University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 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 Enrique Sandoval-Cisternas University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0003-1188-7383 Digital Object Identifier: https://doi.org/10.13023/etd.2018.253 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sandoval-Cisternas, Enrique, "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" (2018). Theses and Dissertations--Music. 120. https://uknowledge.uky.edu/music_etds/120 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. 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Enrique Sandoval-Cisternas, Student Dr. Dieter Hennings, Major Professor Dr. Michael Baker, Director of Graduate Studies 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 __________________________________________________ DMA PROJECT __________________________________________________ A DMA project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Enrique Sandoval-Cisternas Lexington, Kentucky Co-Directors: Dr. Dieter Hennings, Professor of Music Performance, Guitar and Dr. Ben Arnold, Professor of Musicology Lexington, Kentucky 2018 Copyright Enrique Sandoval-Cisternas 2018 ABSTRACT 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 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. KEYWORDS: Agustín Barrios, Cueca, Chile, Guitar, Music Performance Enrique Sandoval-Cisternas April 27, 2018 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 By Enrique Sandoval-Cisternas Dr. Dieter Hennings Co-Director of DMA Project Dr. Ben Arnold Co-Director of DMA Project Dr. Michael Baker Director of Graduate Studies April 27, 2018 To my beloved wife Cindy, thank you for supporting me throughout all these years, for your love and care To my children, Leonor, Pablo, and Lucas, because through them God has shown me the meaning of love, and the value and reward of perseverance and endurance ACKNOWLEDGMENTS Many thanks to my dear Professors and committee members for helping me to find the beauty of music performance and its teaching. First, my Dissertation chairs, Dr. Dieter Hennings, and Dr. Ben Arnold, exemplifies the high-quality scholarship to wish I aspire. Next, I wish to thank the complete Dissertation committee, and outside reader, respectively: Dr. Noemí Lugo, Benjamin Karp, Dr. Brent Seales, and Dr. Serge Ochanine. You pushed me to dive deeper into knowledge, to find what is not seen by the common eye. Thank you for your faithful and relentless encouragement through this process. Also, many thanks to Dr. Lance Brunner, for his support and encouragement, providing insights that guided and challenged my thinking. I received equally important assistance from family and friends. My wife, Cindy, provided on-going support throughout the Dissertation process. Many thanks also to Dr. Pedro Vera, providing technical assistance for completing the project in a timely manner. Finally, many thanks to Rico Stover for his insight and for providing me with the manuscript of Barrio’s Cueca. Their comments and insights created an informative and interesting project with opportunities for future work. iii TABLE OF CONTENTS Acknowledgments..............................................................................................................iii List of Figures.....................................................................................................................vi List of Examples................................................................................................................vii PART I CHAPTER 1: Background 1.1 Introduction........................................................................................................1 1.2 Significance and Purpose of the Study..............................................................3 CHAPTER 2: Agustín Barrios 2.1 Biographical Sketch of Agustín Barrios............................................................6 2.2 Important Recordings of the Cueca...................................................................8 CHAPTER 3: The Chilean Cueca 3.1 Historical Background of the Chilean Cueca..................................................10 3.2 Chilean Cueca: Analysis of Chilean Cuecas...................................................13 3.3 Comparing the Form of Original Cuecas with Barrios’s Work.......................20 CHAPTER 4: Sources and Editions of Barrios’s Cueca 4.1 Primary Sources of the Cueca..........................................................................25 4.2 Manuscript vs. Recording................................................................................25 4.3 Modern Editions of Barrios’s Cueca...............................................................28 CHAPTER 5: New Edition 5.1 The Need for a Performance/Critical Edition of Barrios’s Cueca...................30 5.2 Performance Issues: Notation vs. Practice.......................................................32 5.3 Conclusion: Implications and Limits...............................................................38 iv APPENDICES Appendix A: “Chingana”.......................................................................................40 Appendix B: Claro-Valdés, Poetical Models of the Chilean Cuecas....................41 Appendix C: