Relevant bibliographies by topics / 19th century instruments

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '19th century instruments'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "19th century instruments"

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CHINNICI, ILEANA. "19TH CENTURY SPECTROSCOPIC INSTRUMENTS IN ITALIAN ASTRONOMICAL OBSERVATORIES." Nuncius 15, no. 2 (2000): 671–79. http://dx.doi.org/10.1163/182539100x00092.

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Abstracttitle RIASSUNTO /title Questo paper esamina l'attivit di ricerca condotta in Italia nella seconda met del XIX secolo nel campo della nascente astrofisica, soffermandosi sugli strumenti allora utilizzati dai principali esponenti di questa disciplina e sui costruttori italiani di strumenti spettroscopici. Si tenta quindi di dare una spiegazione della debolezza dell'industria italiana in questo settore che si inquadra nella crisi generale del settore degli strumenti scientifici nel XIX secolo in Italia.
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CHINNICI, ILEANA. "19TH CENTURY SPECTROSCOPIC INSTRUMENTS IN ITALIAN ASTRONOMICAL OBSERVATORIES." Nuncius 15, no. 2 (2000): 671–79. http://dx.doi.org/10.1163/221058700x00096.

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Brooks, Randall C., and William J. Daniels. "Surveying instrument makers of Central Canada." Canadian Journal of Civil Engineering 20, no. 6 (1993): 1037–46. http://dx.doi.org/10.1139/l93-134.

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This paper describes the impetus for the development of a trade in surveying instruments in Central Canada in the 19th and early 20th centuries and compares it with the nautical instrument trade in our developing nation. The careers of several of the known makers are considered and some of the extant instruments made by them are briefly described. The question of the extent that they were makers is also considered. Key words: surveying, instruments, makers, history, Canada, Ontario, Québec, 19th–20th century.
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Dick, John B., and Sergio Paganelli. "Musical Instruments from the Renaissance to the 19th Century." Galpin Society Journal 44 (March 1991): 167. http://dx.doi.org/10.2307/842224.

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Meucci, Renato, and William Waterhouse. "The Cimbasso and Related Instruments in 19th-Century Italy." Galpin Society Journal 49 (March 1996): 143. http://dx.doi.org/10.2307/842397.

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Blondel, Christine. "Electrical instruments in 19th century France, between makers and users." History and Technology 13, no. 3 (1997): 157–82. http://dx.doi.org/10.1080/07341519708581904.

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Brenni, Paolo. "Instruments, Tools and Materials." Nuncius 31, no. 3 (2016): 611–46. http://dx.doi.org/10.1163/18253911-03103004.

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The Minutier central des notaires de Paris, which is preserved in the Archives nationales in Paris, is a huge archive group with several millions of documents recording all the official deeds written by the Parisian notaries. In it, it is possible to find very interesting documents concerning the activities of 19th century Parisian scientific instrument makers. I publish here the inventories of the instruments and tools which were in the workshop of two important makers: Jules Duboscq (1817–1886) and Heinrich Daniel Ruhmkorff (1803–1877). The first was compiled in 1859 after the death of Dubos
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Hourmat, Françoise. "Some French Amateurs of the 2nd Half of the 19th Century." International Astronomical Union Colloquium 98 (1988): 56. http://dx.doi.org/10.1017/s0252921100092216.

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At that period there was keen popular interest in astronomy, and in many Paris squares, astronomers with terrestrial refractors gave talks on astronomy for a small sum. Léon Joubert created a observatory for scientific research and popularisation, allowing anyone to learn about the universe and use good instruments. He made 120 instruments: refractors, reflectors, projectors, and photographic instruments.Hermann Goldschmidt (1802–1866), born at Frankfurt am Main 17 June 1802, had poor health, became a painter and sought his fortune in Paris. He became an astronomer by accident after following
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Przerembski, Zbigniew Jerzy. "Kolberg’s opinions on changes in the choice of instruments in 19th century folk music." Musicology Today 11, no. 1 (2014): 6–12. http://dx.doi.org/10.2478/muso-2014-0013.

