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Journal articles on the topic 'Corelli'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Pfisterer, Andreas. "Neues zu Arcangelo Corellis Studium in Bologna." Die Musikforschung 71, no. 3 (2021): 268–70. http://dx.doi.org/10.52412/mf.2018.h3.314.

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Der bislang unbekannte Immatrikulationseintrag Corellis aus dem Jahr 1672 wird für die Biographie ausgewertet. Die Annahme neuerer Biographen, dass Corelli eher 1670-1674 in Bologna war, erscheint wahrscheinlicher.

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2

Gill, Clare. "Olive Schreiner, Marie Corelli and the Anxieties of Female Authorship." Journal of Victorian Culture 25, no. 4 (2020): 574–92. http://dx.doi.org/10.1093/jvcult/vcaa026.

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Abstract This article explores the competing models of gendered authorship emerging from Marie Corelli’s multiple print encounters with Olive Schreiner. Where Schreiner is cast by Corelli as the modish darling of a snobbish literary intelligentsia, who is beloved by critics and ignored by readers, Corelli herself emerges from her writings about Schreiner as the democratic author par excellence, a writer for the people rather than the press. In spite of the clear common ground that bridged their experience as celebrity authors, Corelli, in her writings about Schreiner, sought only to elucidate

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3

Turner, Joanna. "“The most accomplished liar in literature”? Uncovering Marie Corelli’s Hidden Early Life." Victorian Popular Fictions Journal 5, no. 1 (2023): 21–36. http://dx.doi.org/10.46911/cwxj9793.

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This article presents newly uncovered archival materials which necessitate a rewriting of the early life of Marie Corelli. The many biographies on her are focussed on rumours surrounding Corelli being illegitimate, her eccentricities, and the exposure of lies she told about her age. The most recent biographies, the latest of which was published in 1999, reformulated what had already been written about her and additionally employed analogue genealogical research methods to investigate Corelli’s parentage. They created an account of Corelli’s life which has been subsumed into twenty-first centur

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4

Scott, Jennifer. "The Angel in the Publishing House: Authorial Self-Fashioning, Gender, and Orphanhood in Marie Corelli's Innocent." Victoriographies 9, no. 2 (2019): 184–98. http://dx.doi.org/10.3366/vic.2019.0341.

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The best-selling Victorian novelist Marie Corelli (1855–1924) is a literary figure enmeshed in contradictions. Famously refusing to identify as a New Woman writer, she was known for her womanly heroines and her own ultra-feminine style of dress. She shunned press photographers and ferociously protected her privacy. But Corelli was equally ferocious in her ambition for literary success and fame, and she does not altogether fit in with those women writers of the nineteenth century who staged an outer show of dominant domestic vocation and cast their fame as an unsought consequence of their natur

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5

Knight, Mark. "The Limits of Orthodoxy in a Secular Age: The Strange Case of Marie Corelli." Nineteenth-Century Literature 73, no. 3 (2018): 379–98. http://dx.doi.org/10.1525/ncl.2018.73.3.379.

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Mark Knight, “The Limits of Orthodoxy in a Secular Age: The Strange Case of Marie Corelli” (pp. 379–398) This essay explores the eclectic spirituality of the late-nineteenth-writer Marie Corelli, with specific reference to her fiction. I look to her first novel, A Romance of Two Worlds (1886), as a case study with which to explore the relationship between Christian orthodoxy and heterodoxy in a secular age. In doing so, I draw on recent theoretical contributions to our understanding of the sacred and the secular in the late nineteenth century, and I question the tendency of many critics to pre

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6

Stowell, Robin. "Corelli." Musical Times 129, no. 1746 (1988): 409. http://dx.doi.org/10.2307/965979.

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7

BERNI, Simone. "The Russian editions of Dracula." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 51–66. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.4.

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Until recently, the Russian editions of Dracula have not received any attention and study. Within the framework of research for my book Dracula di Bram Stoker – il mistero delle prime edizioni (2014), I have looked into the earliest Russian-language editions, as well as the later publications, both in the Soviet Union era and afterwards. The confusion about the authorship of the novel turned out to be a red thread: Dracula was originally attributed to Marie Corelli (Mary Mackay), while works by Corelli were attributed to Stoker. Almost a century after the release of Dracula in 1897, this error

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8

Sossi, Federica, and Suzanne Doppelt. "Via Corelli." Vacarme 18, no. 1 (2002): 101. http://dx.doi.org/10.3917/vaca.018.0101.

