{"id":34507,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/orfeo-y-la-mitologia-de-la-musica\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"orfeo-y-la-mitologia-de-la-musica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/orfeo-y-la-mitologia-de-la-musica\/","title":{"rendered":"Orfeo y la mitolog\u00eda de la musica."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Francisco Molina Moreno <\/strong><\/h2>\n<p>En el trabajo que presentamos, nos hemos propuesto estudiar lo que las fuentes literarias e iconogr\u00e1ficas de la antiguedad greco-latina dicen acerca de la m\u00fasica en el mito de orfeo, y hemos intentado relacionar esos datos del mito con la cultura musical de la antiguedad. El arte que las fuentes antiguas atribuyen a orfeo es una m\u00fasica que, conforme a la concepci\u00f3n arcaica y cl\u00e1sica, incluye la palabra, que tambi\u00e9n es un hecho sonoro. La uni\u00f3n de palabra y m\u00fasica, propia de orfeo, es propia del canto m\u00e1gico, y m\u00e1gico es el canto de orfeo, a la luz de sus efectos sobre la naturaleza y los dioses. En la m\u00fasica que orfeo dirige a los dioses, en las fuentes del mito, confluyen rasgos de la m\u00fasica en el culto de apolo (la lira y la \u00edndole expresiva) con otros propios de los misterios, y esa misma confluencia era propia de los pitag\u00f3ricos, que representaron, en el mundo antiguo, la adaptaci\u00f3n de la concepci\u00f3n m\u00e1gica de la m\u00fasica a una funci\u00f3n educativa y armonizadora del individuo y de la sociedad, tal como se ve tambi\u00e9n en el papel que orfeo desempe\u00f1a en el marco de la colectividad humana.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Orfeo y la mitolog\u00eda de la musica.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Orfeo y la mitolog\u00eda de la musica. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Francisco Molina Moreno <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/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>Alberto Bernabe Pajares<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Julia Mendoza Tu\u00f1on <\/li>\n<li>Jos\u00e9 Garcia Lopez (vocal)<\/li>\n<li>Christoph Riedweg (vocal)<\/li>\n<li>Vicente Cristobal Lopez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Francisco Molina Moreno En el trabajo que presentamos, nos hemos propuesto estudiar lo que las fuentes literarias [&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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