Artes Musicales-Pregrado

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

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Adaptación de dos obras pianísticas del compositor ecuatoriano Corsino Durán para dos guitarras: Anacu Ruju y Chaquiñán
(Universidad de Cuenca. Facultad de Artes, 2026-01-28) Rodas Bonilla, Esteban Andres; Ortega Cedillo, Nelson Darío
The research seeks to explore and reinterpret the rich Ecuadorian musical heritage through the adaptation of two emblematic works by maestro Corsino Durán. This composer, known for his nationalist style and his ability to fuse folkloric elements from contemporary techniques, offers a repertoire that reflects the cultural identity of Ecuador, highlighting the pieces Anacu Ruju and Chaquiñán, which still resonate in the soundscape of the country. The work will focus on the adaptation of these works for guitar duo, allowing a new interpretation that broadens their accessibility and appreciation. Through this process, it is intended not only to honor Durán's legacy, but also to encourage interest in contemporary ecuadorian music.
Adaptación de ejercicios del método número 1 para guitarra de Julio Sagreras a través de la Musicografía Braille
(Universidad de Cuenca, 2022-02-09) Guamán Parra, José Daniel; Ortega Cedillo, Nelson Darío
The purpose of this research project is to create support material that allows people with visual disabilities to learn and develop the technique for playing the guitar, using the high-relief musical writing system called Braille Musicography. For this reason, the musical nomenclature of the Braille system (Braille Musicography) is presented in which each musical sign, figure are represented by the combination of six points in high relief arranged in two columns of three rows within a cell. Finally, the adaptation of 49 exercises of method number 1 for guitar by Julio Sagreras to Braille Musicography is carried out.
Adaptaciones y arreglos de dos pasillos para guitarra y requinto
(Universidad de Cuenca. Facultad de Artes., 2012) Villavicencio Salas, Danilo Fernando; Ortega Barros, Jorge Alfredo
Adaptaciones y arreglos de tres pasillos para duo de guitarra
(2014) Peñarreta Suarez, Jahndry Javier; Ortega Barros, Jorge Alfredo
The pasillo in the Ecuador has become a representative gender of the Ecuadorian musical culture, but to why the pasillo and not an autochthonous gender characteristic of our country has became a distinguished characteristic musical Ecuadorian it is what we will be studying along the first chapter of this thesis, this way it will be approached its incursion and evolution like gender, later on three pasillos will be selected to serve for the last work of arrangements primary purpose of this work. In a same way the evolution of the academic guitar will be studied, its representatives and also the academic and popular techniques, these tools are indispensable to carry out the arrangements later on with a balance in the academic and popular treatment.
Arreglos y adaptación de cinco obras del género musical reggaetón para ensambles de guitarra
(2013) Andrade Rodríguez, Juan José; Ortega Barros, Jorge Alfredo
In the city of Cuenca assemblies guitar known as the guitar SONO FROMA study and work with a repertoire consisting of rhythms aimed at classical music and national music that capture the same attention mostly adults who are relate directly to listen , affecting the low rate of acceptance by youth. Reggaeton is a genre that has had its impact in the last 10 years about becoming which has influenced and think not only in music but also in the way they dress , act, talk , etc. . , Of young people between the ages of 12 and 18 tentatively , so that the present work merges the characteristics of an urban musical genre with the technical possibilities offered by the guitar ensemble by making the musical arrangements and expand the repertoire
Composición de cuatro obras en género bossa nova para guitarra y flauta traversa
(Universidad de Cuenca, 2020-12-18) Llanos Zamora, José Napoleón; Jumbo Medina, Wilmer Fermín
The Brazilian genre Bossa Nova contains relevant characteristics as for its instrumentation, social context, composers, and performers in its region of origin and Latin America. Considering these points, the present project focuses on the composition of four songs for guitar and traverse flute with the purpose of expand history information and about the compositional processes used within of genre, also as part of the completion process and education in Music School of the University of Cuenca.
Composición e interpretación en concierto de cuatro temas musicales enfocados a la guitarra acústica como instrumento solista utilizando el estilo percussive fingerstyle
(Universidad de Cuenca, 2020-10-30) Loja Barbecho, Flavio Adrian; Ortega Barros, Jorge Alfredo
This research work is based on the composition of four musical themes focused on the acoustic guitar as a solo instrument, all this under the style currently known as Percussive fingerstyle. Similarly, we proceed to review the background of this style focusing on different points such as its origin, its development throughout history, the main exponents of that style, along with the characteristics that make up the fingerstyle style. A morphological, rhythmic, harmonic and melodic description of the finger style is also elaborated, using for it three musical works which are developed under this style, finally ending with the creation of the four compositions, the analysis of two of them and the interpretation of the works.
Elaboración de cinco arreglos de pasacalles ecuatorianos para cuarteto de guitarra clásica: montaje cameral
(2022-06-22) Calle Ordoñez, Wilson Andrés; González Orellana, Víctor Lenin
The present bachelor of titulation will presents the accomplishment of five adjustments of pasacalles elaborated originally for piano and voice, to quartet of guitar, these pasacalles selected are: "Ambato tierra de flores", "Chulla quiteño", "Chola cuencana", "Soy del Carchi" and "Guayaquileño, madera de guerrero", it should be noted that each of these parades is an emblem within their city since in their lyrics they exemplify the best of each city. At the same time, the historical context of each work will be discussed and its musical technical aspects will be discussed. In the end, it will be exemplified with an arrangement, all the musical techniques that were used to elaborate them.
