Log in

Relevant bibliographies by topics / Domenico Scarlatti

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Domenico Scarlatti'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Domenico Scarlatti.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Domenico Scarlatti"

1

Turner, A. G. L. "Domenico Scarlatti." Musical Times 126, no. 1714 (1985): 712. http://dx.doi.org/10.2307/965190.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

DECKER, TODD. "‘SCARLATTINO, THE WONDER OF HIS TIME’: DOMENICO SCARLATTI’S ABSENT PRESENCE IN EIGHTEENTH-CENTURY ENGLAND." Eighteenth Century Music 2, no. 2 (2005): 273–98. http://dx.doi.org/10.1017/s1478570605000382.

Full text

Abstract:

Domenico Scarlatti played a consistently significant role in English musical life from 1738 to the end of the century, even though he never travelled to England. His ‘absent presence’ was mediated by the eighty-three Scarlatti sonatas available in print in the eighteenth century. Scarlatti’s ‘English’ sonatas – defined here as those pieces available in print or manuscript to an eighteenth-century English player – display common compositional traits, in particular the frequent use of virtuoso techniques that appeal to the eye as well as the ear, such as crossed-hand passagework and leaps. Engli

APA, Harvard, Vancouver, ISO, and other styles

3

SHEVELOFF, JOEL. "Domenico Scarlatti: Tercentenary Frustrations." Musical Quarterly LXXI, no. 4 (1985): 399–436. http://dx.doi.org/10.1093/mq/lxxi.4.399.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hammond, Frederick, and Malcolm Boyd. "Domenico Scarlatti, Master of Music." Notes 44, no. 3 (1988): 476. http://dx.doi.org/10.2307/941527.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Schott, Howard. "Domenico Scarlatti Festival in Boston." Early Music XXVI, no. 4 (1998): 699–700. http://dx.doi.org/10.1093/earlyj/xxvi.4.699.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Johnsson, Bengt. "unbekannte Sonate von Domenico Scarlatti." Die Musikforschung 34, no. 3 (2021): 309–10. http://dx.doi.org/10.52412/mf.1981.h3.1650.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Mikusi, Balázs. "Bartók and Scarlatti: A study of motives and influence." Studia Musicologica 50, no. 1-2 (2009): 3–27. http://dx.doi.org/10.1556/smus.50.2009.1-2.1.

Full text

Abstract:

The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s mus

APA, Harvard, Vancouver, ISO, and other styles

8

D'Ávila, Humberto. "Domenico Scarlatti e a Cultura Portuguesa." Revista Música 3, no. 2 (1992): 105. http://dx.doi.org/10.11606/rm.v3i2.55043.

Full text

Abstract:

O Libro di Tocate per Cembalo do Instituto Português do Patrimônio Cultural - IPPC (FCR 194.1), onde se copiam 60 sonatas, é por si mesmo um exemplar único no espólio do compositor Domenico Scarlatti e até agora desconhecido. Ao se proceder ao cotejo do incipit de cada peça com o das Sonatas reconhecidas do mestre napolitano, de todas as sonatas compiladas, uma havia, a nº 25 da série, que não coincidia com qualquer outra, era desconhecida e podia, pois, considerar-se inédita. O achado era de festejar, pois se verificava no próprio ano de 1985, o dos centenários do nascimento de Bach, Händel e

APA, Harvard, Vancouver, ISO, and other styles

9

Martínez. "DOS OBRAS INÉDITAS DE DOMENICO SCARLATTI." Revista de Musicología 8, no. 1 (1985): 51. http://dx.doi.org/10.2307/20794968.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Sutherland, David. "Domenico Scarlatti and the Florentine Piano." Early Music XXIII, no. 2 (1995): 243–57. http://dx.doi.org/10.1093/earlyj/xxiii.2.243.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Domenico Scarlatti"

1

Boulanger, Richard. "Les Innovations de Domenico Scarlatti dans la technique du clavier /." Béziers (BP 4049, 2 Pl. de la Révolution, 34325 Cedex) : Société de musicologie de Languedoc, 1988. http://catalogue.bnf.fr/ark:/12148/cb349402105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

Full text

Abstract:

The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the re

APA, Harvard, Vancouver, ISO, and other styles

3

Navakaitė, Neringa. "Domenico Scarlatti kūrybos bruožai bei klavyrinių sonatų sandaros ir muzikos kalbos ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_133014-38005.

