{"id":54704,"date":"2018-03-09T22:42:27","date_gmt":"2018-03-09T22:42:27","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/origen-desarrollo-y-proyeccion-de-la-triologa%c2%ada-da-ponte-mozart\/"},"modified":"2018-03-09T22:42:27","modified_gmt":"2018-03-09T22:42:27","slug":"origen-desarrollo-y-proyeccion-de-la-triologa%c2%ada-da-ponte-mozart","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/analisis-literario\/origen-desarrollo-y-proyeccion-de-la-triologa%c2%ada-da-ponte-mozart\/","title":{"rendered":"Origen, desarrollo y proyecci\u00f3n de la triolog\u00eda da ponte-mozart"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Mart\u00edn L\u00f3pez Carolina Inmaculada <\/strong><\/h2>\n<p>El objetivo m\u00e1s amplio de esta tesis ha sido el de ofrecer desde diferentes orientaciones &#8211; ling\u00ed\u00bc\u00edsticas, literarias y musicales &#8211; una visi\u00f3n conjunta de la triolog\u00eda oper\u00edstica da ponte-mozart, ya que a pesar de los innumerables estudios realizados sobre le nozze di figaro, don giovani y cos\u00ed\u00ac fan tutte no existe ning\u00fan trabajo relevante que desde distintos enfoques disciplinarios haya llevado a cabo un an\u00e1lisis global de lo que puede ser visto como un proyecto unitario de evoluci\u00f3n tem\u00e1tica y de realizaci\u00f3n esc\u00e9nica de los personajes. Aunar, pues, todos los precedentes estudios fragmentarios con aportaciones originales ha sido labor fundamental en el desarrollo de este trabajo, para poder mostrar no s\u00f3lo la perfecta intersecci\u00f3n dial\u00e9ctica entre palabra y m\u00fasica, sino tambi\u00e9n la trayectoria de pensamiento que siguieron libretista y compositor a lo largo de la concepci\u00f3n de las tres obras.     por motivos de estructuraci\u00f3n externa hemos articulado el an\u00e1lisis en tres apartados: fuentes en las que directa o indirectamente han podido basarse libretista y compositor para la composici\u00f3n de los melodramas, estudio de los mismos bajo la perspectiva de las plasmaci\u00f3n del texto po\u00e9tico en la escritura musical, y repercusiones dela triolog\u00eda en trabajos art\u00edsticos posteriores.     especial atenci\u00f3n hemos puesto en los c\u00e1nones de la est\u00e9tica po\u00e9tico-muscial del siglo xviii para ver hasta qu\u00e9 punto puede hablarse de la reforma de mozart en t\u00e9rminos de revoluci\u00f3n copernicana y en qu\u00e9 medida da ponte contribuye a la renovaci\u00f3n del lenguaje melodram\u00e1tico utilizado hasta ese momento, sobre todo en el melodrama barroco del siglo precedente.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Origen, desarrollo y proyecci\u00f3n de la triolog\u00eda da ponte-mozart<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Origen, desarrollo y proyecci\u00f3n de la triolog\u00eda da ponte-mozart <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Mart\u00edn L\u00f3pez Carolina Inmaculada <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 25\/09\/2006<\/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>Jacobo Cortines Torres<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Serrena contreras ram\u00f3n Mar\u00eda <\/li>\n<li> Jim\u00e9nez tom\u00e9 Mar\u00eda Jos\u00e9 (vocal)<\/li>\n<li>piedad Bola\u00f1os donoso (vocal)<\/li>\n<li>Alberto Romero ferrer (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mart\u00edn L\u00f3pez Carolina Inmaculada El objetivo m\u00e1s amplio de esta tesis ha sido el de ofrecer desde [&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":[148,2965,9132,10715],"tags":[1868,52221,117927,120848,11170,120849],"class_list":["post-54704","post","type-post","status-publish","format-standard","hentry","category-analisis-literario","category-estilo-y-estetica-literarios","category-musica-y-musicologia","category-sevilla","tag-alberto-romero-ferrer","tag-jacobo-cortines-torres","tag-jimenez-tome-maria-jose","tag-martin-lopez-carolina-inmaculada","tag-piedad-bolanos-donoso","tag-serrena-contreras-ramon-maria"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/54704","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=54704"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/54704\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=54704"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=54704"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=54704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}