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9

Sanguineti, Alessandro. "Arcangelo Corelli (?)." Notes 73, no. 4 (2017): 770–73. http://dx.doi.org/10.1353/not.2017.0064.

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10

Lingas, A. "Celebrating Corelli." Early Music 38, no. 4 (2010): 592–96. http://dx.doi.org/10.1093/em/caq086.

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11

Talbot, Michael. "Vivaldi and Rome: Observations and Hypotheses." Journal of the Royal Musical Association 113, no. 1 (1988): 28–46. http://dx.doi.org/10.1093/jrma/113.1.28.

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Vivaldi's indebtedness to Roman models in his formative years as a composer has generally been recognized, although the Roman link is often viewed simplistically and inaccurately as an apprenticeship, stylistically speaking, with Corelli. A more careful review of the evidence leads to the conclusion that the Corellian features in his first three published collections were acquired at second hand via a slightly older generation of Venetian composers (Gentili, Albinoni, Caldara) rather than through independent study of Corelli. Undeniably, the pioneering concertos of op. 3 (L'estro armonico, 171

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12

Ye, Feng, Yaohua Liu, Ross Whitfield, Ray Osborn, and Stephan Rosenkranz. "Implementation of cross correlation for energy discrimination on the time-of-flight spectrometer CORELLI." Journal of Applied Crystallography 51, no. 2 (2018): 315–22. http://dx.doi.org/10.1107/s160057671800403x.

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The CORELLI instrument at Oak Ridge National Laboratory is a statistical chopper spectrometer designed and optimized to probe complex disorder in crystalline materials through diffuse scattering experiments. On CORELLI, the high efficiency of white-beam Laue diffraction combined with elastic discrimination have enabled an unprecedented data collection rate to obtain both the total and the elastic-only scattering over a large volume of reciprocal space from a single measurement. To achieve this, CORELLI is equipped with a statistical chopper to modulate the incoming neutron beam quasi-randomly,

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13

강민정. "Corelli in England." journal of Ewha Music Research Institute 19, no. 2 (2015): 31–61. http://dx.doi.org/10.17254/jemri.2015.19.2.002.

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14

BARNETT, GREGORY. "CORELLI ALS MODELL." Eighteenth Century Music 11, no. 2 (2014): 330–32. http://dx.doi.org/10.1017/s147857061400027x.

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15

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble

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16

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble

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17

Turner, Joanna. "Making a Name for Herself: Marie Corelli's Self-Guided Literary Apprenticeship via the Periodical Press." Victorian Periodicals Review 56, no. 1 (2023): 110–32. http://dx.doi.org/10.1353/vpr.2023.a905142.

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Abstract: This article uncovers the hidden periodical publishing history of the popular novelist Marie Corelli (ca. 1855–1924). It takes her career back a decade from what is currently known, unveiling poetry, satire, critiques, and short form writing. Corelli is shown to be navigating the periodical press through the 1870s and 1880s whilst using several pseudonyms and taking on male identities, conducting her own literary apprenticeship and experimenting with form, genre, and style. This article explores how Corelli learned her trade via the periodical press but then hid the secret of her suc

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18

Bond, Ann, Arcangelo Corelli, and Peter Allsop. "Corelli a la Mode." Musical Times 140, no. 1869 (1999): 73. http://dx.doi.org/10.2307/1004530.

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19

Cross, E. "Corelli and his legacy." Early Music 34, no. 3 (2006): 513–15. http://dx.doi.org/10.1093/em/cal044.

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20

Corelli, Marie. "Marie Corelli: A Critical Reappraisal." Women's Writing 13, no. 2 (2006): 181–87. http://dx.doi.org/10.1080/09699080500526545.

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21

Threlfall, Robert. "TEMPO AND RACHMANINOFF'S ‘CORELLI’ VARIATIONS." Tempo 59, no. 231 (2005): 14–16. http://dx.doi.org/10.1017/s0040298205000021.

