{"id":83793,"date":"2018-03-10T00:08:00","date_gmt":"2018-03-10T00:08:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/de-la-chanson-a-la-canco-una-analisi-interrelacionada-de-la-canco-francesa-i-la-canco-catalana-contemporanies\/"},"modified":"2018-03-10T00:08:00","modified_gmt":"2018-03-10T00:08:00","slug":"de-la-chanson-a-la-canco-una-analisi-interrelacionada-de-la-canco-francesa-i-la-canco-catalana-contemporanies","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica\/de-la-chanson-a-la-canco-una-analisi-interrelacionada-de-la-canco-francesa-i-la-canco-catalana-contemporanies\/","title":{"rendered":"De la chanson a la canco. una analisi interrelacionada de la canco francesa i la canco catalana contemporanies."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Miquel Pujado Garcia <\/strong><\/h2>\n<p>Esta tesis desarrolla la hipotesis de la cancion culta como genero creativo independiente, y defiende la teoria de que la canci\u00f3n catalana moderna tiene un origen com\u00fan con la canci\u00f3n francesa y habr\u00eda vivido una trayectoria paralela a esta sin los cortes hist\u00f3ricos de la decadencia y el franquismo. la tesis, de formato enciclopidico, cuenta con una historia por decadas de las canciones catalana y francesa del s.Xx y con un diccionario completisimo de cantares catalanes y franceses (analizados esteticamente, discograficamente,etc), ademas de realizar un estudio exhaustivo de influencias mutuas (sobre todo francesas en el campo catalan), y de comparaci\u00f3n de estructuras (critica, salas, medios de comunicaci\u00f3n, etc).<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>De la chanson a la canco. una analisi interrelacionada de la canco francesa i la canco catalana contemporanies.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 De la chanson a la canco. una analisi interrelacionada de la canco francesa i la canco catalana contemporanies. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Miquel Pujado Garcia <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 17\/03\/2000<\/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>Sebastian Serrano<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: gabriel Oliver coll <\/li>\n<li>jaume Aulet amela (vocal)<\/li>\n<li>isabel Clara simo (vocal)<\/li>\n<li>delfi Abella gibert (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Miquel Pujado Garcia Esta tesis desarrolla la hipotesis de la cancion culta como genero creativo independiente, y [&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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