Relevant bibliographies by topics / Harpistas

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

Academic literature on the topic 'Harpistas'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Harpistas"

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Faglioni, Felipe. "A HARPA DE PEDAIS, SEU PROVÁVEL PRIMEIRO REPERTÓRIO E ALGUMAS CONSIDERAÇÕES SOBRE MADAME DE GENLIS." Revista Música 18, especial (October 21, 2018): 149–66. http://dx.doi.org/10.11606/rm.v18iespecial.151087.

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Esse artigo discorre a respeito da harpa de pedais e daquele que, possivelmente, teria sido seu repertório ao longo das primeiras décadas do século XVIII, período anterior à primeira publicação conhecida de composições originalmente escritas para o instrumento. Pensando a respeito da música que poderia ter sido executada por intérpretes do instrumento no citado período, o texto foca-se na prática improvisatória dos prelúdios e também na apropriação, por parte dos harpistas, do repertório originalmente destinado a outros instrumentos, como o cravo ou o pianoforte. Nesse contexto, o artigo trata também da figura de Madame de Genlis (1746-1830), importante harpista do século XVIII, bem como de algumas de suas opiniões sobre a técnica e as possibilidades da harpa de pedais utilizada na época.
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Reily, Lucia. "Músicos cegos ou cegos músicos: representações de compensação sensorial na história da arte." Cadernos CEDES 28, no. 75 (August 2008): 245–66. http://dx.doi.org/10.1590/s0101-32622008000200007.

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A representação de músicos cegos foi tema recorrente entre os artistas desde a Antiguidade. O presente estudo descreve historicamente as concepções sobre a figura do músico cego baseado nas obras que atravessam os séculos. A análise da concentração de harpistas na Antiguidade, de tocadores de viola de roda na Idade Média até o Barroco, de violinistas e violonistas entre os séculos XVII e XIX e o aparecimento do acordeão a partir do século XIX permite falar do flutuante papel do músico cego na sociedade. O estudo mostra que na Era Cristã predominava o papel de cego músico, trabalhando na marginalidade e na miséria, onde sua performance musical legitimava a mendicância.
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Stahlhut, Jacy. "Henriette Renié: A Threefold Legacy." Musical Offerings 12, no. 1 (2021): 11–24. http://dx.doi.org/10.15385/jmo.2021.12.1.2.

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In 1810, Sébastien Érard patented a double-action mechanism that would dramatically alter the trajectory of the pedal harp. While this invention granted the harp a newfound voice in orchestral music, the harp still struggled to gain ground as a solo instrument. The harp’s increased complexity necessitated that harpists themselves explore the instrument’s abilities and demonstrate these to the musical world. It is to one such harpist, Henriette Renié, that the harp owes much of its credibility as an instrument worthy of the solo stage. From her prodigious beginnings at Paris Conservatoire, Renié’s concerts captivated musicians and the public alike. Her spirit on stage exuded a love of the harp and indeed, of beauty itself. Finding existing literature to be somewhat limited, Renié gifted the harp repertoire with significant works that showcased the harp’s virtuosic abilities and inimitable qualities. Yet, her influence might not have been so widespread had it not been for her love of teaching. Committed to cultivating a love of the harp in each of her students, Renié instructed numerous harpists, including Mildred Dilling, Marcel Grandjany, and Susann McDonald. This article demonstrates Mlle. Renié’s vital role in the advancement of the harp as a solo instrument by drawing on biographical information, interview transcriptions, student testimonials, and score study. Renié heralded the harp’s potential for the entirety of her career, and her legacy rightly serves as an inspiration to today’s harpists. In surveying the impact of her performances, compositions, and teaching, it is clear that Mlle. Renié’s mastery of the harp was outmatched only by her love for it.
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MacKenzie, Jenny, and Roslyn Rensch. "Harps and Harpists." Galpin Society Journal 44 (March 1991): 177. http://dx.doi.org/10.2307/842231.

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Watanabe, Ruth, and Roslyn Rensch. "Harps and Harpists." Notes 46, no. 2 (December 1989): 395. http://dx.doi.org/10.2307/941082.

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Malysheva, Svetlana. "Professionals, “Harpists,” “Amateurs”." Russian Studies in History 55, no. 2 (April 2, 2016): 139–62. http://dx.doi.org/10.1080/10611983.2016.1200355.