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Of all the different ingredients that combine to make up a musical performance, it often seems that the one which reveals most, and most extreme, variation is – tempo. Subject as it is also to various non-musical factors – such as acoustics; size of the locale; technical or instrumental limitations – as well as to other somewhat equally subjective conditions such as taste; historical or supposed authenticity; even fashion – this is hardly surprising. Maelzel's invention of his metronome almost two centuries ago has not necessarily succeeded in bringing order into chaos; it is notoriously diffi

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22

Erhardt, T. "Sonatas before and after Corelli." Early Music 35, no. 1 (2007): 131–32. http://dx.doi.org/10.1093/em/cal134.

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23

Roche, Elizabeth. "In the shadow of Corelli." Early Music 44, no. 2 (2016): 354–56. http://dx.doi.org/10.1093/em/caw049.

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24

Irving, D. R. M. "Corelli the archangel, 300 years on." Early Music 41, no. 4 (2013): 692–94. http://dx.doi.org/10.1093/em/cat109.

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25

Hell, Helmut. "Es existiert kein Musikautograph von Arcangelo Corelli." Archiv für Musikwissenschaft 66, no. 4 (2009): 261–71. http://dx.doi.org/10.25162/afmw-2009-0013.

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26

Walls, P. "Reconstructing the archangel: Corelli 'ad vivum pinxit'." Early Music 35, no. 4 (2007): 525–38. http://dx.doi.org/10.1093/em/cam089.

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27

CHISHOLM, LEON. "WILLIAM MCGIBBON AND THE VERNACULARIZATION OF CORELLI'S MUSIC." Eighteenth Century Music 15, no. 2 (2018): 143–76. http://dx.doi.org/10.1017/s1478570618000039.

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ABSTRACTIn his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative pers

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28

Barnett, Correlli. "The Rise of British Sea Power." Journal of Navigation 56, no. 2 (2003): 177–83. http://dx.doi.org/10.1017/s037346330300225x.

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The distinguished historian and author Correlli Barnett was invited to address members of the Royal Institute of Navigation at their Annual General Meeting held in the Royal Geographic Society on 23 October 2002. The full text of the address is reproduced. © 2003 Corelli Barnett.

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29

DeCoux, Jessica. "Marie Corelli, Wormwood, and the Diversity of Decadence." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 89–106. http://dx.doi.org/10.4000/cve.1337.

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30

Rosenkranz, Stephan, and Raymond Osborn. "Corelli: Efficient single crystal diffraction with elastic discrimination." Pramana 71, no. 4 (2008): 705–11. http://dx.doi.org/10.1007/s12043-008-0259-x.

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31

Webber, G. "Buxtehude's Praeludia and the sonata publications of Corelli." Early Music 38, no. 2 (2010): 249–62. http://dx.doi.org/10.1093/em/caq024.

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32

Sans, Juan Francisco. "Julián Montaña (ed.), Edición crítica de la Sonata para violín y piano en re mayor de Luis Carlos Figueroa y Edición crítica de la Sonata para violín y piano de Mario Gómez-Vignes." Ensayos: Historia y Teoría del Arte 24, no. 38 (2021): 127–31. http://dx.doi.org/10.15446/ensayos.v24n38.98380.

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Dentro de la música de cámara, el dúo de violín y piano es uno de los más socorridos. Existe un amplio y difundido repertorio escrito por los compositores más representativos de la tradición de la música académica para este conjunto (Corelli, Bach, Mozart, Beethoven, Schubert, Brahms, Franck, Prokofiev, etc.).

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33

LaMonaca, Maria. "Idol of Suburbia: Marie Corelli and Late-Victorian Literary Culture, and: The Mysterious Miss Marie Corelli: Queen of Victorian Bestsellers (review)." Victorian Studies 44, no. 1 (2001): 153–55. http://dx.doi.org/10.1353/vic.2001.0143.

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34

Kendrick, Robert L., and Peter Allsop. "The Italian 'Trio' Sonata from Its Origins until Corelli." Notes 50, no. 1 (1993): 122. http://dx.doi.org/10.2307/898709.

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35

Daverio, John. "In Search of the sonata da Camera before Corelli." Acta Musicologica 57, no. 2 (1985): 195. http://dx.doi.org/10.2307/932745.

