Artes Musicales-Pregrado

Permanent URI for this collectionhttps://dspace-test.ucuenca.edu.ec/handle/123456789/134

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Análisis de la obra Tres Piezas para Violín y Piano de Diana Alvarado
(Universidad de Cuenca, 2025-09-29) Alvarado Ortega, Diana Belén; Hernández Sarmiento, Carlos Felipe
This undergraduate thesis is grounded in Jean-Jacques Nattiez’s tripartite model of musical semiology, specifically applying two of its levels: the syntactic (neutral level) and the poietic analysis. The subject of study is the original work Three Pieces for Violin and Piano by Diana Alvarado, inspired by Oscar Wilde’s tale The Nightingale and the Rose. Through a structural and compositional lens, the research examines formal, motivic, and rhetorical procedures across the pieces Romance, Anhelos, and Poema, as well as the creative decisions that articulate the work as an expressive whole. Although the composition includes elements related to Ecuadorian nationalism, these are part of a broader strategy that incorporates contemporary and programmatic techniques. The study concludes that the work represents a meaningful contribution to the national academic repertoire, notable for both its originality and its analytical and interpretive potential.
Análisis e interpretación de la Sonata para clarinete y piano de Leonard Bernstein
(Universidad de Cuenca. Facultad de Artes, 2025-10-07) Cargua Herrera, Allan Javier; Salaberri Lecumberri, Fermín
The present work embodies an in-depth musical and interpretive analysis of Leonard Bernstein's Sonata for clarinet and piano. It presents a biography of the composer and contextualizes the work within Bernstein's career, including his influences, both academic (Hindemith, Copland, etc.) and popular (jazz, blues, etc.). The methodology employed is described as follows: a review of primary sources (score, recordings, biography) and the levels of analysis (structural, motivic, and harmonic). The study of each of the movements reflects the influences and innovations both in the first movement, which is strongly neoclassical in its structure derived from classical sonata form, and in the second movement, which is more influenced by blues and jazz and has a more free-form structure. The third chapter is devoted to examining technical tensions: register jumps, high-pitched fingering, tuning control, and breath support. Each difficulty is accompanied by specific exercises, based on classical methods, to perfect articulation, breathing, and finger precision. Finally, practical solutions are proposed and the integration of technique and expressiveness is reflected upon, highlighting how Bernstein harmonizes structural rigor and rhythmic vitality. This work enriches the preformative option of one of the most iconic works for the clarinet and offers solid tools to solve and improve upon its most challenging technical passages.
Análisis Estilístico de las Variaciones sobre un Tema Rococó Op. 33 de Piotr Ilich Tchaikovsky para Violonchelo y Orquesta
(Universidad de Cuenca. Facultad de Artes, 2025-10-02) Caiza Quezada, Mónica Gabriela; Fernández Vizcaíno, Adriana Cristina
This research focuses on the analysis of Variations on a Rococo Theme, Op. 33 by Pyotr Ilyich Tchaikovsky, using the version revised by cellist Wilhelm Fitzenhagen. The study adopts a stylistic approach based on Jan LaRue’s analytical model. Through the examination of the parameters of Sound, Melody, and Form, the analysis explores how the composer achieves a synthesis between Classicism—particularly the galant style of the 18th century—and the emotional language of Romanticism. Originally conceived for cello and orchestra, the work not only reflects a nostalgic reimagining of the past, but also represents an expressive exploration of the solo instrument. This research proposes a critical and interpretative reading that considers the composer’s aesthetic context in order to define the character of each variation. In doing so, it highlights the stylistic richness of the piece and its enduring interpretative relevance today.
Análisis estilístico e interpretativo sobre el primer movimiento del concierto para violín KV.219 de W.A Mozart
(Universidad de Cuenca. Facultad de Artes, 2025-10-14) Medina Barrera, Diego Fernando; Saula Fuentes, Marco Esteban
This thesis focuses on the stylistic and interpretative analysis of the first movement of the Violin Concerto in A major, KV.219, by Wolfgang Amadeus Mozart. Composed in 1775, the work reflects the essential traits of the Classical style and presents interpretative challenges related to the use of historical versus modern instruments. Through a methodology that combines musicological research, formal analysis, comparative listening, and historical sources such as Leopold Mozart’s Violin Treatise, this study aims to offer a deep understanding of the melodic, harmonic, and structural elements of the piece. The goal is to propose well-founded interpretative guidelines that preserve the expressiveness and stylistic integrity of Mozart’s work, while respecting both its historical context and current performance possibilities.
