{"id":134281,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/los-instrumentos-aerofonos-y-cordofonos-de-la-musica-pastoril-espanola\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"los-instrumentos-aerofonos-y-cordofonos-de-la-musica-pastoril-espanola","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/los-instrumentos-aerofonos-y-cordofonos-de-la-musica-pastoril-espanola\/","title":{"rendered":"Los instrumentos aerofonos y cordofonos de la musica pastoril espa\u00f1ola."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Garcia Matos Alonso M. Carmen <\/strong><\/h2>\n<p>El objetivo propuesto en los instrumentos aerofonos y cordofonos de la musica pastoril espa\u00f1ola, es el estudio e investigacion de los instrumentos de cuerda y viento que hoy sobreviven como testimonio de los que estuvieron en uso entre las sociedades agricolas y ganaderas de los medios rurales de espa\u00f1a. El estudio se centra en la evolucion historica de los instrumentos, desde que aparecen los primeros vestigios encontrados en la prahistoria, pasando por las civilizaciones clasicas la edad media o el mundo primitivo. Se describen tambien los aerofonos y los cordofonos que todavia permanecen en el mundo pastoril, y es parte integrante de la cultura tradicional, sin perjuicio de que algunos se localicen, incluso, en los conjuntos orquestales modernos.  las artes plasticas, la literatura y la historia, son las fuentes junto con la iconografia musical o la cronica historica, en las que se basa esta investigacion. Se valora ademas el contexto magico-religioso, en el que aparecen algunos de ellos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Los instrumentos aerofonos y cordofonos de la musica pastoril espa\u00f1ola.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Los instrumentos aerofonos y cordofonos de la musica pastoril espa\u00f1ola. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Garcia Matos Alonso M. Carmen <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1997<\/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>Jes\u00fas Hernandez Perera<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco Jos\u00e9 Portela Sandoval <\/li>\n<li>Noemi Martinez Diez (vocal)<\/li>\n<li>Rosario \u00e1lvarez Mart\u00ednez (vocal)<\/li>\n<li>Francisco Gutierrez Carbajo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Garcia Matos Alonso M. Carmen El objetivo propuesto en los instrumentos aerofonos y cordofonos de la musica [&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":[147,986,104,7632,222,9132,1111],"tags":[41889,5884,248369,5374,22605,22376],"class_list":["post-134281","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-complutense-de-madrid","category-historia","category-historia-de-la-musica","category-historias-especializadas","category-musica-y-musicologia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-francisco-gutierrez-carbajo","tag-francisco-jose-portela-sandoval","tag-garcia-matos-alonso-m-carmen","tag-jesus-hernandez-perera","tag-noemi-Martinez-diez","tag-rosario-alvarez-Martinez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/134281","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=134281"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/134281\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=134281"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=134281"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=134281"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}