Thesis Chapters by Enrique Sandoval-Cisternas
Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After h... more Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a
collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios’s works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century—the timeframe in which Barrios was in contact with this genre–to Barrios’s Cueca. Second, it proposes a critical/performance edition of Barrios’s work taking into account both the performance
practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer’s own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
Six Chilean music theory instructors participated in an anonymous survey applied over an online p... more Six Chilean music theory instructors participated in an anonymous survey applied over an online platform between April and October of 2017. These instructors were invited to participate in this study because of their role in teaching music theory at influential institutions, each of which is ranked among the top ten best universities in Chile. The questions included in the survey relate to the terminology used to refer to music elements upon which current American music theory textbooks consistently agree, and that are usually taught during the first two years of undergraduate studies in accredited American music schools: types of cadences, periods, sentences, types of 6/4 chords, augmented sixth chords, tonicization, modulation, binary form, and the exposition of the sonata form.
Music theory terminology and its standardization facilitates the communication of the participants of the domain, as well as the transmission of knowledge and practice of the field. This characteristic of music terminology is an essential pedagogical tool for the training of musicians, especially undergraduate students. In order to evaluate and compare the level of standardization of music theory terminology used by Chilean instructors, this research will first assess the level of standardization of seven American music theory textbooks, and one British textbook.
Papers by Enrique Sandoval-Cisternas
Atemus, 2023
En los últimos años se han presentado iniciativas tanto en Chile como en España para el mejoramie... more En los últimos años se han presentado iniciativas tanto en Chile como en España para el mejoramiento del entendimiento y enseñanza de la teoría y el análisis musical. Entre estas iniciativas se encuentran desde jornadas de reflexión en torno a la disciplina, hasta la formación de una asociación y congreso específico de esta área de la música con representantes de distintos países hispanohablantes. En este reavivado interés por mejorar la producción académica y el proceso enseñanza-aprendizaje del área de la teoría y el análisis musical, se puede apreciar un enfoque disciplinar tendiente a abordar elementos desarrollados por la experiencia estadounidense en el ámbito específico del entendimiento y la enseñanza de las estructuras de frases y las formas musicales tonales. Aunque la disciplina estadounidense se enfoca en un repertorio de música clásica europea, esta presenta un núcleo de conocimientos coherente y metodológicamente pedagógico para la enseñanza de estos contenidos, lo que podría ayudar al desarrollo de nuevas teorizaciones que incluyan modelos encontrados en la música clásica, folclórica y popular latinoamericana. Este trabajo intenta entregar una perspectiva general de la teorización estadounidense referente a las estructuras de frases evaluando seis (6) textos utilizados de forma consistente en universidades y conservatorios de este país, y enfocándose en los siguientes contenidos específicos: cadencias, el motivo, la frase y semifrase, la sentencia, el período, el período de tres frases, y el grupo de frases. Se espera que este trabajo promueva la creación de teorizaciones que ayuden tanto al análisis y al entendimiento del flujo musical, así como al proceso creativo de la música en sus diferentes géneros y estilos
OF DMA PROJECT A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSI... more OF DMA PROJECT A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordi...
OF THESIS UNDERGRADUATE MUSIC THEORY TERMINOLOGY USED BY SELECTED SPANISH-SPEAKING INSTRUCTORS IN... more OF THESIS UNDERGRADUATE MUSIC THEORY TERMINOLOGY USED BY SELECTED SPANISH-SPEAKING INSTRUCTORS IN CHILE: DEVELOPMENT, SIMILARITIES, AND LIMITATIONS Six Chilean music theory instructors participated in an anonymous survey applied over an online platform between April and October of 2017. These instructors were invited to participate in this study because of their role in teaching music theory at influential institutions, each of which is ranked among the top ten best universities in Chile. The questions included in the survey relate to the terminology used to refer to music elements upon which current American music theory textbooks consistently agree, and that are usually taught during the first two years of undergraduate studies in accredited American music schools: types of cadences, periods, sentences, types of 4 chords, augmented sixth chords, tonicization, modulation, binary form, and the exposition of the sonata form. Music theory terminology and its standardization facilitate...
ÁTEMUS, 2021
El siguiente trabajo entrega una teorización y revisión histórica del término predominante, el cu... more El siguiente trabajo entrega una teorización y revisión histórica del término predominante, el cual es comúnmente utilizado en la literatura originada en la experiencia estadounidense para referirse a aquellos acordes que funcionan como intensificadores del acorde de dominante (V) –o algún otro acorde con función de dominante– en progresiones armónicas que terminan en la tríada tónica; algún otro acorde con función tónica; o configuran una cadencia en el acorde V. Todos los acordes considerados predominantes son estructuras construidas sobre los grados 4 ̂, ó 4 ̂#, y que también incluyen los grados 6 ̂, ó 6 ̂b. Este trabajo propone y demuestra que aquellos acordes considerados predominantes son derivaciones contrapuntísticas y estilísticas de un tipo especial de acorde de subdominante identificado por Rameau como el acorde IVadd6, o ivadd6 en tonalidad menor. En el sistema de Riemann estos acordes son identificados como S_5^6 y s_5^6. Los acordes comúnmente considerados predominantes son: IV; iv; IV7; iv7; ii, iio; ii7 iiø7; V/V, V7/V; viio/V; viio7/V; IIb o N (napolitano), así como los acordes con sexta aumentada, alemán (Al+6), francés (Fr+6), e italiano (It+6).
