Artes Musicales-Pregrado

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

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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.
Propuesta técnica-interpretativa para el estudio y ejecución del I movimiento del concierto N°2 en Bm para contrabajo y orquesta de Giovanni Bottesini
(Universidad de Cuenca. Facultad de Artes, 2026-03-17) Bravo Tambo, Camilo Eduardo; Tigre Astudillo, David Ulises
This paper presents a technical and interpretative proposal for the study and performance of the first movement of Giovanni Bottesini's Concerto No. 2 in B minor for double bass and orchestra. It comprises three chapters that define: the context of Romanticism, representative performers of the Romantic double bass, and the composer's musical contributions, all geared towards the analysis of the piece. Based on these characteristics, an interpretative proposal for the aforementioned work is then developed. The main objective of this research is to present an interpretative proposal grounded in analysis, based on the analytical method and the stylistic characteristics of Romanticism.
Propuesta de guía didáctica para el desarrollo de destrezas rítmicas en niños en etapa escolar con influencia de música ecuatoriana a través del método Dalcroze
(Universidad de Cuenca. Facultad de Artes, 2026-03-16) Loza Zaquinaula, Danna Dalay; Villacis Barrezueta, Marcelo Francisco
This research arises from the need to transform rhythmic teaching in children by integrating the body as the first and most essential musical instrument. The study proposes the design and validation of a didactic guide that merges Emile Jaques-Dalcroze’s rhythmic methodology with Ecuador’s sonic identity, utilizing traditional genres such as Sanjuanito, Albazo, Fox Incaico, and Yumbo. Through a qualitative approach and the analysis of case studies involving children aged 7 to 11, the research explores how conscious movement across spatial axes facilitates the internalization of musical parameters such as pitch, time, dynamics, and timbre. The findings reveal that Ecuadorian music, due to its rhythmic richness and cultural proximity, acts as a powerful catalyst for learning, allowing children to transition from passive listening to organic bodily experience. In conclusion, this thesis provides music educators with a validated and humanized pedagogical tool that not only strengthens students’ technical skills but also dignifies and revitalizes the national musical heritage within the classroom.
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).
Producción discográfica de un EP de 3 temas musicales en vivo para formato de Orquesta de Salsa
(Universidad de Cuenca. Facultad de Artes, 2026-03-12) Sinchi Sangurima, Bernardo Xavier; González Orellana, Víctor Leni
In this title work we explore the production of a live EP, focusing on the technical processes involved in the recording, editing, mixing and mastering of audio. The project integrates sound engineering techniques, high-fidelity microphones and multi-track recording systems to ensure professional quality. In the pre-production stage, aspects such as conceptualization, planning, logistics, microphone selection, recording equipment configuration and space acoustics are detailed. In the production stage we will see the necessary equipment and configuration, stereo recording methods, solutions to avoid problems such as feedback or saturation, signal balance. In post-production, non-destructive editing (Daw) tools are used to adjust dynamics, add effects, and optimize mixing. The mastering guarantees consistency and competitive volume. As a result, an EP with quality, clarity and balance is obtained, demonstrating that the musical production of a Live Session requires rigorous care at all stages.
Transcripción, adaptación y análisis del pasillo “Silencio en el alma” de Pedro Pablo Echeverría Terán para viola y piano
(Universidad de Cuenca. Facultad de Artes, 2026-03-12) Pacheco Fajardo, Marcela Patricia; Mora Sánchez, Xavier Fernando
The music of Pedro Pablo Echeverría Terán represents a valuable legacy within the Ecuadorian pasillo, a genre that synthesizes tradition and academic expression. However, many of his works, such as “Silencio en el alma”, lack a written score and are preserved only in historical recordings. This project aims to rescue this piece—originally for contralto, violin, and piano—through aural transcription and its subsequent adaptation for viola and piano. The "by-ear" transcription process requires a detailed analysis of the melodic, harmonic, rhythmic, and formal elements, reconstructing the work through active listening. Subsequently, the material is adapted for the viola, an instrument for which Echeverría's repertoire is scarce, leveraging its low register and expressive character to highlight the melancholic lyricism of the pasillo. The objective is twofold: to preserve a heritage work through a written version and to expand the Ecuadorian viola catalog. This study includes an examination of the composer's historical and stylistic context, the transcription methodology, musical analysis, and adaptation criteria, culminating in a reflection on the value of this practice for the revitalization of our sonic heritage.
Producción de un sencillo musical compuesto por dos temas inéditos en el género pop-punk
(Universidad de Cuenca. Facultad de Artes, 2026-02-19) Loja Illescas, Douglas Stalin; Ortega Cedillo, Nelson Dario
The present thesis, titled “Production of a Single Composed of Two Original Songs in the PopPunk Genre”, addresses a comprehensive process of research, analysis, composition, and music production, structured into three main chapters. The first chapter presents the historical background of both the pop and pop-punk genres, as well as their main musical characteristics. It outlines a review of the origin and evolution of these genres, complemented by a morphological, rhythmic, harmonic, and melodic analysis of pop-punk. This analysis will serve as a reference for the composition of the original songs. The second chapter focuses on the composition process and the analysis of the original works, titled Nada Fácil and Jamás Igual, which are the result of research and the study of reference works within the genre. Finally, the third chapter develops the music production process. Through a descriptive analysis, it presents the stages of pre-production, planning, and recording. It also details the recording of each instrument and describes the post-production phase, which includes audio editing, instrument mixing, and the mixing and mastering process, thus completing the single's full production cycle.