Análisis formal de la obra Raíces del compositor ecuatoriano Cristian Orozco, una propuesta para la adaptación para marimba de cuatro octavas
(Universidad de Cuenca, 2025-07-01) Sumba Lucero, Jairo Augusto; Escudero Uchuari, Manuel Alejandro
The work hereby with the title Análisis formal de la obra Raíces del compositor ecuatoriano Cristian Orozco, focuses on a detailed study of Orozco's musical piece. The main objective of this work is to analyze the formal structure of the piece in order to identify the musical and extra musical elements used and their function in the composition. The analysis of this work encompasses the formal structure, the musical language and the interpretation of the analyzed piece by Orozco. The structure of this work is studied and three main sections are recognized: introduction, development and conclusion. In the same way, the role of different musical elements used around the piece, including harmony, melody and rhythm, have been studied to establish their function in the composition. Finally, the contribution to the performance of the work is analyzed and interpretative ideas are suggested to adapt this piece written for a five-octave marimba to a four-octave marimba. Given that access to an instrument with the characteristics required on the piece is far within reach of most of the interpreters, performance ideas are discussed in order to adapt this piece written for a five-octave marimba to a four-octave marimba. Some of these resources include the exchange of voices, the change to the upper octave of certain fragments and the substitution or omission of some notes within chords and scales.
Análisis y Bitácora sobre el Concierto en SibM para fagot y orquesta
(Universidad de Cuenca. Facultad de Artes, 2026-02-27) Coello Velecela, Anabel Paola; García Asitimbay, Miguel Antonio
This work, titled Analysis and Practice Journal of Concerto in Bflat Major for Bassoon and Orchestra, addresses topics that enable the technical, theoretical, and musical development of the piece. First, the conceptual theoretical foundations are established, covering the composer's biography, the historical context of the work, and the period to which it belongs. These serve as a basis for understanding the concerto and as a guide for making decisions regarding technical and interpretative matters. The structural analysis of the three movements comprising the work is also described, along with the cadenza of the first movement, following the analytical methodology of Luis Ángel De Benito and Jan LaRue. Subsequently, the structure of the practice journal is presented, mentioning the pedagogical methods used for the development of the musical work. Additionally, the study of Wolfgang Amadeus Mozart's Concerto in B-flat Major for Bassoon and Orchestra is described, providing concrete guidelines for optimal musical performance.
Arreglos musicales para dos guitarras de dos pasillos ecuatorianos con poemas musicalizados pertenecientes a la tendencia literaria modernista llamada “Generación Decapitada”
(Universidad de Cuenca, 2025-07-15) Quezada Araujo, Carlos Adrián; Ortega Barros, Jorge Alfredo
This research aims to highlight the elements that characterized the musical genre known as Pasillo Ecuatoriano in the first half of the 20th century. First, it will examine the social context of Ecuador during this period, in order to provide a better understanding of why this musical genre was considered an elitist dance. Likewise, it will analyze the literary works of La Generación Decapitada (The Decapitated Generation), a group of Ecuadorian writers active between 1900 and 1930, whose poems and books inspired some of the most iconic Pasillo songs. Second, the study will focus on the musical aspects and elements of Pasillo, including form, tempo, harmony, and meter, which will help define its distinctive sound. Finally, based on this information, two guitar arrangements will be created, incorporating the particular characteristics of the Pasillo Ecuatoriano style.
Bitácora como propuesta metodológica en la interpretación instrumental aplicada del concierto para piano Op. 52 de Robert Schuman
(Universidad de Cuenca, 2025-03-14) Patiño Mejía, Melissa Anabel; Encalada León, Pablo David
Within the musical interpretative field, it is of vital importance to generate theoretical material, providing evidence of the progress obtained periodically from the study of a certain piece, in order to achieve an efficient preparation and an interpretation according to the composer's style. For this reason, finding tools and resources to facilitate such an objective, we propose to use a logbook to achieve a conscious preparation of the work. It can be inferred that a logbook consists on a daily report of the activities performed during the practice sessions on the instrument, 1) allowing to know the progress of musical learning in detail, 2) comparing the results obtained, and 3) providing criteria that helps to optimize the practice time and to achieve specific objectives. In this case, the logbook will include descriptions of 1) technical interpretative analysis, 2) memorization processes, and 3) physical and psychological considerations in order to prevent injuries from the very first moment of approaching the repertoire. At the same time, there will be a self-evaluation section, which will allow us to compare results, restructure the study system and reflect on the methodology proposed. These guidelines will be applied on the Piano Concerto in A minor Op. 54 composed by Robert Schuman between 1841-1845, which includes three movements and several sections presenting musical complexities typical of the romantic piano technique.
Contextualización de las canciones de cuna de tradición oral en Ecuador. Estudio de caso en la parroquia General Morales
(Universidad de Cuenca, 2025-03-10) Condo Roldán, Tatiana Nayeli; Molerio Rosa, Arleti María
The present research focuses on the study of lullabies of oral tradition in Ecuador, with a particular focus in those registered in the General Morales parish from the canton Cañar. The main objective is make the register, transcription, editing, analysis and cataloging of Lullabies. In addition to exploring its cultural and symbolic meanings with the purpose of contributing to the preservation of the country's intangible heritage. The research is based on a qualitative approach that combines field work and theoretical analysis. The registered and collected Lullabies are analyzed from different perspectives. On the one hand, a formal analysis is carried out that studies the musical and literary characteristics. On the other hand, an approach to semiotic analysis is incorporated based on the postulates of the musicologist Philip Tagg, which allows to explore the relationship between text and music in Lullabies. In conclusion, this research seeks to contribute to the study of the country's cultural manifestations, taking music as an object.
Creación de dos canciones a una voz con bases pedagógicas en el método Orff para voces blancas
(Universidad de Cuenca, 2025-03-12) Talahua Poaquiza, David Wladimir; Ortega Cedillo, Nelson Darío
This research focuses on musical education in children (white voices), through the creation of two songs related to the Orff method. Considering that children do not have a theoretical or technical musical foundation, the use of pedagogical tools of the Orff method was chosen. Therefore, the compositions of the songs are composed considering the population and the fundamental tools of the Orff method for its application. Chapter 1 focuses on a synthesis of the background of musical pedagogical methods, such as the Dalcroze, Kodaly and Orff methods, the latter being addressed in depth for the development of the thesis. Chapter 2 consists of presenting the guidelines for the composition of the two songs. In the two songs, through a descriptive analysis, the relationship of the Orff method used for the creative and interpretive development of the songs is presented. Chapter 3 presents the methodology used for the interpretive process of the two songs. The research approach and method, sample, and pedagogical techniques and instruments are also presented. In conclusion, the composition of songs as a creative medium is developed in relation to the activities of the Orff method, of which the following are considered: the use of the body as a sound medium for the interpretation of the word as a rhythmic cell, the use of percussion instruments for the interpretation of the pulse and agogic of the songs.
Definiendo la interpretación de la obra para piano Ancestro de German Darío Pérez, a través de una propuesta de orquestación
(Universidad de Cuenca, 2025-03-14) Morocho Quezada, Danna Mabel; Encalada León, Pablo David
The present study focuses on developing an orchestral version of the piece Ancestro for piano, composed by the Colombian musician Germán Darío Pérez. The primary focus of this work is on instrumentation, specifically in the distribution of the voices among the different families of instruments in the orchestra, but it does not aim to offer a full orchestral arrangement. This exercise concentrates exclusively on adapting the work to an orchestral format, serving as a tool to facilitate the memorization of the piano piece while creating a structure that not only supports the recall of the notes and musical sections but also fosters a deeper understanding of its structure and style. By integrating strategic instrumental associations, the goal is to achieve a stronger connection with the content of the piece, promoting a more fluid and conscious piano performance. During the initial phase, it was intentionally decided to omit the study of existing arrangements, allowing for the development of a genuine sonic perspective, free of preconceptions, and exploring new alternatives of expression by adapting the sound characteristics of the orchestra to the piano context. In this way, the vision of what is intended to be expressed musically is expanded, using orchestration as a fundamental tool. This approach enables not only the realization of innovative ideas but also the creation of musical atmospheres that offer a wide range of sonic possibilities. Finally, the significant benefits of this exercise in improving piano memorization are examined, highlighting how it contributes to strengthening retention ability and developing a more authentic and expressive performance.
