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Full metadata record
DC Field | Value | Language |
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dc.contributor.advisor | María José Sánchez Usón | en_US |
dc.coverage.spatial | Global | en_US |
dc.creator | Encina Arroyo, César Tomás | - |
dc.date.accessioned | 2023-02-13T17:29:49Z | - |
dc.date.available | 2023-02-13T17:29:49Z | - |
dc.date.issued | 2021-11-22 | - |
dc.identifier | info:eu-repo/semantics/publishedVersion | en_US |
dc.identifier.uri | http://ricaxcan.uaz.edu.mx/jspui/handle/20.500.11845/3181 | - |
dc.description | There are different theories about how man, at the beginning of his creative capacity, generated what we could call music. creative capacity, generated what we could call music. The most accepted by musicologists and musicologists and scholars is that music, a musical instrument par excellence, always sought to imitate the human voice. musical instrument par excellence, always sought to imitate the human voice. But music has no beginning nor end, and it is understood that it is as old as humanity itself. Music has derived from a process of accidents, inventions and discoveries that have led it, from discoveries that have taken it, from the perspective of a historical line, through different eras, ideologies and techniques, until it has led to what we know today. today. Part of this technical and artisanal process has consisted of shaping what gives life to this shape what gives life to this discipline: sound. | en_US |
dc.description.abstract | Existen distintas teorías acerca de cómo el hombre, al inicio de su capacidad creativa, generó lo que podríamos llamar música. La más aceptada por los musicólogos y estudiosos del tema es que ésta, instrumento musical por excelencia, siempre buscó imitar la voz humana. Pero la música no tiene principio ni fin, y se entiende que es tan antigua como la humanidad misma. La música ha derivado de un proceso de accidentes, inventos y descubrimientos que la han llevado, desde la perspectiva de una línea histórica, por diferentes épocas, ideologías y técnicas, hasta desembocar en lo que hoy en día conocemos. Parte de ese proceso técnico y artesanal ha consistido en darle forma a lo que da vida a esta disciplina: el sonido. | en_US |
dc.language.iso | spa | en_US |
dc.publisher | Universidad Autónoma de Zacatecas | en_US |
dc.relation.isbasedon | Maestro en Investigaciones Humanísticas y Educativas | en_US |
dc.relation.uri | generalPublic | en_US |
dc.rights | Attribution-ShareAlike 3.0 United States | * |
dc.rights.uri | http://creativecommons.org/licenses/by-sa/3.0/us/ | * |
dc.subject.classification | HUMANIDADES Y CIENCIAS DE LA CONDUCTA [4] | en_US |
dc.subject.other | Sonido | en_US |
dc.subject.other | lectura | en_US |
dc.subject.other | estética | en_US |
dc.subject.other | filosofía | en_US |
dc.subject.other | instrumentos | en_US |
dc.title | La Evolución de un Sonido. Aproximaciones a una lectura arqueomusical, filosófica y estética del Clarinete Histórico | en_US |
dc.type | info:eu-repo/semantics/masterThesis | en_US |
Appears in Collections: | *Tesis*-- M. en Inv. Humanísticas y Educativas |
Files in This Item:
File | Description | Size | Format | |
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TESIS MAESTRÍA CÉSAR ENCINA (16-11-2021).pdf | Tesis | 4,24 MB | Adobe PDF | View/Open |
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