{"id":140186,"date":"2026-01-12T17:52:17","date_gmt":"2026-01-12T17:52:17","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/miguel-de-irizar-y-domenzain-1635-1684-biografia-epistolario-y-estudio-de-sus-lamentaciones\/"},"modified":"2026-01-12T17:52:17","modified_gmt":"2026-01-12T17:52:17","slug":"miguel-de-irizar-y-domenzain-1635-1684-biografia-epistolario-y-estudio-de-sus-lamentaciones","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/miguel-de-irizar-y-domenzain-1635-1684-biografia-epistolario-y-estudio-de-sus-lamentaciones\/","title":{"rendered":"Miguel de irizar y domenzain (1635-1684 ?): biografia, epistolario y estudio de sus lamentaciones."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Matilde Mar\u00eda Olarte Mart\u00ednez <\/strong><\/h2>\n<p>Este trabajo tiene por objeto ser una aportacion al estudio de nuestro barroco musical, tanto desde el punto de vista documental como musicologico sobre la vida y un aspecto de las obras del maestro de capilla miguel de irizar. Gracias al estudio exhaustivo de la correspondencia que de dicho maestro se conserva en los fondos musicales de la catedral de segovia, se presentan nuevos datos sobre diversos aspectos musicales del barroco -tanto de elementos esteticos y tecnica interpretativa como de las provisiones de plazas en capillas catedralicias-, y nuevos datos biograficos de maestros de capilla, cantores e instrumentistas coetaneos a la actividad musical de nuestro maestro. A traves del analisis de sus lamentaciones podemos llegar a configurar un estilo compositivo de irizar, encuadrado en los moldes de una polifonia barroca clasica.-<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Miguel de irizar y domenzain (1635-1684 ?): biografia, epistolario y estudio de sus lamentaciones.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Miguel de irizar y domenzain (1635-1684 ?): biografia, epistolario y estudio de sus lamentaciones. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Matilde Mar\u00eda Olarte Mart\u00ednez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Valladolid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1992<\/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>Mar\u00eda Antonia Virgili Blanquet<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francesc Bonastre Bertran <\/li>\n<li> De La Plaza Francisco (vocal)<\/li>\n<li>Emilio Casares Rodicio (vocal)<\/li>\n<li>Damaso Garcia Fraile (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Matilde Mar\u00eda Olarte Mart\u00ednez Este trabajo tiene por objeto ser una aportacion al estudio de nuestro barroco [&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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