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Fürniß, Susanne. "Harpes et harpistes du Haut-Oubangui." Cahiers de musiques traditionnelles 7 (1994): 264. http://dx.doi.org/10.2307/40240210.

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Moulton-Gertig, Suzanne L. "Harps and Harpists (review)." Notes 64, no. 4 (2008): 763–64. http://dx.doi.org/10.1353/not.0.0025.

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Lindquist, Ellen. "The Wedding Harpist." American String Teacher 43, no. 3 (August 1993): 75–77. http://dx.doi.org/10.1177/000313139304300326.

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Lonnert, Lia. "Bridging the gap: Harp teachers on teaching orchestral playing." International Journal of Music Education 37, no. 2 (March 5, 2019): 210–25. http://dx.doi.org/10.1177/0255761419832400.

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Although orchestral playing is a dominant practice within Western classical music, and one that many students participate in from a young age, some students do not have adequate opportunities to participate. Since harp students often come to orchestral playing later than other instrumentalists, harp teachers are concerned with enabling their students to learn orchestral playing in a relatively short time. For this study, six orchestral harpists who are also teachers were interviewed. The findings show that harp teachers intentionally taught orchestral playing during one-to-one lessons, aiming to prepare their students to continue learning within the orchestral context. They aimed to bridge the gap between lessons and practice, methodically preparing them musically, technically, practically and emotionally for the complex orchestral environment. While students of other instruments might acquire this complex knowledge from extended orchestral experience, student harpists must learn it in a relatively short time. These harp teachers’ descriptions of their teaching practice shed light on how orchestral playing is learned by all instrumentalists.
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Dissertations / Theses on the topic "Harpistas"

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Ferigato, Arícia Marques. "A expressividade musical na construção da performance de harpistas experts : características, recursos e estratégias." reponame:Repositório Institucional da UnB, 2015. http://repositorio.unb.br/handle/10482/19248.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-graduação em Música, 2015.
Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2015-11-23T19:39:56Z No. of bitstreams: 1 2015_AriciaMarquesFerigato.pdf: 1184059 bytes, checksum: c4c7e46b91cfcf94407e9279a6449a8e (MD5)
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O presente trabalho de pesquisa investigou o processo de construção da expressividade musical na perspectiva de harpistas experts. O fenômeno da expressividade musical é compreendido por este trabalho como um construto de características multidimensionais e identificado como um dos elementos chaves da expertise musical. A partir de uma abordagem qualitativa e exploratória, a metodologia consistiu em uma análise de conteúdo fundamentada em Bardin (1977) sobre a transcrição do discurso de harpistas experts. As entrevistas semi estruturadas buscaram identificar concepções dos harpistas participantes sobre expressividade musical, características e elementos que influenciam a construção da expressividade na harpa, verificar o uso de recursos e estratégias para a construção da expressividade na sua prática e levantar apontamentos que contribuam para a construção da expressividade musical do harpista. Os resultados indicam que a expressividade musical pode ser construída por meio do refinamento dos processos cognitivos e metacognitivos envolvidos na preparação da performance. As análises foram realizadas a partir do diálogo entre as falas dos participantes e a literatura que indicou estratégias específicas dos harpistas na construção da sua expressividade musical. A performance de alto nível pode ser construída a partir de estratégias metacognitivas autorreguladas, denominadas pelos participantes em três etapas principais: “construção da ideia musical”, “recursos e estratégias” e “preparação para a performance”. Os resultados contam ainda com um modelo desenvolvido a partir de reflexões sobre a literatura e os dados. Este busca representar o funcionamento do raciocínio metacognitivo e sua aplicação para a construção da expressividade musical. ______________________________________________________________________________________________ ABSTRACT
This research investigated the process of musical expressivity construction from harp experts' perspective. The phenomenon of musical expressivity in this work is comprised as a construction of multidimensional characteristics and identified as one of the key elements of musical expertise. From a qualitative and exploratory approach, the methodology consisted of a content analysis based on Bardin (1977) on the transcription of harp experts' speech. The semi-structured interviews sought to identify the harpists’ view on musical expressivity, features and elements that influence the construction of the expressivity through a harp, verify the use of resources and strategies to build the expressivity in its practice and remark notes that contribute to the construction of the harpist’s musical expressivity. The results indicate that the musical expressivity can be constructed by refining the cognitive and meta-cognitive processes involved in preparing the performance. The analyses were performed from the dialogue between the speeches of the participants and the literature that indicated some harpists’ specific strategies in building their musical expressivity. The high level performance can be built from self-regulated meta-cognitive strategies, entitled by the participants into three main stages: "construction of musical idea," "resources and strategies" and "preparation for the performance." The results also rely on a model developed from reflections on literature and data. It seeks to represent the functioning of meta-cognitive thinking and its application to build the musical expressivity.
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Houser, Kimberly Ann. "Five virtuoso harpists as composers: Their contributions to the technique and literature of the harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/280708.

