Relevant bibliographies by topics / Giovanni Gabrieli

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

Academic literature on the topic 'Giovanni Gabrieli'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Giovanni Gabrieli"

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Saunders, Steven. "Giovanni Priuli'sMissa sine nomineand the legacy of Giovanni Gabrieli." Journal of Musicological Research 14, no. 2 (1995): 169–91. http://dx.doi.org/10.1080/01411899508574704.

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Saunders, Steven. "Giovanni Priuli'sMissa sine nomineand the Legacy of Giovanni Gabrieli." Journal of Musicological Research 14, no. 3-4 (1995): 169–91. http://dx.doi.org/10.1080/01411899509407983.

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Charteris, Richard. "Another keyboard canzona by Giovanni Gabrieli?" Early Music XV, no. 4 (1987): 480–86. http://dx.doi.org/10.1093/earlyj/xv.4.480.

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CHARTERIS, RICHARD. "NEWLY DISCOVERED WORKS BY GIOVANNI GABRIELI." Music and Letters 68, no. 4 (1987): 343–63. http://dx.doi.org/10.1093/ml/68.4.343.

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MORELL, MARTIN. "‘PERFORMANCE OF GIOVANNI GABRIELI S VOCAL WORKS’." Music and Letters 72, no. 3 (1991): 516–17. http://dx.doi.org/10.1093/ml/72.3.516.

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Küster, Konrad. "Schütz und die Orgel : Überlegungen zum Organistenstand in Deutschland und Italien um 1600." Schütz-Jahrbuch 22 (August 24, 2017): 7–16. http://dx.doi.org/10.13141/sjb.v2000885.

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Die Ausbildung, die Heinrich Schütz bei Giovanni Gabrieli erhielt, Organist an San Marco in Venezia, war nicht allein auf die vokale Kompositionstechnik ausgerichtet. Dies ergibt sich nicht nur aus den Hinweisen darauf, dass Schütz in der Folgezeit als Organist wirkte, sondern auch aus einem Vergleich mit dem Berufsbild des Organisten. Anhaltspunkte bieten die Werküberlieferung und biographische Dokumente zu Musikern wie Andrea Gabrieli, Luzzasco Luzzaschi, Girolamo Frescobaldi, Jan Pieterszoon Sweelinck, Samuel Scheidt, Hieronymus Praetorius sowie zu den Gabrieli-Schülern Gregor Aichinger, Jo
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Küster, Konrad. "Gabrieli und Schütz : Die Frage des Instrumentalen in Schütz ́frühen Werken." Schütz-Jahrbuch 19 (August 23, 2017): 7–20. http://dx.doi.org/10.13141/sjb.v1997843.

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Anhand von "Ist nicht Ephraim" aus den "Psalmen Davids" und einigen Werken, die Schütz nicht in den mit Opusnummern gezählten Drucken veröffentlicht hat, läßt sich seine Arbeit mit selbstständigen Instrumentalstimmen neu definieren; er beherrschte sie demnach schon um 1620 auf verschiedenartige Weise, nicht erst nach der Venedig-Reise 1629/30. Seine Techniken unterscheiden sich von denen seines Lehrers Giovanni Gabrieli. Die <Psalmen Davids> spiegeln Schütz' kompositorische Techniken der Zeit um 1620 also nicht völlig; dies läßt sich auch durch Vergleich mit Johann Crügers Bearbeitungen
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Bishop, Sherri. "Il terzo libro de madrigali a cinque voci con alcuni di Giovanni Gabrieli: Venezia, Angelo Gardano 1589 by Andrea Gabrieli." Notes 70, no. 4 (2014): 732–35. http://dx.doi.org/10.1353/not.2014.0058.

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Küster, Konrad. "Schütz' Madrigale in der zeitgenössischen italienischen Musikkultur." Schütz-Jahrbuch 26 (August 24, 2017): 71–88. http://dx.doi.org/10.13141/sjb.v2004944.

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Heinrich Schütz gilt in seiner Madrigalkonzeption als konservativ, weil er bei Giovanni Gabrieli nicht das moderne konzertierende Madrigal kennen gelernt habe. Madrigale in kleinen Besetzungen waren jedoch um 1610 in Italien noch nicht üblich; und die Texte, die Schütz wählte, legten auch noch länger eine mehrstimmige Vertonung nahe. Eine Durchsicht der Parallelvertonungen zeigt zudem, dass keine Sammlung erhalten ist, die ihm mehrfach als satztechnisches Vorbild gedient hätte; auch die Madrigale von Ascanio Mayone zeigen ein anderes (und dabei konventionelleres) Bild. Das durch Schütz repräse
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Charteris, Richard. "A New Keyboard Work by Giovanni Gabrieli and the Relevance of Its Compositional Technique." Music and Letters 85, no. 1 (2004): 1–21. http://dx.doi.org/10.1093/ml/85.1.1.

