{"id":116505,"date":"2018-03-11T10:45:40","date_gmt":"2018-03-11T10:45:40","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/nueva-vision-sobre-la-iconografa%c2%ada-musical-en-espana-a-traves-de-la-pintura-itinerario-por-las-colecciones-y-fondos-del-museo-del-prado\/"},"modified":"2018-03-11T10:45:40","modified_gmt":"2018-03-11T10:45:40","slug":"nueva-vision-sobre-la-iconografa%c2%ada-musical-en-espana-a-traves-de-la-pintura-itinerario-por-las-colecciones-y-fondos-del-museo-del-prado","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/nueva-vision-sobre-la-iconografa%c2%ada-musical-en-espana-a-traves-de-la-pintura-itinerario-por-las-colecciones-y-fondos-del-museo-del-prado\/","title":{"rendered":"Nueva visi\u00f3n sobre la iconograf\u00edamusical en espa\u00f1a a trav\u00e9s de la pintura. itinerario por las colecciones y fondos del museo del prado"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Victor Javier Martinez Lopez <\/strong><\/h2>\n<p>Nueva visi\u00f3n sobre la iconograf\u00eda musical en espa\u00f1a  a trav\u00e9s de la pintura itinerario por las colecciones y fondos del museo del prado   el presente trabajo estudia el uso de los instrumentos musicales durante un largo periodo de seiscientos a\u00f1os, entre los siglos xiv y xix, vali\u00e9ndose de su representaci\u00f3n en la m\u00e1s rica colecci\u00f3n de pintura de nuestro pa\u00eds y posiblemente de todas las existentes, el museo nacional del prado. La elecci\u00f3n de un campo de investigaci\u00f3n tan poco frecuente no es arbitraria: las colecciones de la primera pinacoteca nacional, analizadas en su universal conjunto, con inclusi\u00f3n de la colecci\u00f3n permanente, los fondos del museo y lo que se ha venido en llamar &apos;el prado disperso&apos; o &apos;itinerante&apos;, representan la reuni\u00f3n m\u00e1s completa de im\u00e1genes de instrumentos m\u00fasicos de los siglos mencionados en el panorama mundial.   nuestro trabajo estudia la obra pict\u00f3rica de sus colecciones a trav\u00e9s de la ciencia organol\u00f3gica, sirvi\u00e9ndonos de la iconograf\u00eda musical, para la identificaci\u00f3n de los numerosos instrumentos que se dan cita en el amplio elenco del museo. La complejidad de tan inmenso legado se hace patente a trav\u00e9s de la mirada que aqu\u00ed se propone: la exploraci\u00f3n de forma  l\u00f3gica y exhaustiva de las numerosas facetas musicales reflejadas en los cuadros que conserva el museo del prado. Cada objeto musical aporta valiosa informaci\u00f3n sobre aspectos fundamentales para la organolog\u00eda, que aplicada a la historia del arte, ofrece una visi\u00f3n complementaria y positiva tanto de la obra pict\u00f3rica como del instrumento musical representado.               la primera etapa de elaboraci\u00f3n ha consistido en determinar, tras un proceso minucioso de cribado, cu\u00e1les pertenecen razonadamente a instrumentos reales, y cu\u00e1les no son m\u00e1s que una mera representaci\u00f3n simb\u00f3lica, mitol\u00f3gica o imaginaria, insertada en el contexto que convenga a cada autor.              \t el grueso del estudio lo conforman el desarrollo y la catalogaci\u00f3n de la obra pict\u00f3rica del museo nacional del prado, respecto a los instrumentos musicales representados. Dos ap\u00e9ndices nos introducen en aspectos b\u00e1sicos que han de estar presentes. El primero de ellos explica el significado y uso de la organolog\u00eda e iconograf\u00eda musical. El segundo se centra en la relevancia que ha tenido, a trav\u00e9s de los siglos, la ep\u00edstola ap\u00f3crifa de san jer\u00f3nimo, que explica el origen celeste de los  instrumentos musicales imaginarios.  \t\tla localizaci\u00f3n sistem\u00e1tica de instrumentos musicales antiguos conservados, contempor\u00e1neos de cada obra pict\u00f3rica estudiada, nos ha permitido remontar en varias ocasiones a la fuente instrumental original. Esto significa que hemos localizado el instrumento vivo, real y tridimensional que el pintor plasm\u00f3 en la tabla o lienzo hace cientos de a\u00f1os; a veces, localizamos el taller de construcci\u00f3n o firma en determinados ejemplares, y en otras incluso su destinatario. En el resto de obras, los instrumentos que acompa\u00f1an cada obra pict\u00f3rica proceden en su mayor\u00eda de los museos instrumentales internacionales m\u00e1s importantes, y son equiparables en su forma y proporciones. Es decir, comparamos lo pintado con instrumentos reales id\u00e9nticos o con los del mayor parecido posible.          \tel an\u00e1lisis se enriquece con toda esta informaci\u00f3n. Ampliamos la ficha hist\u00f3rica y documental de cada obra de arte, incluyendo informaci\u00f3n precisa acerca del instrumento musical representado, se\u00f1alando la correcta terminolog\u00eda instrumental, su origen, o la labor que desempe\u00f1a dentro de la representaci\u00f3n art\u00edstica. As\u00ed, hemos conseguido sentar bases s\u00f3lidas y documentadas relativas a la organolog\u00eda en la historia del arte. Aumentamos  campos poco desarrollados hasta el presente, dotando a la valiosa colecci\u00f3n documental y bibliogr\u00e1fica del museo del prado, con la catalogaci\u00f3n razonada de los instrumentos que aparecen en sus colecciones, ordenados seg\u00fan su uso social y la importancia que tuvieron para sus contempor\u00e1neos.           \t  new vision on musical iconography in spain  through painting.      itinerary by the prado museum collections and storages  the present work studies the use of musical instruments for a long period of six hundred years, between the 14th and 19th centuries, through their representation in the richest collection of paintings and possibly of all the existing ones in our country, the prado national museum. The choice of a so infrequent field of research is not arbitrary: the first national gallery collections, analyzed as a universal whole, with the inclusion of the permanent exhibition, the museum&apos;s storages and what has come to be called &apos;el prado disperso&apos; (the dispersed prado) or &apos;itinerante&apos; (the travelling prado), represent the most complete collection of musical instruments images of the mentioned centuries on the world scene.  our work studies the paintings of its collections through the organological science, using musical iconography, for the identification of the numerous instruments that gather in the extensive collection of the museum. The complexity of such an immense legacy is evident through the approach that is proposed here: the logical and comprehensive exploration of the many musical facets reflected in the prado museum paintings. Each musical object provides valuable information on key aspects for organology, which applied to the history of art, offers a positive and complementary vision of both the pictorial work and the represented musical instrument.  the first stage of development has been to determine, after a thorough screening process, which of them reasonably belong to real instruments, and which ones are no more than a mere symbolic, mythological or imaginary representation placed within the context that suits each painter.  the development and cataloguing of paintings from the prado national museum shape the bulk of this study, with regard to the represented musical instruments. Two appendices introduce us in basic aspects that must be present. The first one explains the meaning and use of organology and musical iconography. The second one focuses on the relevance that the apocryphal epistle of st. Jerome, which explains the celestial origin of the imaginary musical instruments, has had over the centuries.  the systematic search for preserved ancient musical instruments, contemporary of each studied pictorial work, has allowed us to go repeatedly to the original instrumental source. This means that we have located the live, real and three-dimensional instrument that the painter captured on panel or canvas hundreds of years ago; occasionally we located the instrument-manufacturing workshop or signature, and sometimes even the recipient. In other works, instruments that accompany each painting come mostly from major international instrumental museums, and are comparable in shape and proportions. Thus, we associate the represented instrument with identical real instruments or with the most similar ones.          \tthe analysis is enriched by all this information. We extended the historical and documentary file of each work of art, including specific information about the musical instrument represented, along with the correct instrumental terminology, its origin, or the role which plays within the artistic representation. Thus, we have managed to lay documented sound foundations regarding organology in the history of art. We extended limited fields of study which have been developed up to the present, providing the valuable documentary and bibliographic collection of the museo del prado with a reasoned cataloguing of instruments which appear in its collections, sorted according to their social use and the importance they had for their contemporaries.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Nueva visi\u00f3n sobre la iconograf\u00edamusical en espa\u00f1a a trav\u00e9s de la pintura. itinerario por las colecciones y fondos del museo del prado<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Nueva visi\u00f3n sobre la iconograf\u00edamusical en espa\u00f1a a trav\u00e9s de la pintura. itinerario por las colecciones y fondos del museo del prado <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Victor Javier Martinez Lopez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 23\/10\/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>Joaquin Tomas Canovas Belchi<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: cristobal Belda navarro <\/li>\n<li>gonzalo Borras gualis (vocal)<\/li>\n<li>alejandro Masso fenoult (vocal)<\/li>\n<li>Francisco Javier P\u00e9rez rojas (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Victor Javier Martinez Lopez Nueva visi\u00f3n sobre la iconograf\u00eda musical en espa\u00f1a a trav\u00e9s de la pintura 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