The theoretical foundations that support it (the study) , based on research and reflections of Don Fernando Gonzalez Maraboli and critically conceptualized by the researchers, can be summarized in the following points:
1. The Chilean cueca and is a poetic-musical lime involved in singing, musical instruments and dance, from Arab-Andalusian tradition.
2. The survival of the Chilean cueca or remains in the oral tradition. Its dispersion is continental, with greater purity is preserved in Chile and the features of this tradition that may have been lost or distorted is possible to recover.
3. Musical development poetry through song poses numerical relations that are based on the multiplication table of 8.
4. These numerical relationships are based on observation of the elements of nature, the stars and the human body.
5. The singing of the Chilean cueca or is shouted and melismatic, with the same impost the voice of the old schools of Arabic singing. The singers of the cueca four, mainly men,
but also included women who have received proper vocal training.
6. The musicians perform melodic and percussion instruments and are, usually, other singers. The latter can be interpreted, moreover, some percussion instruments.
7. The dance involves choreographed courtship and conquest of women by men and develops into a imaginary circle. Is closely related to estructuramatemática governing the development of poetry through song.
8. The study of the Chilean cueca or acquires an interdisciplinary, enriching the knowledge of different areas knowledge.
9. The presentation and rescue Chilean cueca or contributes to the reaffirmation of national identity, reviving traditions deeply rooted in Chile and Latin.
10. The repertoire of cuecas collected, created or selected by Gonzalez set a real Songbook Maraboli Chilean representative of the culture of oral tradition and history of Chile.
Samuel Claro Valdés "Cueca Chilena or traditional", Ediciones Universidad Católica, in 1994 (pag.16 )