Edición crítica del Capricho Español para violonchelo y piano de Luis Humberto Salgado
(Universidad de Cuenca. Facultad de Artes, 2025-10-17) Chica Fuentes, Fernando Vladimir; Fernández Vizcaíno, Adriana Cristina
This study focuses on Capricho Español for cello and piano by Luis Humberto Salgado, a rarely performed piece within the Ecuadorian repertoire for this instrument. Drawing on sources such as the doctoral thesis of cellist Adriana Fernández, the original manuscript, a recent transcription, and performers’ testimonies, it proposes a critical edition grounded in contextual research, formal analysis, and interpretive practice. The goal is to provide a musically faithful and technically feasible version that promotes the dissemination and reappraisal of this work within the academic repertoire.
Elaboración de tres arreglos corales a cappella a cuatro voces sobre la base de la estructura rítmica y armónica del género pasacalle
(Universidad de Cuenca, 2025-03-11) Gallegos Déleg, Anderson Marcelo; Molerio Rosa, Arleti María
The objetive of this project is to create three a capella four-part choral arrangements using the pasacalles genre. The pieces considered for the creation of the arrangements are the pasacalles “La Tuna Quiteña” by Leonardo Páez, “Perla Ecuatoriana”, and “Panaderita del Vado” by Rafael Carpio Abad. A methodology is proposed based on the use and review of primary sources, such as books on composition techniques and musical analysis, to establish the structural and harmonic basis of the compositional process. The project uses the deductive method, which analyzes conclusions from premises to arrive at a specific concept, both in theory and in the compositional process. This facilitates the search and analysis of key concepts such as vocal technique, compositional elements and features of the pasacalle. Among the results, it is expected to obtain material based on three a cappella choral arrangements in four-voice format based on harmony, rhythm and the description of the technical compositional process. This project is guided by the characterization of the pasacalle genre, considerations of vocal technique, and literaly and musical analysis to understand the compositional development of the technical and musical resources employed in the choral arrangements. Finally, an evaluation of the final arrangements by one expert, including Mgt. Wilmer Jumbo, is presented.
Estrategias metodológicas de estimulación musical para niños en edades de 2 a 3 años
(Universidad de Cuenca. Facultad de Artes, 2010-11-11) Méndez Bravo, Christian; Urgilés Cárdenas, José Eduardo
Estudio de Ejecución Trascendental n° 10 Appassionata de Franz Liszt. Propuesta interpretativa desde la poética musical y el análisis semiótico
(Universidad de Cuenca. Facultad de Artes, 2026-03-17) Sanchez Ortiz, Kelly Nicole; Salaberri Lecumberri, Fermín
From the 1980s onward, when Ratner revived the concept of topoi, a new dimension opened up for the study of music. In this new dimension, music is no longer composed solely of semantic elements but acquires a meaning that transcends music itself, making references to religion, poetry, dance, the military, hunting, and so on. Since Liszt himself makes constant references to this other dimension of music, which the performer must know, recognize, and bring to life for the listener, it seems logical to approach the analysis of Transcendental Etude No. 10, Appassionata, from this perspective. After a general analysis of the evolution of the Transcendental Etudes in their three versions, the topos and semiotic elements that can be identified in Etude No. 10 are studied in detail. 10. A formal analysis of it reveals that sonata form becomes an appropriate narratological vehicle for musical semiotics, where the interaction of the different topics contributes to the creation of a general affect, which could not be obtained with each element in isolation.
Estudio de tres de las Seis Danzas Afro-cubanas de Ernesto Lecuona: Influencia Afro en las Danzas Afro-cubanas de Ernesto Lecuona: ¿Realidad o Espejismo?
(Universidad de Cuenca. Facultad de Artes, 2025-10-03) Vergara Peñaherrera, Andrea Carolina; Salaberri Lecumberri, Fermín
This research paper attempts to track the Afro-descendant influence on three of the Six Danzas Afro-Cubanas suite by Cuban composer Ernesto Lecuona. By the means of musical analysis and the understanding of the political, cultural and historical environment of Lecuona’s time, an inquiry about the presence of afro rhythmic, melodic, stylistic elements on La Conga de la Media Noche, …Y la negra bailaba! y La Comparsa have been made. The study is based on comprehensive specialized bibliography on Cuban music: it’s origins, distinctive genres, the transculturation of creole and afro worlds as Ortiz calls it, and an extensive context of how and why the milieu where Lecuona and his work took place. The findings show the presence of musical resources that draw both from popular Afro-Cuban genres and their associated cultural practices. This shows that these dances are not mere circumstantial creations, but a byproduct of tradition and multicultural identity and the island’s academic music merging in a genuine artistic expression.
