughly describes the ways in which five sample-based hiphop tracks were created. Finally, conclusions and suggestions that arose from the experiences resulting from the research and composition stages of the project were made.
URI : http://dspace.udla.edu.ec/handle/33000/7135
Aparece en las colecciones: Licenciatura en Música

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