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The work hereby, the interpretive proposal of Emmanuel Sejourné's concert pour vibraphone sólo et orchestra, delves with the analysis of its formal, rhythmic, harmonic, and motivic aspects in order to expedite the learning process. In addition, technical advice on selected passages and several exercises created with the sole purpose of helping the performer get ready for the demanding role of the vibraphone on this score are provided.

El present article pretén mostrar la catalogació de la música del compositor Eugenio Macián Cervelló realitzada com a treball de fi de grau de Sergio Granell Colomer al Conservatori Superior de Música “Salvador Seguí” de Castelló. Per tal de realitzar-la es va seguir el mètode d’investigació basat en l’arxivística, a partir de la qual es van determinar els criteris (títol, data i lloc de composició, gènere, conjunt/plantilla, etc.) per a la confecció de les posteriors fitxes de catalogació, amb les quals es van descriure totes les composicions localitzades fins a la data., This article aims to show the cataloguing of the music of the composer Eugenio Macián Cervelló carried out as a final degree project of Sergio Granell Colomer at the Conservatori Superior de Música "Salvador Seguí" of Castelló. To carry it out, the research method based on arxivistics was followed, from which the criteria were determined (title, date and place of composition, genre, ensemble/template, etc.) for the preparation of the subsequent cataloguing files, with which all the compositions located up to that date were described., El presente artículo pretende mostrar la catalogación de la música del compositor Eugenio Macián Cervelló realizada como trabajo fin de grado de Sergio Granell Colomer en el Conservatori Superior de Música “Salvador Seguí” de Castelló. Para la realización de esta catalogación se siguió el método de investigación basado en la archivística, a partir del que se determinaron los criterios (título, fecha y lugar de composición, género, conjunto/plantilla, etc.) para la confección de las posteriores fichas de catalogación, con las que se describieron todas las composiciones localizadas hasta la fecha.

This thesis addresses the formal analysis of the 1st mov. Allegro aperto of the Violin Concerto No. 5 in A Major, K.219 by the composer W. A. Mozart. In the first chapter, an approach to the Classical period, the composer and his main stylistic characteristics has been made. Subsequently, a formal analysis of the first movement of the concerto No. 5 was carried out, analyzing the structure, phrases, semi-phrases, motives, dynamics and harmony. It is essential for any instrumentalist to carry out a formal analysis, since this tool provides knowledge about the period and style of composition, while allowing to break down and study the phrases of the score, facilitating the study and memorization of the work. Through this analysis, the form of the first movement and the composer's compositional elements will be determined, allowing for a well-founded interpretative proposal based on the parameters established at the time.

The objective of the present work is the production of a performance proposal with technical recommendations and interpretation resources for the Concerto for Piccolo and Orchestra Op. 50 by american composer Lowell Liebermann. The author first approaches the work by its historical context and the composer’s musical style. She presents a formal analysis of the piece, following the parameters of the Análisis de Formas Simples proposed by authors Margarita y Arantza Lorenzo de Reizábal. A deep exploration of a variety of technical methods for both flute and piccolo is also included. Finally, the author presents her performance proposal, which includes technical exercises developed by experts in the field, with a focus on the challenges found in specific passages of the concerto.

Un decreto del gobierno de Franco de 16 de abril de 1948, en su artículo 1º establecía que se «otorga a los ciudadanos argentinos que trabajen en España, a todos los efectos de carácter laboral […], idéntico trato que a los trabajadores españoles». Este decreto explica, solo en parte, el alud de profesionales argentinos que el cine español tuvo a partir de entonces, entre los cuales también se contaban algunos compositores. Sin embargo, ¿cuál sería la explicación (o explicaciones) de la presencia de otros compositores en nuestro cine, procedentes de países como México, Chile, Cuba...? Las casuísticas fueron variables: coproducciones, exilios, migraciones, giras… Este texto pretende abordar esas microhistorias, analizando parámetros como la procedencia, el género musical, o el arraigo en la industria, para dibujar finalmente el panorama general de esas participaciones., According to Article 1 of a Decree issued by Franco’s government on 16 April 1948, «for all employment purposes […], Argentine citizens working in Spain are accorded identical treatment to that of Spanish workers». This decree partly explains the avalanche of professionals from Argentina who worked in Spanish cinema from that moment on, some of whom were composers. However, what would the explanation (or explanations) be for the presence in Spanish cinema of other composers from countries such as Mexico, Chile, Cuba...? There were a variety of different cases: co-productions, exiles, migrations, tours… This article aims to focus on these microhistories, analysing parameters such as origin, musical genre and deep-rootedness in the industry, with a view to providing an overall perspective of the participation of these composers.

