{"id":20443,"date":"2002-10-12T00:00:00","date_gmt":"2002-10-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/postulados-esteticos-de-las-vanguardias-musicales-en-espana-1950-1970\/"},"modified":"2002-10-12T00:00:00","modified_gmt":"2002-10-12T00:00:00","slug":"postulados-esteticos-de-las-vanguardias-musicales-en-espana-1950-1970","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/postulados-esteticos-de-las-vanguardias-musicales-en-espana-1950-1970\/","title":{"rendered":"Postulados est\u00e9ticos de las vanguardias musicales en espa\u00f1a (1950-1970)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Hern\u00e1ndez Molero <\/strong><\/h2>\n<p>El objetivo de la presente tesis consiste en indagar hasta que punto las obras musicales de vanguardia producidas en espa\u00f1a entre 1950 y 1970 mantienen su autonom\u00eda al margen de principios te\u00f3ricos extramusicales o si, por el contrario, su elaboraci\u00f3n deja traslucir determinados presupuestos est\u00e9ticos que act\u00faan como aut\u00e9nticos postulados. La riqueza de los planteamientos te\u00f3ricos que act\u00faan como aut\u00e9nticos postulados. La riqueza de los planteamientos te\u00f3ricos da forma a uno de los periodos m\u00e1s ricos de la m\u00fascia compuesta en espa\u00f1a, pues la r\u00e1pida asimilaci\u00f3n de posiciones muy avanzadas desde el punto de vista est\u00e9tico hizo que paralelamente a la b\u00fasqueda de lenguajes musicales nuevos apareciera en los propios compositores la necesidad de reflexi\u00f3na cerca de esa ruptura consciente con las formas anteriores, por la creaci\u00f3n musical ha de quedar insertada por derecho propio en el conjunto global de la cultura espa\u00f1ola.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Postulados est\u00e9ticos de las vanguardias musicales en espa\u00f1a (1950-1970)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Postulados est\u00e9ticos de las vanguardias musicales en espa\u00f1a (1950-1970) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Hern\u00e1ndez Molero <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Aut\u00f3noma de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 10\/12\/2002<\/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>Bego\u00f1a Lolo Herranz<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: ram\u00f3n Barce benito <\/li>\n<li>alfredo Azauil avila (vocal)<\/li>\n<li>Alberto Ruiz de samaniego Garc\u00eda (vocal)<\/li>\n<li>yvan Nommick (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Hern\u00e1ndez Molero El objetivo de la presente tesis consiste en indagar hasta que punto las obras [&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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