{"id":135878,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-musica-en-las-culturas-del-rock-y-las-fuentes-del-curriculo-de-educacion-musical\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"la-musica-en-las-culturas-del-rock-y-las-fuentes-del-curriculo-de-educacion-musical","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-musica-en-las-culturas-del-rock-y-las-fuentes-del-curriculo-de-educacion-musical\/","title":{"rendered":"La musica en las culturas del rock y las fuentes del curriculo de educacion musical."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Amparo Porta Navarro <\/strong><\/h2>\n<p>La realidad sonora, en tanto que discursiva, nos habla siempre de algo que esta ausente. Por ello, partiendo de un nivel de maxima generalidad, se crea una primera aproximacion al problema desde un enfoque comunicativo:  la musica del entorno cotidiano. Posteriormente se define el mapa sonoro, destacando el rock como discurso sonoro dominante de la cultura popular contemporanea.  la teoria del discurso permite su acercamiento y, desde el, la educacion musical se situa en unos parametros de la comunicacion y la escucha, que rebasan los principios de las principales corrientes pedagogicas.  la finalizacion del trabajo supone un recorrido practico mediante el analisis de diferentes textos y discursos: la musica en la publicidad, en el cine y en los libros de texto de diferentes niveles educativos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La musica en las culturas del rock y las fuentes del curriculo de educacion musical.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La musica en las culturas del rock y las fuentes del curriculo de educacion musical. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Amparo Porta Navarro <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/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>Jenaro Talens Carmona<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Santos Zunzunegui Diez <\/li>\n<li>Angel Sanmartin Alonso (vocal)<\/li>\n<li>Antonio S\u00e1nchez Trigueros (vocal)<\/li>\n<li>Manuel Perez Gil (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Amparo Porta Navarro La realidad sonora, en tanto que discursiva, nos habla siempre de algo que esta [&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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