{"id":112360,"date":"2018-03-11T10:39:14","date_gmt":"2018-03-11T10:39:14","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/los-ora%c2%adgenes-de-la-cancion-popular-en-el-cine-mudo-espanol-1896-1932\/"},"modified":"2018-03-11T10:39:14","modified_gmt":"2018-03-11T10:39:14","slug":"los-ora%c2%adgenes-de-la-cancion-popular-en-el-cine-mudo-espanol-1896-1932","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sociologia\/los-ora%c2%adgenes-de-la-cancion-popular-en-el-cine-mudo-espanol-1896-1932\/","title":{"rendered":"Los or\u00edgenes de la canci\u00f3n popular en el cine mudo espa\u00f1ol (1896-1932)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Benito Martinez Vicente <\/strong><\/h2>\n<p>An\u00e1lisis de los or\u00edgenes de la canci\u00f3n popular y su relaci\u00f3n    con el cine mudo espa\u00f1ol, unidos a la catalogaci\u00f3n hist\u00f3rica    de los diferentes g\u00e9neros musicales y teatrales que han    conducido a espa\u00f1a a asumir, tras diversas mixtificaciones, la    copla como forma musical representativa y m\u00e1ximo exponente    de m\u00fasica aut\u00f3ctona que, adem\u00e1s, act\u00faa como referente en    el resto del mundo. Complementando la investigaci\u00f3n con    el uso que, de estas distintas formas musicales tipificadas,    el  cine realiz\u00f3 en beneficio propio mediante la utilizaci\u00f3n    de los distintos aparatos grabadores y reproductores    de m\u00fasica y sonido, para conseguir la integraci\u00f3n de ambos    en la banda de celuloide, los diversos experimentos    realizados y la consecuci\u00f3n final del intento. Desde el    protocine y el precine hasta la primera pel\u00edcula rodada con    sonido directo en territorio nacional.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Los or\u00edgenes de la canci\u00f3n popular en el cine mudo espa\u00f1ol (1896-1932)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Los or\u00edgenes de la canci\u00f3n popular en el cine mudo espa\u00f1ol (1896-1932) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Benito Martinez Vicente <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/02\/2012<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Emilio Carlos Garcia Fernandez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Santiago S\u00e1nchez gonz\u00e1lez <\/li>\n<li>imelda Rodr\u00edguez escanciano (vocal)<\/li>\n<li>Francisco Perales bazo (vocal)<\/li>\n<li>carmen Rodriguez fuentes (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Benito Martinez Vicente An\u00e1lisis de los or\u00edgenes de la canci\u00f3n popular y su relaci\u00f3n con el cine [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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