The present thesis proposes to create an interpretation of the Sonata for piano n. 3 Op. 58 in B minor by F. Chopin. The objective of the study is to link the need to create a theoretical material that may benefit the pianist to have a historically informed notion of how to interpret the work. The aims of the study focus on 1) generating a historical-stylistic context of the composition, 2) carrying out a formal analysis, 3) developing an interpretative proposal, and 4) proposing techniques to approach the mechanical practice of the piece. For this purpose, the techniques used include a literature review, focused on creating an interpretive proposal and a theoretical basis of the piece. To consolidate the conceptual basis of the piece, the author also develops a structural analysis which supports its holistic comprehension. Finally, based on several months of acoustic and technical experimentation, under the supervision of PhD. David Encalada León, the author sums up an interpretive proposal that considers both stylistical matters and compositional aspects that the piece demands.

This study highlights the musicological and pedagogical work of María Dolores Torres de Gálvez. The work is methodologically within the framework of a bibliographic and historical study. It provides an approach to the life of this ethnomusicologist from Jaén, by means of a documentary review of the dissemination that her work has projected on the international scientific community. This contribution also includes an overview of the denomination of the term musical folklore, its historical evolution, and its valuation as a national and regional source, taking as an example the heritage of Lola Torres songbook. The results of this work show a reflection on the current practice of this songbook, its teaching, and the main scientific sources on the didactics of musical folklore and its possible musical dissemination in the future. Lola Torres becomes a symbol of a woman, still alive within the practice of her songbook, her legacy, being a sample of Andalusian folklore, musical heritage, and a resource of incalculable educational value., Ao longo da história, as mulheres e sua música deram contribuições incríveis, embora a maioria estivesse escondida atrás da figura de um homem. Não é o caso de María Dolores Torres de Gálvez, que se destacou na vida por sua atuação no campo da música, etnomusicologia e pedagogia. Nós mulheres também construímos a nossa história e como neste caso com este tipo de trabalho mostra-se que a nossa cultura andaluza tem muito a descobrir. Esta contribuição visa também fazer um tour pelo nome do termo folclore musical, a sua evolução histórica e o seu valor como fonte nacional e regional, tendo como exemplo o património do Cancionero de Lola Torres, entre eles a obra do maestro Joaquín Reyes. Por fim, haverá um tour pela prática atual desta música, seu ensino, as principais fontes científicas sobre a didática do folclore musical e sua possível difusão musical no futuro., Este estudio subraya la labor musicológica y pedagógica de María Dolores Torres de Gálvez. El trabajo se encuentra metodológicamente dentro del marco de un estudio bibliográfico e histórico. Este realiza una aproximación al recorrido vital de la etnomusicóloga jienense, a través de un vaciado documental de la difusión que su trabajo ha proyectado sobre la comunidad científica internacional. Dentro de esta aportación también se realiza un recorrido sobre la denominación del término folclore musical, su evolución histórica y su valoración como fuente nacional y regional, tomando como ejemplo la herencia del Cancionero de Lola Torres. Los resultados de este trabajo muestran un reflejo sobre la práctica actual de este cancionero, su enseñanza y las principales fuentes científicas sobre la didáctica del folclore musical y su posible difusión musical en el futuro. Lola Torres se convierte en símbolo de mujer, todavía viva dentro de la práctica de su cancionero, su legado, siendo muestra de un ejemplo folclórico andaluz, patrimonio musical y recurso de incalculable valor didáctico.