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Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were furth
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Sakai, Naotaka. "Keyboard Span in Old Musical Instruments: Concerning Hand Span and Overuse Problems in Pianists." Medical Problems of Performing Artists 23, no. 4 (2008): 169–71. http://dx.doi.org/10.21091/mppa.2008.4034.

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The keyboard spans (i.e., octave spans) of old keyboard instruments was compared with those of modern pianos to explore whether the relationship between keyboard span and hand span is a contributory factor in overuse problems among pianists. The distance on the keyboard between the left side of the C4 key and the right side of the C5 key was measured in 120 old keyboard instruments, including 26 harpsichords, 8 clavichords, 7 spinets, 4 virginals, 75 pianofortes, and 20 square pianos, manufactured from 1559 through 1929. The oldest harpsichords and pianoforte showed a keyboard span equal to th
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Dissertations / Theses on the topic "19th century instruments"

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McCallum, Amy. "Le violon enchanté dans les contes littéraires québécois du XIXe siècle /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98557.

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This Master's thesis is centered on the enchanted violin and its role in six literary tales from nineteenth century Quebec. The motif is traced throughout its history and its developments in various Indo-European contexts. The importance of the enchanted violin in the oral traditions of Europe and French-Canada is underlined. The motif's literary transformation in the nineteenth century is also analyzed; authors of the tales studied were chiefly concerned with the creation of a national literature, and this affected their portrayal of the enchanted violin in several ways. Vladimir Propp's stru
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Rawson, Helen C. "Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century, with an additional consideration of the development of the portrait collection to the early 21st century." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/990.

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Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate C
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Staubermann, Klaus. "Astronomers at work : a study of the replicability of 19th century astronomical practice /." Frankfurt, M. : Deutsch, 1998. http://d-nb.info/985198958/04.

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Moolman, Jonathan Louis. "Key factors that contributed to the guitar developing into a solo instrument in the early 19th century." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27160.

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Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.

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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical a
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Strauchen, Elizabeth Bradley. "Giovanni Puzzi : his life and work : a view of horn playing and musical life in England from 1817 into the Victorian era (c.1855)." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:e42fa98b-daf6-454b-9f54-2a79588d5120.

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The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his posit
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Abbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.

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Heizer, Alda Lucia. "Observar o ceu e medir a terra : instrumentos cientificos e a participação do Imperio do Brasil na Exposição de Paris de 1889." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287043.

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Orientador : Maria Margaret Lopes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias<br>Made available in DSpace on 2018-08-04T02:34:20Z (GMT). No. of bitstreams: 1 Heizer_AldaLucia_D.pdf: 6141642 bytes, checksum: 0983ba3a2e79903ed8c65ba8fac199e2 (MD5) Previous issue date: 2005<br>Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao an
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Ramírez, Césped Pablo Esteban. "Ruperto Santa Cruz y los comienzos de la interpretación de la flauta moderna en Chile, 1856-1891: recepción, instrumento, repertorio y publicaciones." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672034.

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La tesi tracta la carrera artística del flautista, compositor, professor i publicista xilè Ruperto Santa Cruz (1838-1906) entre 1856 i 1891, en el context de la consolidació de l’espectacle concertístic i operático al país. Se centra, principalment, en la seva significació com a flautista, examinant el seu instrument, la flauta moderna, es a dir, la flauta de sistema Boehm, el seu repertori, d’arrel belcantista italiana, i la recepció de les seves actuacions pel territori de la República. A més, el treball aborda les seves obres per a piano, edicions musicals i escrits, els quals, en conjunt a
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Murray, Lauren Baker. "The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.

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Books on the topic "19th century instruments"

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Musical instruments: From the Renaissance to the 19th century. Cassell, 1988.

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Astronomers at work: A study of the replicability of 19th century astronomical practice. Verlag Harri Deutsch, 2007.

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Edmonson, James M. Nineteenth century surgical instruments: A catalogue of the Gustav Weber Collection at the Howard Dittrick Museum of Historical Medicine. Historical Division, Cleveland Health Sciences Library, 1986.

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Nicolucci, Valentina. Magistri astronomiae dal XVI al XIX secolo: Cristoforo Clavio, Galileo Galilei e Angelo Secchi : testimonianze documentarie e strumenti scientifici = Magistri astronomiae from 16th to 19th century : Cristopher Clavius, Galileo Galilei and Angelo Secchi : documentary evidences and scientific instruments. De Luca editori d'arte, 2014.

