{"id":56929,"date":"2007-07-02T00:00:00","date_gmt":"2007-07-02T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/oliver-messiaen-analisis-de-poemes-pour-mi-para-canto-y-piano\/"},"modified":"2007-07-02T00:00:00","modified_gmt":"2007-07-02T00:00:00","slug":"oliver-messiaen-analisis-de-poemes-pour-mi-para-canto-y-piano","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/musica-y-musicologia\/oliver-messiaen-analisis-de-poemes-pour-mi-para-canto-y-piano\/","title":{"rendered":"Oliver messiaen: an\u00e1lisis de \u00abpoemes pour mi\u00bb, para canto y piano."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Trinidad Lull Naya <\/strong><\/h2>\n<p>Sta tesis realiza un minucioso estudio sobre el primer gran ciclo vocal escrito por el compositor franc\u00e9s oliver messiaen (1908-1992). Se trata de \u00abpo\u00e9mes pour mi\u00bb, en su primera versi\u00f3n para soprano y piano, obra dedicada a su mujer claire delbos, compuesta en 1936. Dicho estudio ha sido elaborado a trav\u00e9s del an\u00e1lisis musical como principal herramienta de investigaci\u00f3n musicol\u00f3gica. Partiendo del an\u00e1lisis exhaustivo de la partitura, se ha desarrollado un estudio comparativo entre el lenguaje musical empleado en esta obra y el lenguaje explicado por el autor en su primer tratado de t\u00e9cnica. La oportunidad de contar con un texto escrito por el propio compositor, ha sido un hecho decisivo a la hora de exclarecer y confirmar el verdadero significado de estas nueve conciones. Como respuesta a la necesidad de encuadrar y situar el an\u00e1lisis musical en un marco global e integral del compositor, el trabajo incluye una biograf\u00eda original, asent\u00e1ndose en las fuentes bibliogr\u00e1ficas m\u00e1s significativas<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Oliver messiaen: an\u00e1lisis de \u00abpoemes pour mi\u00bb, para canto y piano.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Oliver messiaen: an\u00e1lisis de \u00abpoemes pour mi\u00bb, para canto y piano. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Trinidad Lull Naya <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 07\/02\/2007<\/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>Luis Blanes Arques<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco m. Gimeno blay <\/li>\n<li>Antonio Notario ruiz (vocal)<\/li>\n<li>ricard Huerta ramon (vocal)<\/li>\n<li>josep m Vives ramiro (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Trinidad Lull Naya Sta tesis realiza un minucioso estudio sobre el primer gran ciclo vocal escrito por [&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":[10452,9132],"tags":[125785,27010,125786,88858,72628,125784],"class_list":["post-56929","post","type-post","status-publish","format-standard","hentry","category-estetica","category-musica-y-musicologia","tag-antonio-notario-ruiz","tag-francisco-m-gimeno-blay","tag-josep-m-vives-ramiro","tag-luis-blanes-arques","tag-ricard-huerta-ramon","tag-trinidad-lull-naya"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/56929","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=56929"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/56929\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=56929"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=56929"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=56929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}