The following work is a theorization and historical review of the predominant term, which is commonly used in the American experience and literature to refer to the chords that intensify the dominant chord V –as well as those with dominant function– in harmonic progressions that end in the tonic triad; other chords with tonic function; or create a cadence on the V degree. Predominant chords are structures build on the scale degree 4 ̂, or 4 ̂#, and also include the 6 ̂, or 6 ̂b. This document proposes and demonstrates that the predominant chords are contrapuntal and stylistic derivations of a special type of subdominant chord identify by Rameau as IVadd6, or ivadd6 in minor key. In Riemann’s system, these chords are labeled as S_5^6 and s_5^6. The most common predominant chords are: IV; iv; IV7; iv7; ii, iio; ii7 iiø7; V/V, V7/V; viio/V; viio7/V; IIb or N (Neapolitan), as well as the German (Gr+6), French (Fr+6), and Italian (It+6) augmented sixth chords.
Drafts by Enrique Sandoval-Cisternas
CFP para el Primer Congreso de Teoría, Análisis y Didáctica Musical a realizarse en la ciudad de ... more CFP para el Primer Congreso de Teoría, Análisis y Didáctica Musical a realizarse en la ciudad de La Serena en 2025.
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Thesis Chapters by Enrique Sandoval-Cisternas
collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios’s works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century—the timeframe in which Barrios was in contact with this genre–to Barrios’s Cueca. Second, it proposes a critical/performance edition of Barrios’s work taking into account both the performance
practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer’s own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
Music theory terminology and its standardization facilitates the communication of the participants of the domain, as well as the transmission of knowledge and practice of the field. This characteristic of music terminology is an essential pedagogical tool for the training of musicians, especially undergraduate students. In order to evaluate and compare the level of standardization of music theory terminology used by Chilean instructors, this research will first assess the level of standardization of seven American music theory textbooks, and one British textbook.
Papers by Enrique Sandoval-Cisternas
The following work is a theorization and historical review of the predominant term, which is commonly used in the American experience and literature to refer to the chords that intensify the dominant chord V –as well as those with dominant function– in harmonic progressions that end in the tonic triad; other chords with tonic function; or create a cadence on the V degree. Predominant chords are structures build on the scale degree 4 ̂, or 4 ̂#, and also include the 6 ̂, or 6 ̂b. This document proposes and demonstrates that the predominant chords are contrapuntal and stylistic derivations of a special type of subdominant chord identify by Rameau as IVadd6, or ivadd6 in minor key. In Riemann’s system, these chords are labeled as S_5^6 and s_5^6. The most common predominant chords are: IV; iv; IV7; iv7; ii, iio; ii7 iiø7; V/V, V7/V; viio/V; viio7/V; IIb or N (Neapolitan), as well as the German (Gr+6), French (Fr+6), and Italian (It+6) augmented sixth chords.
Drafts by Enrique Sandoval-Cisternas
collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios’s works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century—the timeframe in which Barrios was in contact with this genre–to Barrios’s Cueca. Second, it proposes a critical/performance edition of Barrios’s work taking into account both the performance
practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer’s own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
Music theory terminology and its standardization facilitates the communication of the participants of the domain, as well as the transmission of knowledge and practice of the field. This characteristic of music terminology is an essential pedagogical tool for the training of musicians, especially undergraduate students. In order to evaluate and compare the level of standardization of music theory terminology used by Chilean instructors, this research will first assess the level of standardization of seven American music theory textbooks, and one British textbook.
The following work is a theorization and historical review of the predominant term, which is commonly used in the American experience and literature to refer to the chords that intensify the dominant chord V –as well as those with dominant function– in harmonic progressions that end in the tonic triad; other chords with tonic function; or create a cadence on the V degree. Predominant chords are structures build on the scale degree 4 ̂, or 4 ̂#, and also include the 6 ̂, or 6 ̂b. This document proposes and demonstrates that the predominant chords are contrapuntal and stylistic derivations of a special type of subdominant chord identify by Rameau as IVadd6, or ivadd6 in minor key. In Riemann’s system, these chords are labeled as S_5^6 and s_5^6. The most common predominant chords are: IV; iv; IV7; iv7; ii, iio; ii7 iiø7; V/V, V7/V; viio/V; viio7/V; IIb or N (Neapolitan), as well as the German (Gr+6), French (Fr+6), and Italian (It+6) augmented sixth chords.