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When machines play Chopin: Musical spirit and automation in nineteenth-century German literature. Walter de Gruyter, 2010.

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F, Bollman James, ed. America's instrument: The banjo in the nineteenth-century. The University of North Carolina Press, 1999.

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Collins, Kathleen Gail. The camera as an instrument of persuasion: Studies of 19th century propaganda photography. University Microfilms International, 1985.

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The early flute: A practical guide. Cambridge University Press, 2002.

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Amp'd: A father's backstage pass. Michigan State University Press, 2004.

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Symphonic and Chamber Music Score and Parts Bank (City University of New York). Symphonic and Chamber Music Score and Parts Bank thematic catalogue of the Barry S. Brook Facsimile Archive of 18th and early 19th Century Autographs, Manuscripts, and Printed Copies at the Ph.D. Program in Music of the Graduate School of the City University of New York. Pendragon Press, 1996.

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Book chapters on the topic "19th century instruments"

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Kriis-Ilves, Leili. "Chemical instruments and collections from the 19th century in the History Museum of Tartu University." In Scientific Instruments and Museums. Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.00789.

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Kampmann, Bruno. "French Makers’ Improvements on Brass Instruments in the mid-19th Century, Compared with Those by Adolphe Sax." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2020. http://dx.doi.org/10.26045/kp64-6177-010.

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Cahan, David. "The Zeiss Werke and the Ultramicroscope: The Creation of a Scientific Instrument in Context." In Scientific Credibility and Technical Standards in 19th and early 20th century Germany and Britain. Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1784-2_3.

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Hentschel, Klaus. "The ‘Invisible Hand’ of Carl Friedrich Gauß—Retracing the Life of Moritz Meyerstein, a 19th century Instrument Maker and Universitäts-Mechanicus." In Biographies in the History of Physics. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48509-2_2.

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Mantovani, Roberto. "Clockmakers, makers and collectors of scientific instruments in Verona in the first half of the 19th Century." In Società Italiana degli Storici della Fisica e dell'Astronomia. Atti del XXXVII Convegno annuale / Proceedings of the 37th Annual Conference. Pavia University Press, 2019. http://dx.doi.org/10.35948/9788869521188/c11.

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Puskás, Levente. "Similarities and Differences between Classical and Jazz Saxophone Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/15.

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The saxophone is one of the most popular, almost ubiquitous instruments of our time. It is unimaginable that the saxophone would not appear in an orchestra or band in jazz, popular music, dance music, pop music, or even folk music. It is not widely known, however, that the story and history of the saxophone dates as far back as around 170(!) years ago. In 2014 the 200th birthday of Adolphe Sax the inventor, after whom the instrument got its name, was celebrated. Sax was the first saxophone professor at the Conservatoire de Paris. For most of the 19th century, mostly Classical and Romantic pieces were usually played by the saxophone, as the genre of jazz came into existence only around the 1910s–1920s. At that point classical and jazz (popular) saxophone music separated. Differences between the two styles can still be observed in both musical approach and technique. This study presents the similarities and differences between these two highly distinct approaches. Keywords: saxophone, Adolphe Sax, classical music, jazz
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Vera, Alejandro. "Convents and Monasteries." In The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.003.0003.

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This chapter studies musical life in convents and monasteries during the colonial period. Among other aspects, it shows how music represented for the nuns both a tool for entering the convent and an authentic vocation. It explores the musical links between monastic institutions, and between them and the cathedral, explaining how these frequent contacts facilitated the circulation of musicians and sacred music throughout the city. It also studies the prevailing instruments, repertoires, and musical genres, including music performed by drummers and trumpeters during the main fiestas. Finally, it also analyzes some pieces preserved in the cathedral, but linkable to religious orders, such as three lessons for the Dead by the Franciscan Cristóbal de Ajuria, some villancicos composed for the profession of nuns, and a villancico entitled “Qué hará Perote pasmado,” possibly composed for a monastery in the early 19th century. All of this contributes to situating monastic music in Santiago’s soundscape.
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Nuzzo, Giulia. "«Pupilas sedientas»." In America: il racconto di un continente | América: el relato de un continente. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/029.

