{"id":115320,"date":"2018-03-11T10:43:47","date_gmt":"2018-03-11T10:43:47","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-musica-teatral-de-pablo-sorozabal-mariezcurrena-1987-1988-ensayo-de-analisis\/"},"modified":"2018-03-11T10:43:47","modified_gmt":"2018-03-11T10:43:47","slug":"la-musica-teatral-de-pablo-sorozabal-mariezcurrena-1987-1988-ensayo-de-analisis","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/musica-y-musicologia\/la-musica-teatral-de-pablo-sorozabal-mariezcurrena-1987-1988-ensayo-de-analisis\/","title":{"rendered":"La m\u00fasica teatral de pablo soroz\u00e1bal mariezcurrena (1987-1988): ensayo de an\u00e1lisis"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mario Lerena Gutierrez <\/strong><\/h2>\n<p>El estudio de la producci\u00f3n esc\u00e9nica de pablo soroz\u00e1bal mariezcurrena (donostia, 1897-Madrid, 1988) nos acerca a un importante cap\u00edtulo de la vida musical espa\u00f1ola del siglo xx. En efecto, este compositor, director y empresario fue uno de los \u00faltimos y m\u00e1s significativos representantes de la tradici\u00f3n de teatro l\u00edrico desarrollada en torno al g\u00e9nero \u00c2\u00bfzarzuela\u00c2\u00bf. De ah\u00ed que rastreando su trayectoria podamos trazar un retrato mod\u00e9lico de la carrera profesional de un m\u00fasico en su necesaria adaptaci\u00f3n a las transformaciones culturales de su tiempo.   Por otro lado, el an\u00e1lisis de este repertorio nos obliga a explorar una metodolog\u00eda ad hoc capaz de dar cuenta del funcionamiento y significado de esta m\u00fasica en su contexto dram\u00e1tico y dentro de las coordenadas gen\u00e9ricas en que se inscribe, con sus propias tradiciones, expectativas y circunstancias condicionantes.     En esta labor ha sido imprescindible tanto el rastreo de diversas fuentes documentales contempor\u00e1neas (en parte, in\u00e9ditas o desconocidas ) como un an\u00e1lisis directo de los textos musicales y literarios originales de cada obra, siguiendo una orientaci\u00f3n metodol\u00f3gica en l\u00ednea con recientes formulaciones de la semi\u00f3tica y sem\u00e1ntica musicales.     Todo ello nos permite no s\u00f3lo conocer en profundidad y valorar este repertorio, sino tambi\u00e9n comprender de forma aplicada la capacidad comunicativa del lenguaje musical a la hora de transmitir significados concretos, junto a sus mecanismos de relaci\u00f3n con otros medios de expresi\u00f3n art\u00edstica (como al palabra o el gesto esc\u00e9nico).<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La m\u00fasica teatral de pablo soroz\u00e1bal mariezcurrena (1987-1988): ensayo de an\u00e1lisis<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La m\u00fasica teatral de pablo soroz\u00e1bal mariezcurrena (1987-1988): ensayo de an\u00e1lisis <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mario Lerena Gutierrez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 28\/02\/2014<\/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>Carmen Rodriguez Suso<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: emilio Casares rodicio <\/li>\n<li>v\u00edctor S\u00e1nchez s\u00e1nchez (vocal)<\/li>\n<li>celsa Alonso gonz\u00e1lez (vocal)<\/li>\n<li>Jos\u00e9 ignacio Lorente bilbao (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mario Lerena Gutierrez El estudio de la producci\u00f3n esc\u00e9nica de pablo soroz\u00e1bal mariezcurrena (donostia, 1897-Madrid, 1988) nos [&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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