{"id":24949,"date":"2018-03-09T09:16:08","date_gmt":"2018-03-09T09:16:08","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-obra-de-cristobal-halffter-creacion-musical-y-fundamentos-esteticos\/"},"modified":"2018-03-09T09:16:08","modified_gmt":"2018-03-09T09:16:08","slug":"la-obra-de-cristobal-halffter-creacion-musical-y-fundamentos-esteticos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-obra-de-cristobal-halffter-creacion-musical-y-fundamentos-esteticos\/","title":{"rendered":"La obra de cristobal halffter: creaci\u00f3n musical y fundamentos est\u00e9ticos"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Germ\u00e1n Gan Quesada <\/strong><\/h2>\n<p>La tesis doctoral, estructurada en dos vol\u00famenes, tiene por objeto la delimitaci\u00f3n de los postulados est\u00e9ticos principales operativos en la obra del compositor madrile\u00f1o c. Halffter (1930), as\u00ed como la reconstrucci\u00f3n cronol\u00f3gica de su conformaci\u00f3n, el seguimiento de las influencias filos\u00f3ficas y literarias que convergen en ella y la determinaci\u00f3n de las relaciones de implicaci\u00f3n y coherencia establecidas entre los niveles expl\u00edcito e impl\u00edcito de la est\u00e9tica halffteriana.  para ello, y fund\u00e1ndose preferentemente con los fondos conservados en la sammlung crist\u00f3bal hlaffeter de la paul sacher stiftung de basel (suiza), se procede el examen de diversos campos conceptuales &#8211; creaci\u00f3n art\u00edstica y musical, dimensi\u00f3n sociopol\u00edtica y esperitual del proceso art\u00edstico &#8211; y a la \u00edntima conexi\u00f3n de la m\u00fasica de halffter con otras \u00e1reas de creaci\u00f3n intelectual, cient\u00edfica y art\u00edstica; por su parte, en el cap\u00edtulo final se analiza el concepto halffteriano de \u00abtradici\u00f3n\u00bb y su proyecci\u00f3n, mediante el uso de la cita musical, en una serie de obras desde 1980 hasta nuestros d\u00edas.  por \u00faltimo, en el segundo volumen se ofrece el aparato bibliogr\u00e1fico general y espec\u00edfico referido al compositor y una serie de ap\u00e9ndices, entre los que destacan un exhaustivo cat\u00e1logo cronol\u00f3gico de su obra musical y los primeros repertorios de su producci\u00f3n escrita (art\u00edculos, notas a programas de mano &#8230;), Entrevistas y encuestas y conferencias y discursos pronunciados.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La obra de cristobal halffter: creaci\u00f3n musical y fundamentos est\u00e9ticos<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La obra de cristobal halffter: creaci\u00f3n musical y fundamentos est\u00e9ticos <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Germ\u00e1n Gan Quesada <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Granada<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 21\/07\/2003<\/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>Gemma P\u00e9rez Zalduondo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: ignacio Henares cu\u00e9llar <\/li>\n<li> Cureses de la vega Marta (vocal)<\/li>\n<li>xos\u00e9 Avi\u00f1oa p\u00e9rez (vocal)<\/li>\n<li> Martinez del fresno beatriz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Germ\u00e1n Gan Quesada La tesis doctoral, estructurada en dos vol\u00famenes, tiene por objeto la delimitaci\u00f3n de los [&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":[147,4510,104,7632,222,9132,1111],"tags":[43753,72999,72998,2566,40867,20232],"class_list":["post-24949","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-estetica-de-las-bellas-artes","category-historia","category-historia-de-la-musica","category-historias-especializadas","category-musica-y-musicologia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-cureses-de-la-vega-marta","tag-gemma-perez-zalduondo","tag-german-gan-quesada","tag-ignacio-henares-cuellar","tag-Martinez-del-fresno-beatriz","tag-xose-avinoa-perez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/24949","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=24949"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/24949\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=24949"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=24949"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=24949"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}