Osses, Camila2023-12-112023-12-112023https://hdl.handle.net/1794/29065150 pagesEnrique Soro and Carmela Mackenna were prolific Chilean composers in the first half of the twentieth century. They developed different music careers: Soro in Chile, and Mackenna in Germany. For political reasons, Soro's work was relegated as a composer "from the past" even though he was an active performer and composer until his death, while Mackenna's music was ignored due to gender biases and the fact that she developed her career outside Chile. In the present work, I will analyze Soro's Piano Sonata No. 2, a work that has not been published and that offers insights into his personality and compositional style. I will also comment on and analyze Carmela Mackenna's life and work, particularly her songs for voice and piano, which have not received the attention they deserve. By addressing the Chilean canon, an aesthetic that originated in 1929 after the reformation of the National Music Conservatory in Chile, I will deconstruct the labels that both composers received during their lifetime and after their death.enCreative Commons BY-NC-ND 4.0-USLatin American musicChilean musicLatin American pianoChilean pianoPiano pedagogyPerformanceTerminal Project