The present investigation analyzes the first movement of G.B. Viotti’s concerto NO.22 from a comparative and an interpretative point of view. The first chapter features Giovanni Battista Viotti’s composition as well as his influence on the technical development of the violin; later on, a formal analysis-drawn from Jean La Rue’s text on musical elements (acronym in Spanish, SAMeR)-is presented. A comparative analysis between two musical editions of the concert, namely, form Ferdinand David (1810-1873), and Gaetano Fusella (1876-1973), as introduced. Through this investigation we notice a change in suggestions (that have varied over the years) of how the musical interpretation ought to be played; this in turn will help us make musical and technical decisions four our interpretation.

The present document it´s about an approach to compositional structures, to establish musical elements that will serve in the understanding and pianistic interpretation of the work. By recognizing these elements, characteristics of Ecuadorian musical folklore can be identified, fused with styles, techniques and academic structures of the nationalist current. This work carries out a qualitative study, because the Agur pasillo is an observable fact designed to make specific points of view known in piano performance in various aspects such as compositional style, shape, texture, agogic, dynamics, etc. On which the recommendations that require a clear, clean and balanced acoustic production will be made. It is necessary to remember that there is no information regarding the academic Agur pasillo, because it belongs to the authority of Henry Alvarez, a composition completed approximately in the year 2017, so this work serves as a source that allows us to understand the musical conception of the work, the historical context on which it was based for its composition which addresses the style, form and compositional processes extracting the musical elements that are present in it.

El objetivo central de este proyecto es analizar la evolución que ha experimentado la música cofrade desde finales del siglo XIX hasta nuestros días. Para ello se abarcarán diferentes etapas cruciales en la historia de nuestro país como son la Guerra Civil y los años de Postguerra, y como estos suponen un punto de inflexión en la vida de la música cofrade sobre todo en la ciudad de Sevilla, conociendo además los diferentes tipos de marchas que existen y para qué formaciones musicales pueden componerse. Asimismo, se analizarán las composiciones de los autores más destacados en el ámbito de la marcha fúnebre y procesional, y cómo se han asentado unas bases y estructuras concretas a la hora de componer piezas para ser interpretadas en los desfiles procesionales, así como la calidad y volumen de las diferentes obras que componen los autores, tanto a finales del siglo XIX y a lo largo del siglo XX, cómo en la época contemporánea., The main objective of this project is to analyse the evolution of cofrade music from the end of the 19th century to the present day. To do so, we will cover different crucial stages in the history of our country, such as the Civil War and the post-war years, and how these marked a turning point in the life of cofrade music, especially in the city of Seville, as well as the different types of marches that exist and for which musical formations they can be composed. We will also analyse the compositions of the most outstanding authors in the field of the funeral and processional march, and how specific bases and structures have been established when composing pieces to be performed in processional parades, as well as the quality and volume of the different works composed by the authors, both at the end of the 19th century and throughout the 20th century, and in the contemporary period.

This article of comparative literature investigates the post-Vinteuil period by analyzing the reception of the fictitious composer of Marcel Proust's work In Search of Lost Time in literary writings from the second half of the 20th century as well as from the 21st century. These novels staging the composer fit into a relatively recent (late 18th century) sub-category of fiction: stories about composers who only exist in the pages of books. The second half of the 20th century ushered in a change in the way novelists described fictional composers: a burlesque vein emerged which did not escape some Proustian novels. The shadow of Vinteuil can explain the need, with various stakes, for this parodic turn: some authors, such as Richard Millet in L'Angélus, are aware that they must literally put to death the master, Proust, in order to free themselves from him –even if his legacy lives on. Others, like Jérôme Bastianelli in La Vraie Vie de Vinteuil, ambition to make Vinteuil real: although they actually create a new character who is all the more fictitious for that matter., Este artículo de literatura comparada investiga el período post-Vinteuil analizando la recepción del compositor ficticio de À la Recherche du temps perdu de Marcel Proust en escritos de la segunda mitad del siglo XX y del siglo XXI. Estas novelas sobre el compositor se inscriben en una subcategoría de la ficción relativamente reciente (fines del siglo XVIII): la de las historias sobre compositores que solo existen en las páginas de los libros. La segunda mitad del siglo XX marcó el comienzo de un cambio en la forma en que los novelistas describen a los compositores ficticios: surgió una vena burlesca que no escapa a algunas novelas proustianas. La sombra de Vinteuil puede explicar la necesidad, con implicancias variadas, de esta orientación paródica: algunos autores, como Richard Millet en L’Angélus, son conscientes de que deben literalmente dar muerte al maestro, Proust, con el fin de librarse de él, incluso aunque su legado siga presente. Otros, como Jérôme Bastianelli en La Vraie vie de Vinteuil, fingen volver real a Vinteuil, creando en realidad un nuevo personaje aún más ficticio.

This article summarizes the biography of José Soler Casabón, an Aragonese composer who lived and developed his artistic career during the first decades of the 20th century between Barcelona and Paris. From the different works of the author, the Ballet L'homme sans yeux sans nez et sans oreilles (HOSYNO) will be described. This ballet was based on the poem Le musician de Saint Merry written by the french poet Guillaume Apollinaire and its sets were commissioned to Pablo Picasso. For various reasons, such as the war context and the change of the director of the opera house in Paris, the ballet was never performed., El presente artículo recoge la biografía de José Soler Casabón, compositor de origen aragonés que vi-vió y desarrolló su carrera artística durante las primeras décadas del pasado siglo XX entre Barcelona y París. De las diferentes obras del autor, se describirá el Ballet L’homme sans yeux sans nez et sans oreilles (HOSYNO) el cual se basó en el poema Le musician de Saint Merry de poeta francés Guillaume Apollinai-re y cuyos decorados se encargaron a Pablo Picasso. Por diversos motivos como fueron el contexto bélico y el cambio de dirección del teatro de ópera de París, el ballet nunca llegó a estrenarse.

The present work consists of a musical analysis of “Andino III”, a work by Ecuadorian composer Arturo Rodas, with the purpose of generating a performance proposal. This musical work is contemporary in nature and consists of sections and outstanding gestures, very particular to its time. As it does not contain, for the most part, traditional musical parameters, it invites a different type of analysis, appreciation and interpretation than what is customary. The methods used for this analysis are based on the terminologies found in the article “Gesture in Contemporary Music” by Zampronha (2005) and the magazine “Variaciones” Volume I (2019). Additionaly, schemes and references from the book "Musical Analysis: Keys to Understanding and Interpreting Music" by De Reizabal (2009) have been used. Apart from this analysis, an approach was made to the extended techniques of the transverse flute, especially to those present in the work “Andino III”. This approach provided an overview of the characteristics of the extended techniques and how to interpret them correctly.

The main objective of the work was to elaborate two electric guitar arrangements of anime themes, this implied, transcribing and analyzing the themes "Brave Shine" and "Last Stardust" with an analytical-descriptive methodology. In turn, a historical research on anime was carried out, with the purpose of knowing its origins, uses, musical and cultural characteristics, and obtaining theoretical supports for the elaboration of the arrangements. The work allowed to know important aspects of anime music, among them its harmonic structure, its scales, melodies and how to adapt them to the electric guitar format; Also, understand the meaning of their lyrics. On the other hand, the research will possibly contribute, with the use of exotic scales for future compositions in Ecuador, creating an interest towards the music of Asian countries and their cultures, through the elaboration of arrangements for various instrumental formats.

The present work is about the analysis and technical edition of Insomnio, a string quartet of the composer David Tinitana Ortega through the explanation of string quartet in the history of music, also life and work of the composer and the Ecuadorian genres in the work.