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Investing in a study perspective focused on analysing the presence of visual languages in Pablo Montoya’s literature, this work proposes a survey of the ‘phenomenology of the gaze’, which in La sed del ojo and in meaningful sections of Los derrotados is established in the relationship between literature and photography. The two novels offer a compact exploration experience of the photographical means, which leads, at the same time, to an experimentation of the visual instruments of the literary words, of the ‘eye of literature’: entering, in La sed del ojo, the world of erotic and pornographic photography of Paris in the 19th century; pouncing, in Los derrotados, in the ‘obscene spectacle’ of death spread by Colombian wars. This work will reconstruct the meaningful aspects and moments of this investigation, analysing them in a setting of complex theoretical questions inspired by the reflexive and speculative vein of the Colombian author.
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"National Report for Spain." In Commencement of Insolvency Proceedings, edited by Ignacio Tirado. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199644223.003.0017.

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The current insolvency legislation is the result of a long and cumbersome evolution. It was approved on 7 July 2003 (Ley 22/2003, the Insolvency Act 2003 (‘IA’)) and came into force on 1 September 2004, putting an end to one of the most embarrassing situations that the Spanish legal system has ever had to endure: coming into the 21st century with an insolvency legislation dating back to the beginning of the 19th century. The previous insolvency system was composed of as many as five different legal instruments: the Commercial Codes (Codigo de Comercio) of 1885 and 1829 (only partially in force) and the Law on Suspension of Payments of 1922 (Ley de Suspension de Pagos), which regulated some procedural aspects and all material aspects of commercial insolvency; the Civil Code of 1889, which regulated the insolvency of the general—non-commercial—debtor; and the Civil Procedural Law, dating from 1881 (Ley de Enjuiciamiento civil ). It can then be said that the insolvency of a large business in a developed European economy (the fifth largest in the EU) had to be solved with laws that dated from two centuries before. The reform has been a relief and it has greatly modernised Spain’s economic legal legal framework. However, this process was neither easy nor did it produce a fully satisfactory result.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.

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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee &amp; Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler &amp; Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis &amp; Carder, 1990, p. 110).
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Conference papers on the topic "19th century instruments"

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Lazos, Panagiotis, and George N. Vlahakis. "Physics education in the Greek community schools of Istanbul (19th century). Scientific instruments and experiments in electrostatics." In 9TH INTERNATIONAL PHYSICS CONFERENCE OF THE BALKAN PHYSICAL UNION (BPU-9). AIP Publishing LLC, 2016. http://dx.doi.org/10.1063/1.4944207.

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Urbanas, Saulius, Eimuntas Kazimieras Parseliunas, Povilas Viskontas, et al. "Struve Geodetic Arc – the Decade in the World Heritage List." In Environmental Engineering. VGTU Technika, 2017. http://dx.doi.org/10.3846/enviro.2017.248.

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Unique scientific project unifying scientitsts of present modern countries: Norway, Sweden, Finland, Estonia, Latvia, Lithuania, Belarus, Ukraine, Moldova, Russia was carried out in the first half of the 19th century. Results obtained for the mentioned period were very accurate especialy considering the size of the project and instruments used for the measurements. Network of triangulation of 2820 km lenght running from Danube mouth till Arctic Ocean also called Struve Geodetic Arc was built and measured in 1816–1852. That was the longest and most accurate measured meridian arc in 19th century
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Hunsucker, J. Travis, and Geoffrey Swain. "Development of a Field Instrument to Quantify Frictional Drag of an In-Service Ship Hull." In SNAME 5th World Maritime Technology Conference. SNAME, 2015. http://dx.doi.org/10.5957/wmtc-2015-202.

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It has been shown that the presence of marine fouling, even as a light slime, will cause a detrimental effect on the powering or speed of a full-scale ship. Studies from as early as the late 19th century have attempted to quantify the increase in power or decrease in speed imposed on a ship from the presence of hull roughness. The accurate quantification is limited and often difficult and expensive to obtain. The present study aims to develop an instrument that will remove some ambiguity by directly measuring the frictional drag of a ship in situ. Results from experimental testing of a prototy
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