Producción del tema musical del single “2019”
(Universidad de Cuenca. Facultad de Artes, 2026-03-9) Faundez Campoverde, Pablo Emilio; Novillo Alulema, Walter Vinicio
Throughout history, music production has undergone a remarkable evolution—from tape recordings to the use of modern technologies that today allow musicians to shape their artistic products. This technological advancement has opened up vast opportunities for music producers, who now have access to a wide range of tools such as PLUGINS, DAWs, and VSTs, enabling the creation of music that competes within the current music industry standards. This workfocuses onthesystematization of the processes involved in recording and producing a single within the indie genre a genre that emerged as a countercultural response to the established norms of the music industry, which once dictated that in order to record and distribute music, artists had to be signed by a major label. This gave rise to the independent music scene. Subsequently, this project analyzes aspects related to microphone techniques, the use of plugins, and VST implementation, all of which contribute to the final musical work presented here.
Producción discográfica de un “EP” inédito de tres temas musicales para el artista "José Julián" en el género bolero
(Universidad de Cuenca. Facultad de Artes, 2026-02-26) Poma Guayanay, John Jairo; Tigre Astudillo, David Ulises
This thesis documents the production and process of a musical EP, delving into the technical and artistic processes involved. Methodologically, the work is based on a typology of references: for aesthetic/musical purposes, which define artistic identity, these references may be modified in the course of this work, due to various reasons. Furthermore, the development of the work is divided into three critical stages: pre-production, focused on conceptualization, demos, arrangements, etc.; production, a stage centered on the recording and capture of each instrument present on the EP; and post-production, the final stage where the sound is sculpted through mixing and mastering. The purpose of this work is to provide a methodological and descriptive guide to the current landscape of music production, detailing the steps to follow for the production of an EP that meets professional criteria and is suitable for the music industry.
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.
Fusión de black metal y música ecuatoriana: producción de un sencillo instrumental
(Universidad de Cuenca. Facultad de Artes, 2026-03-03) Barreto Velecela, Emanuel Alejandro; Vázquez Jaramillo, David Santiago
The Purpose of this work is to explore a process of musical creation based on the fusion between black metal and traditional Ecuadorian music, approached from composition and music production. The work is based on a thorough analysis of the musical features of both genres, considering elements such as rhythm, harmony, melody and instrumentation, in order to identify points of convergence that allows a coherent dialogue between musical genres from different cultural and aesthetic origins. From this approach, an innovative musical proposal is developed that integrates elements of traditional Ecuadorian music within a contemporary context, while preserving its identity and expressive function.
Análisis estilístico e interpretativo del primer movimiento del Concierto para clarinete y orquesta de Jean Françaix (reducción para piano)
(Universidad de Cuenca. Facultad de Artes, 2026-02-20) Juca Astudillo, Juan Diego; Morocho Guamo, Paulo Cesar
This study analyzes the first movement of Concerto for Clarinet and Orchestra by Jean Françaix from a stylistic and interpretative perspective. Based on a formal analysis grounded in the conception of musical discourse, the research examines the principal thematic materials, structural functions, and compositional procedures that articulate the work. The results of the analysis are projected onto concrete interpretative proposals for the clarinet, addressing technical aspects such as articulation, fingering, breathing, and endurance, with the aim of establishing a direct relationship between musical structure and instrumental practice. Furthermore, the study contributes to a stylistically informed interpretation of the French neoclassical repertoire and to well-founded interpretative decision-making.
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.
Propuesta didáctica para la enseñanza inicial del lenguaje musical basado en el sistema braille, aplicando ejercicios melódicos y rítmicos
(Universidad de Cuenca. Facultad de Artes, 2025-12-11) Pinos Altamirano, Raúl Patricio; Hudson Vizcaíno, Belkis Asunción
This work presents a didactic proposal aimed at the initial teaching of musical language using the braille system, applying melodic and rhythmic exercises. With this proposal, it is planned to instruct blind students in the fundamentals of musical language, adapting a methodology that allows them to become familiar with braille musicography, an essential teaching resource, which through practical and progressive activities will help them develop their ability and musical creativity. Therefore, this research aims to identify barriers and needs in the teaching-learning of musical language when using the braille system as the main guide tool for blind students. Adjusting to the context of their learning, a series of exercises will be developed focused mainly on children's songs, which will help these students to have a more active participation, promoting inclusion in musical education, in turn, that the methodological proposal proposed, it will allow teachers to reduce the accessibility barriers to music education that students with visual disabilities have, satisfying their learning needs and enriching their knowledge of music.
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.

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