{"id":11730,"date":"2018-03-09T08:57:13","date_gmt":"2018-03-09T08:57:13","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/novas-perspectivas-sobre-a-cana%c2%a7ao-de-embalar-protuguesa-transcria%c2%a7ao-e-nalise\/"},"modified":"2018-03-09T08:57:13","modified_gmt":"2018-03-09T08:57:13","slug":"novas-perspectivas-sobre-a-cana%c2%a7ao-de-embalar-protuguesa-transcria%c2%a7ao-e-nalise","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/novas-perspectivas-sobre-a-cana%c2%a7ao-de-embalar-protuguesa-transcria%c2%a7ao-e-nalise\/","title":{"rendered":"Novas perspectivas sobre a can\u00c1\u00a7ao de embalar protuguesa: transcri\u00c1\u00a7ao e nalise"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Gon\u00c1\u00a7alves De Abrantes Elsa M. <\/strong><\/h2>\n<p>Las canciones de cuna portuguesa son una de las tradiciones m\u00e1s arcaicas de nuestro folklore. A pesar de la cantidad de material de campo sobre este tema, y la mayor\u00eda vigente a\u00fan, sobre todo en \u00e1mbitos rurales, no hay ning\u00fan trabajo monogr\u00e1fico sobre ello. Gui\u00e1ndome por el consejo de ayestar\u00e1n de que el folklore infantil es el fondo del ojo de la tradici\u00f3n popular, emprendo este estudio, esperando recoger los elementos m\u00e1s caracterizadores de nuestra tradici\u00f3n oral.  asimismo, mi propuesta ha sido recoger, en fuente primarias y secundarias toda la informaci\u00f3n sobre estas canciones. Recoger en fuentes orales y escritas todos los ejemplos de nanas que se cantaban y se cantan actualmente. transcribir los repertorios seg\u00fan las normas de transcripci\u00f3n para texto y m\u00fasica. Hacer un an\u00e1lisis individualizado de estas canciones, para observar su l\u00ednea mel\u00f3dica, \u00e1mbito, inflexiones.  partiendo de los fondos bibliogr\u00e1ficos de la funci\u00f3n germ\u00e1n s\u00e1nchez ruip\u00e9rez, comparo todo lo all\u00e9 encontrado sobre canciones de nana con los fondos de la universidad de coimbra y nova de lisboa.  construyo un corpues de fuentes escritas y fuentes orales, procedentes de trabajo de campo anteriores.  analiz\u00f3 cada canci\u00f3n en su individualidad, estudiando su modalidad o tonalidad, ritmo y figuraci\u00f3n, relaci\u00f3n m\u00fasica-texto y elementos musicales m\u00e1s relevantes. Saco conclusiones generales sobre este repertorio.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Novas perspectivas sobre a can\u00c1\u00a7ao de embalar protuguesa: transcri\u00c1\u00a7ao e nalise<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Novas perspectivas sobre a can\u00c1\u00a7ao de embalar protuguesa: transcri\u00c1\u00a7ao e nalise <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Gon\u00c1\u00a7alves De Abrantes Elsa M. <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 28\/06\/2001<\/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>Matilde Mar\u00eda Olarte Mart\u00ednez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: d\u00e1maso Garc\u00eda fraile <\/li>\n<li>enrique Camara de landa (vocal)<\/li>\n<li>Miguel angel Berlanga fernandez (vocal)<\/li>\n<li>Jos\u00e9 Antonio Gomez rodriguez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gon\u00c1\u00a7alves De Abrantes Elsa M. Las canciones de cuna portuguesa son una de las tradiciones m\u00e1s arcaicas [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[681,983,147,38486,38485,9132,9386,1111,31506],"tags":[25874,12535,38487,25613,38488,38489],"class_list":["post-11730","post","type-post","status-publish","format-standard","hentry","category-antropologia","category-antropologia-cultural","category-ciencias-de-las-artes-y-las-letras","category-etnolinguistica-antropologica","category-etnomusicologia","category-musica-y-musicologia","category-salamanca","category-teoria-analisis-y-critica-de-las-bellas-artes","category-tradicion","tag-damaso-garcia-fraile","tag-enrique-camara-de-landa","tag-gonaalves-de-abrantes-elsa-m","tag-jose-antonio-gomez-rodriguez","tag-matilde-maria-olarte-Martinez","tag-miguel-angel-berlanga-fernandez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/11730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=11730"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/11730\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=11730"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=11730"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=11730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}