Artes Musicales-Pregrado

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

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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.
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.
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.
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.
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.
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.
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.
Recopilación de estudios técnicos en preparación para la ejecución del concierto para violoncello y orquesta en re menor de Édouard Lalo
(Universidad de Cuenca, 2025-09-03) Arévalo Murillo, Alejandra Belén; Fernández Vizcaíno, Adriana Cristina
This document presents a proposal for the compilation of technical studies that specifically address the challenging passages found in the three movements of Édouard Lalo´s Cello Concerto in D minor. This research provides performers with technical tools to facilitate the execution and interpretation of selected passages from the concerto. It also offers a brief overview of the composer´s biography and the most notable aspects of the period in which the work was written, such as musical exoticism, nationalism, and the various stylistic trends that significantly influenced 19th-century composers. The aim is to provide a broader interpretative perspective on the composer´s musical journey at the time of the work´s creation. Additionally, a brief structural analysis for each movement of the concerto is included, highlighting its most distinctive and striking features. The selected studies focus on position changes, bow distribution, left-hand agility, and the instrument´s various tonal colors across its range.
Elaboración de un EP de dos arreglos musicales en ritmo cañari para un conjunto musical tradicional andino
(Universidad de Cuenca, 2025-09-01) Muñoz Yupa, Tupac Amaruc; Ortega Cedillo, Nelson Darío
This Thesis project presents a comprehensive analysis of two traditional pieces from the cañari rhythm, with the purpose of applying musical arrangements within the framework of an EP production. The characteristic elements of the cañari chaspishka are explored in detail, addressing rhythmic, melodic, harmonic, and morphological elements. The first chapter analyzes the origin, function, and cultural environment of the chaspishka, describes its musical features and the typical instrumentation of the Cañari ensemble, and explains how the pieces were chosen and the arrangements developed. The second chapter explains why the two traditional melodies, "Piñarinkachu Imashi" and "Jubaleñita," were chosen and offers a technical analysis of each, including their melodic, harmonic, rhythmic, and morphological development. Finally, the arrangement strategies that transformed the pieces to sound in a contemporary ensemble are detailed. In chapter three, a technical analysis was conducted to support all the decisions made during the recording, editing, mixing, and mastering phases. To this end, the producer's involvement was considered during a guide through the creative process, ensuring that the aesthetic and sound of the EP reached a level of harmony, with each musical element integrated according to the chaspishka rhythm. Additionally, technical factors related to the use of digital tools and certain quality criteria were also covered, as the audio tracks were produced with the quality necessary to be disseminated and preserved in the catalog of sound cultural heritage.
Guía metodológica para el aprendizaje del piano en el adulto mayor
(Universidad de Cuenca, 2025-08-25) Naranjo Espinoza, Andrea Karina; Encalada León, Pablo David
This degree work consists of the development of a methodological guide aimed at older adults who, without prior musical knowledge, want to play the piano. The object of study is related to the needs presented by this age group, observed within the classroom, where a lack could be noticed in the field of musical study. To create the methodological guide, educational philosophical foundations such as constructivism and active methodologies in music education were studied in the first instance. In the second instance, the older adult and the importance of music in development at this vital stage were studied. As a third point, the selection of the repertoire aimed at older adults was carried out and popular Ecuadorian genres related to this group were taken into account, with which the author of this project worked during pre-professional practices. Finally, the result was the development of a methodological proposal that is expected to serve as a musical learning tool.
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.
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.
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
Método didáctico para guitarra sola para la elaboración de dos arreglos musicales en el género rock y pop: When the Party’s Over y Seven Pillars of Wisdom
(Universidad de Cuenca, 2025-03-31) León Rodas, Daniel Sebastian; Ortega Cedillo, Nelson Darío
