{"id":91139,"date":"2009-12-01T00:00:00","date_gmt":"2009-12-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-creacion-musical-en-el-cine-espanol-contemporaneo\/"},"modified":"2009-12-01T00:00:00","modified_gmt":"2009-12-01T00:00:00","slug":"la-creacion-musical-en-el-cine-espanol-contemporaneo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teoria-analisis-y-critica-de-las-bellas-artes\/la-creacion-musical-en-el-cine-espanol-contemporaneo\/","title":{"rendered":"La creaci\u00f3n musical en el cine espa\u00f1ol contempor\u00e1neo"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda Teresa Fraile Prieto <\/strong><\/h2>\n<p>Esta tesis aborda el estudio de la m\u00fasica en el cine desde el punto de partida de la musicolog\u00eda, pero al mismo tiempo plantea la necesidad de aproximarse a ella desde una perspectiva interdisciplinar, pues toma el fen\u00f3meno audiovisual como unitario. El trabajo es en s\u00ed mismo una reflexi\u00f3n sobre el estudio de la m\u00fasica en el cine, planteando los problemas que surgen en el an\u00e1lisis de la interacci\u00f3n m\u00fasico-cinematogr\u00e1fica. As\u00ed, el primer gran bloque consiste en una revisi\u00f3n cr\u00edtica de las teor\u00edas m\u00e1s relevantes aparecidas en torno a la m\u00fasica de cine a lo largo de su historia, donde se presta una especial atenci\u00f3n a las teor\u00edas m\u00e1s recientes y a conceptos extra\u00eddos de la nueva musicolog\u00eda y de los estudios de popular music. Se realiza asimismo una aportaci\u00f3n historiogr\u00e1fica del contexto de la m\u00fasica de cine en espa\u00f1a, y se construye la historia espec\u00edfica del periodo de 1990 a 2004, incidiendo tanto en los rasgos de esta \u00abgeneraci\u00f3n\u00bb de compositores y directores, como en otros agentes privativos de este momento. El siguiente cap\u00edtulo se consagra a definir la identidad nacional de la m\u00fasica del cine espa\u00f1ol contempor\u00e1neo y a mostrar algunos casos f\u00edlmicos en los que la m\u00fasica de cine es constructora de discursos de identidad. Finalmente, se ejemplifican las principales tendencias de la banda sonora musical del periodo mediante el an\u00e1lisis de siete binomios presentes en el cine espa\u00f1ol, cada uno compuestos por un compositor y un director. La colaboraci\u00f3n de dos creadores da lugar a paradigmas creativos que ayudan a definir el panorama musical del cine espa\u00f1ol en un momento tan heterog\u00e9neo como son estas dos d\u00e9cadas.  this phd dissertation music in contemporary spanish cinema is a methodological proposal for the study of film music. The general aim is to show the necessity of approaching film music from the perspective of the audio-visual as a whole, considering all its implications within the context. We focus on the features of spanish film music in the period 1990-2004. During the nineties a new group of filmmakers and film music composers appears in spain, in the refreshing period of post-democracy. Music composers play an essential role in spanish cinema innovations: for these authors, the awareness of cinema as an audiovisual language springs from the notion of interaction between music and image, and from the particular conditions of spain at that moment. This dissertation deals with the teamwork present in several film-music constructions, which are made up of composers and filmmakers. The lasting cooperation between these musicians and these specific directors gives rise to a distinctive audio-visual conception that both consolidates several theoretical ideas and refuses others in the course of studying the interrelationships between music and cinema. Thus, in spain in this period we can find several film cultures with hybrid identities, formed by multiple influences, where music assumes or rejects stereotypes constructed of what is considered \u00abspanish\u00bb. It is in this process where we can identify the features of a new way of composing in spanish film music, in which styles and genres blur their frontiers.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La creaci\u00f3n musical en el cine espa\u00f1ol contempor\u00e1neo<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La creaci\u00f3n musical en el cine espa\u00f1ol contempor\u00e1neo <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda Teresa Fraile Prieto <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/01\/2009<\/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>Matilde Mar\u00eda Olarte Mart\u00ednez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Mart\u00edn moreno <\/li>\n<li>jaume Radigales bab\u00ed (vocal)<\/li>\n<li>celsa Alonso gonz\u00e1lez (vocal)<\/li>\n<li>Santiago Fouz-hern\u00e1ndez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Teresa Fraile Prieto Esta tesis aborda el estudio de la m\u00fasica en el cine desde el 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