Elaboración e interpretación de cuatro arreglos para guitarra sola de obras pianísticas del compositor Alfonso Aráuz entre los años 1959-1973
(Universidad de Cuenca, 2021-05-04) Paida Romero, David Fernando; Ortega Cedillo, Nelson Darío
This work consists of the selection and elaboration of four arrangements for the guitar solo format of the four pasillos: Que es Amar, A Quién Buscas, Este es mi Sufrimiento, De Amor me Muero, and originally written for piano and previously selected from the catalog musical prepared by musicologist Lenin Estrella Aráuz, which were set considering the format, genre and musical style. The four arrangements focused on modifying the following musical elements: Form, Melody, Rhythm, and Harmony; and, the adaptation of the instrumental technique. In other words, the works for the piano format are performed on the guitar. This work consists of two chapters that are divided as follows: The first chapter refers to the Ecuadorian pasillo and the musical career of Alfonso Aráuz where the historical context of the Ecuadorian pasillo and the musical characteristics of that genre will be revealed, In other words, a brief summary of the composer's biography and his repertoire will be presented in general terms. Chapter two focuses directly on the descriptive analysis of two arrangements in contrast to the original works of Alfonso Aráuz, whose purpose is to share the techniques used on these compositions. First, it will see what types of techniques are used in the melodic treatment, which are: dead spot fillers, tail or tail rhythmic filler, lead in, counter melody, obliged cliché, sequences, reduction, augmentation, and canon; Second, morphological treatment using the following techniques, which are: introduction and chorus augmentation (repetitive structures), section repetitions, new arranger sections, coda; Third, rhythmic treatment using the following techniques, which are: polyrhythms, polymetry, rhythmic truncation (rhythmic motivic variation), pedal, breaks. Finally, in the fourth aspect, the harmonic treatment with the following techniques is presented: Chord re-harmonization, secondary dominants, tritonal substitutes, substitute chords, modulation to a key with the same key.
Guía didáctica para la enseñanza de la guitarra a estudiantes con discapacidad visual en la Universidad de Cuenca
(Universidad de Cuenca, 2023-06-08) Villavicencio Vanegas, David Fernando; Hudson Vizcaíno, Belkis Asunción
This work of curricular integration presents a didactic guide for the teaching of the guitar in students with visual disabilities of the University of Cuenca. The problem is based on the need to adapt the methodology of teaching the guitar to the specific requirements of the visually impaired student. The research adopts an applied, exploratory, and descriptive methodology, which exposes different procedures for teaching the guitar through the Braille system. The guide has a progressive design that allows visually impaired students to understand the different scales, chords, arpeggios, technical aspects of the instrument and repertoire works, adjusting to their physical requirements. The teaching methodology proposed in this guide seeks to encourage the active participation of both the student and the teacher. For this, it adopts the constructivist approach and uses the active methods of musical education proposed by the pedagogues Martenot and Willems. These methods promote the development of listening skills, rhythmic, creative work, experimentation, and sound exploration, which favors the technical and interpretive growth of students with this disability.
Método bitécnico para guitarra popular
(Universidad de Cuenca. Facultad de Artes, 2010-11-11) Ortega Barros, Jorge Alfredo; Peñaherrera Wilches, Jimena
Realización de cinco adaptaciones para guitarra de obras del compositor Gerardo Guevara: Interpretación en concierto
(2018) Vásquez Marín, Tamara Alexandra; Ortega Cedillo, Nelson Darío
The general objective of this work is focused on the realization of five adaptations for guitar works of the composer GG, approaching this technique as a musical resource that is subject to several precepts to carry out its execution. Through research and analysis, it has been defined that there are various techno-musical norms and considerations that need to be analyzed before in order to maintain the characteristics of composition, that is, to respect as much as possible the concept of the work and its musical elements in terms of measure, rhythm, harmony, dynamics. In addition to the knowledge of the technique and characteristics that the guitar possesses, it is important to be able to add to these elementary works and resources of the instrument itself, in virtue of the fact that the execution of them is of quality and success.
Transcripción de piano a guitarra y ejecución de seis obras representativas del pasillo ecuatoriano
(2017) Morocho Vallejo, Cristhian Xavier; Pacheco Barrera, Diego Patricio
The present work is focused on the process of transcribing six guitar pieces of our Musical genres, Ecuadorian Pasillo, which constitutes the best referent of the music in our country; performing a harmonic, melodic and structural analysis. This technical work respects the structure, harmony, rhythm, contrapuntal movements, nuances and forms of execution typical of each original musical piece. In addition, it is intended that the technique used in the guitar to be visualized and that the result of this transcription can be used as study material for students of intermediate level. On the other hand, it is necessary to know the history of the Ecuadorian Pasillo, especially the most important aspects such as, where the genre came from, its arrival in Ecuador and how it was established and achieved to become a musical symbol characteristic of our country. It is necessary to emphasize that the creation of the Conservatory of Music in Quito has formed over the years great authors, composers and interpreters dedicated to the study and diffusion of the Ecuadorian Pasillo. The evolution of the guitar is marked over time by many similar instruments, such as the zither, the lute, the mandolin, vihuela, etc. Finally, in the year 1760, Fray Miguel Garcia known as “Padre Basilio” presented for first time a six-string guitar. Since then, this instrument has been well received in many countries around the world like Ecuador.

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Browsing Artes Musicales-Pregrado by Subject "Guitarra"