The present thesis work focuses on the elaboration of a didactic method for the creation of two musical arrangements, which follow a technical process designed in four phases, which are: technique by reduction and adaptation, reharmonization and restrucutration of the form of the songs, whose genres are determined within the pop and rock musical genres. The first chapter deals with the historical, theoretical and artistic background of composers and musical genres. Likewise, the selection criteria for choosing the works as the object of study of the thesis are presented. Finally, a study of the arranging and compositional techniques for the creative process is made. Also, the technical possibilities of the guitar relevant to the development of musical arrangements. The second chapter presents the musical arrangements through a descriptive melodic, harmonic and morphological analysis. In the melodic treatment, the techniques of melodic development are pointed out. Likewise, in the harmonic process, the use of the techniques of reharmonization of the musical arrangements is described. And finally, in the morphological development, the restructuration of the original form of the songs is presented. The third chapter presents the didactic method through four phases, which are: the first phase, which consists of the delimitation of the work by means of the reduction of the songs; the second phase is limited to the adaptation of the works to the solo guitar; in the third phase, the reharmonization of the songs is carried out; finally, in the fourth phase, the technical possibilities for the morphological re-structuring of the original songs are presented.
Propuesta interpretativa de las obras para piano Fiesta y Despedida del compositor ecuatoriano Gerardo Guevara
(Universidad de Cuenca, 2025-03-26) Peralta Ávila, Franklin Vinicio; Encalada León, Pablo David
The interpretive proposal of the piano works by Ecuadorian composers is a topic of growing importance in the field of piano interpretation and Latin American music. Firstly, Gerardo Guevara is one of the most prominent and internationally recognized Ecuadorian composers. His music has been performed and recorded by renowned pianists and orchestras, demonstrating the significance of his musical legacy. Therefore, the study and analysis of his works are essential for any performer interested in promoting Latin American repertoire. On one hand, the piece Fiesta exemplifies Andean popular music (albazo) with an animated melody and rhythm that conveys jubilation. As for the piece Despedida, it consists of a lyrical composition of nostalgic character that deals with the separation from a loved one. The composer himself has written the text, which is used in the version for voice and piano. Both works present technical and expressive challenges for the pianist, making them valuable material for the development of interpretive skills. Furthermore, the creation of an informed interpretive proposal is crucial for any artist to establish their own musical identity. Each pianist has their own style and way of understanding a work, which is reflected in how they express emotions and feelings through music. The study of these mentioned works can contribute to strengthening these skills while also understanding Ecuadorian nationalist styles.
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 dos arreglos musicales en el género pasillo para un formato musical de mariachi: Esas tardes y Tatuaje
(Universidad de Cuenca, 2025-03-11) Vázquez Martínez, Rodrigo Fernando; Ortega Cedillo, Nelson Darío
The work Recording and Production of Two Musical Arrangements in the Pasillo Genre for a Mariachi Musical Format: Esas Tardes and Tatuaje explores the adaptation and fusion of Ecuadorian pasillo and Mexican mariachi, aiming to preserve their distinct identities while creating a new sonic proposal. It examines the historical background, structures, and tonal elements that facilitate their integration, followed by an analysis of arrangement techniques that ensure a cohesive blend of pasillo’s nostalgia and mariachi’s vibrant energy. Finally, it details the recording, mixing, and production processes, highlighting challenges, solutions, and the final balanced mix that demonstrates the innovative potential of this fusion.
Propuesta interpretativa de la Sonata No. 3 Op. 5 de Johannes Brahms a partir de las concepciones del compositor y su entorno musical
(Universidad de Cuenca, 2025-03-13) Villamarin Gaona, Johanna Karolina; Encalada León, Pablo David
The present degree work consists of making an interpretative proposal of sonata no. 3 op. 5 by composer Johannes Brahms, based on the original conception and performance style of the composer, and his closest pianistic circle. The interpretative proposal of this sonata will be made based on an analysis and identification of technical and stylistic resources such as: tempo management, phraseological construction and character. It will have a musicological and interpretive approach using the comparison of recordings of performers close to Brahms.
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.

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