Full text

Abstract:

Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yr

APA, Harvard, Vancouver, ISO, and other styles

4

Abbassian-Milani, Farhad. "Zusammenhänge zwischen Satz und Spiel in den Essercizi (1738) des Domenico Scarlatti /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb39996118t.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.

Full text

Abstract:

Bibliography: leaves 56-57.<br>The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices

APA, Harvard, Vancouver, ISO, and other styles

7

Marx-Weber, Magda. "Domenico Scarlattis ”Miserere”-Vertonungen für die Cappella Giulia in Rom." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38292.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Giliberti, Patrizia. "A interpretação das sonatas de Domenico Scarlatti no piano moderno: edição crítica dos manuscritos: "Manuscrito P-Cug MM 58, 10 da Biblioteca Geral da Universidade de Coimbra", "Essercizi per Gravicembalo (1738) da Biblioteca Nacional de Portugal" e "Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal"." Doctoral thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/10693.

Full text

Abstract:

A tese tem o objetivo de dar os fundamentos para uma interpretação atual, no piano moderno, das sonatas de Domenico Scarlatti contidas nas coleções portuguesas: Essercizi per gravicembalo, Manuscrito P-Cug MM 58,10 da Biblioteca Geral da Universidade de Coimbra e Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal, originalmente compostas para os instrumentos de tecla da época. Apresenta uma nova edição crítica destas sonatas, em notação moderna e com dedilhação, que tem como base a análise formal e harmónico-estrutural, incluindo os aspetos organológicos, de ornamentação, andamento,

APA, Harvard, Vancouver, ISO, and other styles

9

Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.

Full text

Abstract:

This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the C

APA, Harvard, Vancouver, ISO, and other styles

10

Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

Full text

Abstract:

Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Domenico Scarlatti"

1

Bassi, Adriano. Domenico Scarlatti. M. Lapucci, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Place, Adélaïde de. Alessandro et Domenico Scarlatti. Fayard, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Boyd, Malcolm. Domenico Scarlatti--master of music. Weidenfeld and Nicolson, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Domenico Scarlatti--master of music. Weidenfeld and Nicolson, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Domenico Scarlatti--master of music. Schirmer Books, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Biesold, Maria. Domenico Scarlatti: Die Geburtsstunde des modernen Klavierspiels. Edition Musica et Claves, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Alessandro and Domenico Scarlatti: Two lives in one. Pendragon Press, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

1973-, Moiraghi Marco, ed. Le sonate di Domenico Scarlatti: Contesto, testo, interpretazione. LIM Libreria Italiana Musicale, 2014.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Scarlatti: Alessandro e Domenico, due vite in una. A. Mondadori, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Vidali, Carole Franklin. Alessandro and Domenico Scarlatti: A guide to research. Garland Pub., 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Domenico Scarlatti"

1

Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_43.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_268.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_263.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Boyd, Malcolm. "Like father like son? Domenico Scarlatti as an opera composer." In »Critica musica«: Studien zum 17. und 18. Jahrhundert. J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02784-9_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

"Domenico Scarlatti." In Eighteenth-Century Keyboard Music. Routledge, 2004. http://dx.doi.org/10.4324/9780203427118-13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

"Front Matter." In Domenico Scarlatti. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

"THE SPANISH SCENE." In Domenico Scarlatti. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"THE REIGN OF THE MELOMANES." In Domenico Scarlatti. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

"ROYAL SONATAS." In Domenico Scarlatti. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

"SCARLATTI’S HARPSICHORD." In Domenico Scarlatti. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Domenico Scarlatti"

1

Hsieh, MingChih. "Music of Domenico Scarlatti." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.135.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!