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Dissertations / Theses on the topic "Giovanni Gabrieli"

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Armendarez, Christina Marie. "The Development of Works for Choir and Brass: A Study of Four Representative Works." Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26528.

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As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influ
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Laney, Ryan Ray. "A master's report in conducting for winds & percussion: analyses and rehearsal strategies for Sonata no. 13 by Giovanni Gabrieli, Serenade no. 12 in C minor by Wolfgang Amadeus Mozart, and Prelude, siciliano and rondo by Malcolm Arnold." Kansas State University, 2012. http://hdl.handle.net/2097/13681.

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Master of Music<br>Department of Music<br>Frank Tracz<br>This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Sicilia
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Arnod, Jeanclaude. "Luchino Visconti entre Giovanni Verga et Gabriele d’Annunzio." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100164/document.

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Luchino Visconti, né en 1906 et mort en 1976, a été un metteur en scène de cinéma, de théâtre, d’opéra et toute sa carrière a été placée sous le signe de l’amour pour les arts, avec une prédilection particulière pour la littérature de la fin du dix-neuvième siècle et du début du vingtième. L’objectif de notre étude est d’analyser la filmographie de Luchino Visconti, en nous arrêtant plus particulièrement sur quatre films, La terra trema, Rocco e i suoi fratelli, Vaghe stelle dell’Orsa… et L’innocente, où les rapports avec l’œuvre de Giovanni Verga et de Gabriele d’Annunzio sont les plus éviden
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ROSSINI, FRANCESCO. ""IO PER ME SONO UN'OMBRA". GIOVAN BATTISTA STROZZI IL GIOVANE (1551 - 1634) FRA POESIA E RIFLESSIONE LETTERARIA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58409.

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La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la m
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Lodone, Michele. "Invisibili frati Minori : profezia, Chiesa ed esperienza interiore tra Quattro e Cinquecento." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0143.

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Après avoir indiqué certains problèmes historiques et philologiques posés par l'étude de la production littéraire prophétique du XVème et du début du XVIème siècle, la première partie de la thèse est consacrée pour une grande partie à quelques prophéties destinées à établir les caractéristiques incertaines du supposé imaginaire eschatologique des Fraticelli. En particulier, la prophétie de Saint François sur les tribulations futures de l'Ordre des Frères Mineurs et de l'Église est l'un des textes fondamentaux et fondateurs de la mémoire de la dissidence franciscaine. La dimension eschatologiqu
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Books on the topic "Giovanni Gabrieli"

1

Giovanni Gabrieli. L'epos, 2012.

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Canguilhem, Philippe. Andrea et Giovanni Gabrieli. Fayard, 2003.

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Eichhorn, Holger. Giovanni Gabrieli: Quantus vir. Edition Text + Kritik, 1999.

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Giovanni Gabrieli and his contemporaries: Music, sources and collections. Ashgate/Variorum, 2011.

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Giovanni Gabrieli and the music of the Venetian High Renaissance. Oxford University Press, 1986.

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Buono, Michela. Giovanni Gabrieli compositore ed organista e la musica veneziana del Rinascimento. UNI service, 2009.

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Giovanni Gabrieli compositore ed organista e la musica veneziana del Rinascimento. UNI service, 2009.

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Gabrieli tedesco: Rezeption und Überlieferung des Spätwerks von Giovanni Gabrieli in deutschen Quellen des 17. Jahrhunderts ; mit einem Notenanhang teils erstmalig veröffentlichter Gabrieli-Werke. Kamprad, 2006.

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9

Charteris, Richard. Giovanni Gabrieli (ca. 1555-1612): A thematic catalogue of his music with a guide to the source materials and translations of his vocal texts. Pendragon Press, 1996.

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Giovanni Gabrieli (ca. 1555-1612): A thematic catalogue of his music with a guide to the source materials and translations of his vocal texts. Pendragon Press, 1996.

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Book chapters on the topic "Giovanni Gabrieli"

1

Schmalzriedt, Siegfried. "Gabrieli, Giovanni." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_105.

