61 research outputs found
Joaquina Comella, Unacknowledged Author of the Libretti for Seven «Tonadillas» by Blas de Laserna
No full textThe starting-point of this study is the discovery of documents which identify Joaquina Comella (c. 1778-1800) as the author of seven libretti for tonadillas whose music would be composed by Blas de Laserna. The documents are requests for permission to perform seven works for three voices which were submitted in 1800. The discovery has led to the tracking down of two of the libretti, one of which, La pasiega y el hidalgo (The woman from Pas and the nobleman), is presented here in a critical edition. The ensuing research has involved the reconstruction of the textual, musical and performance possibilities of five of these works by analysing the texts in conjunction with theatre notes and musical scores. As a result we now have a considerable homogeneous body of work on which to base a study of the output of an author for whom until now only one libretto was extant; it also provides substantial evidence of Comella’s partnership with Laserna. The literary analysis which forms the complementary focus of this study highlights the quality of Joaquina Comella’s dramatic talent in the musical genre in question and aims to enrich the evaluation of the literary component of 18th-century tonadillas designed for dramatic performance.</p
La traducción intersemiótica y los tópicos semántico-musicales en Blas de Laserna. Un acercamiento a las pantomimas y melólogos desde la semiótica
No full textTesis Doctoral inédita leída en la Universidad Autónoma de Madrid, Facultad de Filosofía y Letras, Departamento de Música. Fecha de Lectura: 05-04-2024Esta tesis tiene embargado el acceso al texto completo hasta el 05-10-2025Esta tesis doctoral titulada “La traducción intersemiótica y los tópicos semántico-musicales en Blas de Laserna. Un acercamiento a las pantomimas y melólogos desde la semiótica”, se propone plantear el estudio de dos géneros teatrales como son la pantomima y el melólogo desde un punto de vista interdisciplinar como es la semiótica. Para ello utilizaremos dos conceptos semióticos como son la traducción intersemiótica y los tópicos musicales como ejes vertebradores. Asimismo, se propone la concepción de un nuevo termino que ayude y facilite la comprensión de estos dos géneros teatrales. Este término, el tópico semántico-musical, nos servirá para comprender los procesos compositivos del autor Blas de Laserna, mediante la significación musical de un término lingüísticoThis doctoral thesis entitled "La traducción intersemiótica y los tópicos semántico-musicales en Blas de Laserna. Un acercamiento a las pantomimas y melólogos desde la semiótica", proposes the study of two theatrical genres, pantomime and melólogo, from an interdisciplinary semiotic point of view. To do so, we will use two semiotic concepts such as intersemiotic translation and musical topics as the backbone. We also propose the conception of a new term that helps and facilitates the understanding of these two theatrical genres. This term, the semantic-musical topic, will help us to understand the compositional processes of the author Blas de Laserna, through the musical meaning of a linguistic ter
La perdida ‘Fábula de Baco’ de José de Ribera para Felipe IV: observaciones sobre su iconografía, los fragmentos y la versión Laserna
No full textIn this article, the author summarises the history of the Fable of Bacchus which Jusepe de Ribera painted in Naples around 1635, under commission of the Count of Monterrey, for the court of Philip IV. After the destruction of the canvas in the fire of the Alcázar of Madrid in 1734, four and then three fragments remained, the history of which is also traced up to the present day. Their comparison and the examination of a version of the painting, now in the Laserna Jaramillo collection, offers an opportunity to discuss the iconographic interpretations that the work has received over the centuries, particularly in relation to a well-known Hellenistic relief depicting a Theoxenia of Dionysus that served as a model for Ribera. It can be concluded that the artist used it in a completely autonomous manner with respect to its authentic and for him incomprehensible meaning, introducing a veiled admonition about the uncertainty of political fortune to the Count of Monterrey, whose portrait is recognisable as one of the severed heads in the foreground. Finally, a direct observation of the Laserna version, the only one that has come down to us of the original composition, allows us to reconsider the possibility that we are looking not at a copy made in Spain, but at a replica made in Naples in the artist's own workshop
Equipo multi-disciplinar que participó en la campaña del proyecto AQUALAS-LIBS, realizada en Cádiz, en 2012.
No full textEquipo multi-disciplinar: miembros del CAS (Carmen García, Milagros Alzaga, Josefa Martí y Nuria E. Rodríguez), investigadores de la UMA (J.J. Laserna, F.J. Fortes y S. Guirado), buzos profesionales (I. Entralla y L. Pellejero) y el personal técnico de apoyo del remolcador “Obama
Pedro Gámez Laserna (1907-1987) y la fuga en la marcha de procesión para banda de música
No full textThe form or structure of a musical composition is essential to understand the discourse of the music and the author\u27s relationship with the listener. Thus, the form of a processional march for wind band is definitively established at the beginning of the 20th century, although we find paradigmatic examples from the end of the 19th century. Pedro Gámez Laserna, a military conductor from Jaén, provides us, within his extensive catalogue of processional marches, with a great example of the inclusion of a fugue as part of this structure. In the following lines we will analyse, in addition to brief biographical aspects of the composer, the process of composing a processional march from a fugue section. We will observe how, from the subject of the fugue, the different melodic elements and motifs of the rest of the composition can be articulated.La forma o estructura de una composición musical es esencial para entender el discurso de la música y la relación del autor con el oyente. En este sentido, la forma de una marcha de procesión para banda de música se establece definitivamente a principios del siglo XX, aunque encontramos ejemplos paradigmáticos desde finales del siglo XIX. Pedro Gámez Laserna, director militar jiennense, nos aporta, dentro de su amplio catálogo de marchas de procesión, un gran ejemplo de la inclusión de una fuga como parte de esta estructura. A lo largo de las siguientes líneas analizaremos, además de breves aspectos biográficos del autor, el proceso de composición de una marcha de procesión a partir de una sección fugada. Observaremos como, a partir del sujeto de la fuga se pueden articular los distintos elementos y motivos melódicos del resto de la composición
Stand-off laser induced breakdown spectroscopy on meteorites: calibration-free approach
No full textIn this work, LIBS (Laser Induced Breakdown Spectroscopy) capability to operate in stand-off configuration, without the need of a direct contact with the sample, has been coupled with the calibration-free (CF) approach to LIBS data analysis. The latter does not require the use of standard calibration. The feasibility of the calibration free method on stand-off LIBS spectra has been thereby tested. The quantitative analysis was performed on samples of two well-known meteorites, Toluca (iron meteorite) and Sahara 98222 (L6 chondrite) by using a stand-off configuration at a distance of 5 m. The plasma temperature and the electron number densities were determined for each sample and for each laser shot in order to apply the CF method. For the Toluca meteorite sample Fe, Ni and Co content was quantified during the depth profile. For the Sahara 98222 major and minor elements (Fe, Mg, Si, Na, Ti, Al, Cr, Mn, Ca, Ni, Co) were analysed by averaging different meteorite zones because of its strong inhomogeneity. Results demonstrate the possibility of remote analysis of minor bodies and space debris
The development of fieldable laser-induced breakdown spectrometer: No limits on the horizon
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