{"id":26839,"date":"2018-03-09T09:18:50","date_gmt":"2018-03-09T09:18:50","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/musica-poder-y-devocion-la-capilla-real-de-carlos-ii-1665-1700\/"},"modified":"2018-03-09T09:18:50","modified_gmt":"2018-03-09T09:18:50","slug":"musica-poder-y-devocion-la-capilla-real-de-carlos-ii-1665-1700","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/zaragoza\/musica-poder-y-devocion-la-capilla-real-de-carlos-ii-1665-1700\/","title":{"rendered":"M\u00fasica, poder y devoci\u00f3n. la capilla real de carlos ii (1665-1700)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Pablo L. Rodr\u00edguez Fern\u00e1ndez <\/strong><\/h2>\n<p>La tesis se centra en la actividad musical y ceremonial de la capilla del alc\u00e1zar real durante el reinado de carlos ii y en el uso de la m\u00fasica como elemento de representaci\u00f3n p\u00fablica del poder y la devoci\u00f3n de la monarqu\u00eda a finales de la dinast\u00eda de los habsburgo en espa\u00f1a. Los siete cap\u00edtulos de que consta tratan tres temas fundamentales en los que puede dividirse el trabajo.  el primer tema es el entorno institucional de la capilla y engloba los primeros tres cap\u00edtulos. En el primer cap\u00edtulo se parte de la definici\u00f3n del concepto \u00abcapilla de m\u00fasica\u00bb aplicado al \u00e1mbito cortesano y se realiza un repaso cr\u00edtico de las fuentes documentales utilizadas hasta hoy por la historiograf\u00eda para la reconstrucci\u00f3n institucional de la capilla real. en el segundo cap\u00edtulo se sit\u00faa la actividad musical de la capilla real en el marco de la m\u00fasica cultivada en la corte madrile\u00f1a y se muestra c\u00f3mo los m\u00fasicos de dicha instituci\u00f3n abastec\u00edan a todos los \u00e1mbitos de la corte. finalmente en el tercer cap\u00edtulo se estudian los puestos musicales de la capilla y su evoluci\u00f3n durante el reinado de carlos ii.  el segundo tema es la relaci\u00f3n del a m\u00fasica con el espacio y el ceremonial de la capilla del alc\u00e1zar real que coincide con el cap\u00edtulo cuarto. Aqu\u00ed se pretende mostrar c\u00f3mo la m\u00fasica de la capilla real estaba medietizada por la jerarqu\u00eda y las regulaciones del ceremonial, y se analiza con detalle la pr\u00e1ctica interpretativa y la funcionalidad de las intervenciones musicales dentro de las ceremonias.  el tercer tema se desarrolla en los cap\u00edtulos quinto, sexto y s\u00e9ptimo y consiste propiamente en el estudio de la m\u00fasica de la capilla real de carlos ii. El cap\u00edtulo quinto pretende ofrecer una primera aproximaci\u00f3n al estudio e identificaci\u00f3n de las copias de m\u00fasicos de la capilla real conservadas en los archivos de catedrales y monasterios, con las ventajas y dificultades que ello implica. En el cap\u00edtulo sexto se ava<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>M\u00fasica, poder y devoci\u00f3n. la capilla real de carlos ii (1665-1700)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 M\u00fasica, poder y devoci\u00f3n. la capilla real de carlos ii (1665-1700) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Pablo L. Rodr\u00edguez Fern\u00e1ndez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Zaragoza<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/11\/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> Carreras L\u00f3pez Juan  Jos\u00e9<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: emilio Casares rodicio <\/li>\n<li>tess Knighton (vocal)<\/li>\n<li> G\u00f3mez muntan\u00e9 mari carmen (vocal)<\/li>\n<li>dinko Fabris (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Pablo L. Rodr\u00edguez Fern\u00e1ndez La tesis se centra en la actividad musical y ceremonial de la capilla [&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":[13610],"tags":[77407,77410,7634,77409,77406,77408],"class_list":["post-26839","post","type-post","status-publish","format-standard","hentry","category-zaragoza","tag-carreras-lopez-juan-jose","tag-dinko-fabris","tag-emilio-casares-rodicio","tag-gomez-muntane-mari-carmen","tag-pablo-l-rodriguez-fernandez","tag-tess-knighton"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/26839","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=26839"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/26839\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=26839"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=26839"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=26839"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}