Grabación de un EP con tres temas en género pop/rock alternativo con técnicas de Home Studio
(Universidad de Cuenca, 2025-03-20) Sinche Lojano, Walter Patricio; Ortega Barros, Jorge Alfredo
This thesis explores the impact of home studios on the recording and production of three pop/rock alternative tracks, highlighting how technological democratization has transformed the creation, recording, and distribution of music. It provides a detailed analysis of the processes involved in producing an EP, from equipment selection to mastering and distribution, demonstrating how home studio techniques can match professional quality and overcome traditional barriers. Through the analysis of the tracks “Auto Sin Control,” “Elévate,” and “Alma,” the recording methodologies and their impact on artistic quality are evaluated, drawing comparisons with professional standards. This project not only examines technical aspects but also the cultural and economic influence of home studios in the music industry, emphasizing their key role in developing emerging artists. Inspired by bands such as Foster the People, Cage the Elephant, Tame Impala, and Twenty One Pilots, the study adapts their techniques and concepts to the domestic production context, proving that professional-quality results are achievable in unconventional environments. The work underscores how home studios have revolutionized industry access, providing creative and economic opportunities that were once exclusive to large studios. This project thus positions itself as a contribution to the analysis of contemporary music production, reflecting its evolution and adaptability in an increasingly accessible landscape for independent artists.
Grabación y producción de un proyecto en género jazz-fusión realizado en un home-studio
(Universidad de Cuenca. Facultad de Artes, 2025-10-16) Tenorio Sánchez, Christian Geovanny; González Orellana, Víctor Lenin
The purpose of this work is to carry out a musical production from a home-studio, in the jazz-fusion genre, for which the basic concepts of musical production, its elements and how, through the use of a team of Adequate basic hardware and software, a sound record can be obtained, which allows it to be manipulated for later mixing and mastering, for the development of said study it is intended to provide an adequate acoustic treatment in an unconventional space, but intended for the purpose of recording sound spectra in a more optimal and functional, added to the use of different microphone techniques, using microphones with the relevant polar patterns according to their corresponding function, for this we include three themes such as jazz fusion, which in part has a sound that goes from rock, jazz and academic music.
Grabación y producción de un sencillo en género «rock-fusión» realizado en un «home studio»
(Universidad de Cuenca. Facultad de Artes, 2025-10-07) Vintimilla Tapia, Josue Gabriel; Ortega Cedillo, Nelson Darío
The purpose of this work is to produce a single in the rock fusion genre, developed in a home studio environment. To approach the project in a structured manner, it has been divided into three chapters. The first chapter offers a historical review of the musical genres that influence the project: rock, funk, and jazz, with an emphasis on their main characteristics, transformation, and representative styles. This contextualization is key, since the two songs composed belong to the funk rock and jazz rock styles. The second chapter addresses both the composition and musical analysis of the songs created. The analysis focuses on formal, rhythmic, harmonic, and melodic aspects, allowing for a comprehensive understanding of the works from a technical and expressive perspective. The third chapter focuses on the technical environment of the home studio, including the acoustic treatment of the space and the stages of music production: from pre-production and recording to mixing and mastering. The elements, tools, and criteria involved in each phase are analyzed, with the goal of achieving consistent, high-quality production.
Guía didáctica para la enseñanza de piano incorporando el género pasacalle aplicada a niños de 6 a 9 años en la Academia Más Arte
(Universidad de Cuenca. Facultad de Artes, 2026-03-16) Lojano Cajamarca, Marcela Adriana; Molerio Rosa, Arleti María
This research analyzes the pedagogical value of the Ecuadorian pasacalle as a resource for piano teaching in beginner children, aiming to strengthen cultural identity and enhance musical learning. The study, based on a mixed epistemological paradigm, combines documentary analysis with interviews conducted with music academy teachers in Cuenca, Ecuador. Results reveal a limited inclusion of national repertoire in piano methods, mainly due to the lack of adapted didactic materials. In response, a methodological guide grounded in constructivist, psychopedagogical, and active principles was designed, integrating adapted pasacalle fragments. The study concludes that incorporating this genre into early piano training fosters bimanual coordination, rhythmic awareness, and cultural identity, becoming an effective tool for comprehensive piano education in children (Lojano Cajamarca & Molerio Rosa, 2026).

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