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Schmalzriedt, Siegfried. "Gabrieli, Giovanni." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_107.

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Wiermann, Barbara. "Giovanni Gabrieli." In Barockmusikführer. J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_42.

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Werline, Rodney A. "Boccaccini, Gabriele And Giovanni Ibba (Eds.), Enoch And Mosaic Torah: The Evidence Of Jubilees." In Perspectives on Hebrew Scriptures VIII, edited by Ehud Ben Zvi. Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463235505-042.

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Sturmey, Peter. "Some Thoughts on Chapter “Case Formulation in the Behavioral Tradition: Meyer, Turkat, Lane, Bruch, and Sturmey” by Giovanni Maria Ruggiero, Gabriele Caselli and Sandra Sassaroli." In CBT Case Formulation as Therapeutic Process. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63587-9_7.

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Walker, Paul. "The Fugal Canzona of the Late Renaissance." In Fugue in the Sixteenth Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190056193.003.0005.

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Not until the 1580s did composers begin to establish the canzona alla francese as an instrumental counterpart to, rather than an intabulation of, the French chanson. The center of this activity was Brescia, and imitation played a surprisingly important role. Despite the rather light, playful manner of its earliest manifestations, the genre had by century’s end begun to acquire serious contrapuntal rigor at the hands of Giovanni de Macque and others. This chapter concludes with a consideration of the fugal works of Giovanni Gabrieli, in which one begins to see the breakdown of division between ricercar and canzona through hybrid thematic material and stylistic fluidity.
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"Interview with Renato Garavaglia." In Nostalgia for the Future, edited by Angela Ida De Benedictis and Veniero Rizzardi. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291195.003.0030.

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This chapter presents an interview with Renato Garavaglia. The interview covered a variety of topics including Nono's trip to the United States and meeting with Zubin Mehta, students, and the organization of American musical life; his relationship with Varès; his trip to Darmstadt; his study of Giovanni Gabrieli; his relationship with Bruno Maderna and his first studies with him. It also covered his writing of La fabbrica illuminata and how he spent three days with the workers of Italsider of Genoa discussing his work with them, recording their words, and the acoustic environment in which they worked. Finally, it referred to his new works, particularly a string quartet and Prometeo, and what importance writing an opera has today.
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Edwards, Rebecca. "Andrea and Giovanni Gabrieli: Musicians and Sororal Relations in Later Sixteenth-Century Venice." In Sibling Relations and Gender in the Early Modern World. Routledge, 2017. http://dx.doi.org/10.4324/9781315243146-11.

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Dall’Asta, Monica, and Alessandro Faccioli. "Ursus as a Serial Figure." In The Novel of Neronian Rome and its Multimedial Transformations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0015.

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This article examines the transtextual legacy of Ursus in Italian cinema from the silent period to the popular ‘sword-and-sandal’ genre of the 1950s and 1960s. We discuss Ursus as a blueprint for Maciste, the iconic strongman created by Gabriele D’Annunzio for one of the biggest international hits of early Italian epic cinema, Giovanni Pastrone’s Cabiria (1914). We then discuss the persistence of the strongman icon in the following years, in relation to such topics as the emergence of physical culture during the first decades of the twentieth century, and the escalation of fascist culture and politics in the 1920s. The reappearance of Ursus in the late 1950s, in the second wave of the strongman genre, offers the opportunity to further discuss this figure in terms of both transnational reception and gender representation, exploring the multiple paths of its cultural circulation and appropriation.
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Pullen, Christopher. "Introduction." In Straight Girls and Queer Guys. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748694846.003.0001.

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In Daniel Ribeiro’s groundbreaking film The Way He Looks [original title Hoje eu quero voltar sozinho] (2014, Brazil) which tells the story of the blind queer youth Leonardo (see Chapter 6), the subtitle ‘not every love happens at first sight’ offers an allusion to the notion of the gaze, a central premise of this book. We know that while Leonardo cannot possess the physical gaze, his sense of feeling, relating his close friendship with the straight girl Giovana, and the quest for his ultimate soulmate Gabriel, enables him to challenge normative perceptions of the gaze. This book consequently considers such opportunities, and tensions, in exploring the relationship between the straight girl and the queer guy within film and television, evident in drama and documentary forms. The straight girl and the queer guy relate to each other, while defining each character’s identity potential, at the same time as they are constructed by the audience as subject to a dominant gaze....
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