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36

Rice, J. A. "The Heartz: A Galant Schema from Corelli to Mozart." Music Theory Spectrum 36, no. 2 (2014): 315–32. http://dx.doi.org/10.1093/mts/mtu016.

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37

Davison, Carol. "The mysterious miss marie corelli: queen of victorian bestsellers." Women's Writing 10, no. 1 (2003): 461–84. http://dx.doi.org/10.1080/09699080000200418.

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38

Hartnell, Elaine M. "Morals and Metaphysics: Marie Corelli, Religion and the Gothic." Women's Writing 13, no. 2 (2006): 284–303. http://dx.doi.org/10.1080/09699080500527436.

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39

MANGSEN, SANDRA. "THE ‘SONATA DA CAMERA’ BEFORE CORELLI: A RENEWED SEARCH." Music and Letters 76, no. 1 (1995): 19–31. http://dx.doi.org/10.1093/ml/76.1.19.

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40

Talbot, Michael. "The Mysterious Matthew Novell: An English Imitator of Corelli." Music and Letters 98, no. 3 (2017): 343–64. http://dx.doi.org/10.1093/ml/gcx081.

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41

BARNETT, GREGORY. "INTERNATIONAL SYMPOSIUM ARCOMELO 2013: VII CONFERENCE ON CORELLI STUDIES." Eighteenth Century Music 11, no. 2 (2014): 324–26. http://dx.doi.org/10.1017/s1478570614000256.

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42

Kuehn, Julia. "‘Eulogiseth Marie: A Critic’s Review of Recent Corelli Scholarship’." Literature Compass 9, no. 8 (2012): 570–87. http://dx.doi.org/10.1111/j.1741-4113.2012.00904.x.

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43

Chapman, Alison, and Annette R. Federico. "Idol of Suburbia: Marie Corelli and Late-Victorian Literary Culture." Modern Language Review 97, no. 3 (2002): 689. http://dx.doi.org/10.2307/3737515.

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44

CARERI, ENRICO. "THE CORRESPONDENCE BETWEEN BURNEY AND TWINING ABOUT CORELLI AND GEMINIANI." Music and Letters 72, no. 1 (1991): 38–47. http://dx.doi.org/10.1093/ml/72.1.38.

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45

McCrickard, Eleanor. "The Roman repertory for violin before the time of Corelli." Early Music XVIII, no. 4 (1990): 563–74. http://dx.doi.org/10.1093/earlyj/xviii.4.563.

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46

MAYS, LAWRENCE. "GLOBAL CORELLI: FAME AND MUSIC IN THE EARLY MODERN WORLD." Eighteenth Century Music 11, no. 2 (2014): 318–21. http://dx.doi.org/10.1017/s1478570614000220.

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47

Montagnier, Jean-Paul C. "Nicolas Bernier’s ‘Principes de composition’ and the Italian partimento tradition." Early Music 49, no. 1 (2021): 87–100. http://dx.doi.org/10.1093/em/caab004.

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Abstract French compositional treatises penned between c.1600 and c.1750 rarely if ever provide any instructional exercises with basses, from which apprentice composers could create multi-voice pieces by applying the rules described by their authors. Instead, these treatises—of which the most famous and widespread were no doubt those by Parran (1639), Mignot (1656), Masson (1697) and Rameau (1722)—reproduce a number of more or less extended examples to illustrate particular theoretical points. Nicolas Bernier’s handwritten ‘Principes de composition’ (c.1726–1734) stands out as the only known F

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48

Walls, Peter. "On Divided Lines: Instrumentation for Bass Parts in Corelli-era Sonatas." Performance Practice Review 13, no. 1 (2008): 1–15. http://dx.doi.org/10.5642/perfpr.200813.01.08.

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49

Everett, Paul. "Releasing the energy in Italian instrumental music: Corelli, Locatelli and Sammartini." Early Music XXII, no. 3 (1994): 523–25. http://dx.doi.org/10.1093/earlyj/xxii.3.523.

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50

Cook, Nicholas. "At the Borders of Musical Identity: Schenker, Corelli and the Graces." Music Analysis 18, no. 2 (1999): 179–233. http://dx.doi.org/10.1111/1468-2249.00091.

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