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The composition of new music for the harp has largely been pursued by performing harpists who have taken up the art of composition to fill a need for new music written with the needs and possibilities of the instrument in mind. In the process of doing this the figures discussed in this paper not only left the harp repertory greatly enriched but they have also created separate technical schools of harp playing based on their teachings and their music. They also influenced other composers of their time to write for the harp and generated an interest in the harp as a performance instrument. The five harpist/composers discussed in this document are Elias Parish Alvars, Henriette Renie, Marcel Tournier, Marcel Grandjany, and Carlos Salzedo. The different technical schools generated by the five persons discussed has lead to a focus on how their ways of approaching the instrument differ. This document attempts to show how they are all interconnected, with each building on ideas put forth by others. In looking at the technical schools and repertory in this way in can be seen that there are a great amount of ideas for the modern harpist to draw on as a performer, regardless of the individual's initial training. The composer may also find this subject useful as there is a great deal of discussion of how the harp works as an instrument and how best to use it compositionally.
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Sprout, Graciela Beverly Magwili. "Considerations, examples, and explanations for the non-harpist composer." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589654.

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This project report serves as a resource to provide composers with the tools to tackle the complexities of writing for the harp. This will be achieved by considering the mechanical aspects of the harp, as well as analyze the strategies celebrated composers Maurice Ravel, Henriette Renié, and Carlos Salzédo employ in their own compositions to utilize the intricacies of the instrument to their advantage. Pieces discussed include: Ravel's Introduction et Allegro, Renié's Pièce Symphonique, Salzédo's Five Poetic Studies for Harp Alone and his arrangement of Claude Debussy's Children's Corner Suite. A list of reference and instructional books will be included in the appendix for further study.

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Jalkéus, Anna. "Sångerska, harpist, kompositör, arrangör, administratör : om att axla flera roller samtidigt." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1812.

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Denna uppsats beskriver arbetet med min examenskonsert. Som jazzsångerska, harpist, kompositör och arrangör (och även under arbetets gång administratör för projektet) beskriver jag hur jag upplever det vara att axla flera roller samtidigt. Konserten hölls på University of North Texas, Denton TX, Februari 2015 och jag framförde enbart egenkomponerad musik.

All framförd musik komponerad och arrangerad av Anna Jalkéus (f. 1992)

Program:

Box of Secrets (2011)

Scene of the Crime (2014)

Lost to You (2013, arr 2015)

Svit för sång och fagott (2012-2014) I. Till Vattnet / II. I en kuliss av moln / III. En oförklarlig längtan

Turned Into a Bird (2014)

Sailor’s Wife (2013-2015)

On the Other Side of the Sea (2014-2015)

Musiker:

Anna Jalkéus, sång och harpa

Christopher Wright, kontrabas

Nicholas Rothouse, slagverk (cajun, klockspel, cymbal, triangel, virveltrumma, wind chimes)

Beth Uhimchuk, violin I

Jacob Cortez, violin II

Ruben Balboa III, viola

Jonathan Valdez, cello

Marion Powers, sång

Jessica Curran, sång

Ryan Ayres, fagott

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Betzer, Jennifer. "The Innovation and Influence of Jazz Harpist Dorothy Ashby (1932-1986)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703423/.

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A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.
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Sheldon, Vanessa Renee. "Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.

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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.
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Jadinon, Rémy. "Du religieux au commercial: Créativité musicale et circulation numérique dans les compositions des harpistes MITSƆGƆ de la province de la Ngounié au Gabon." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/253703.

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Ma recherche doctorale propose une approche anthropologique et ethnomusicologique des changements sociaux qui conduisent à une transformation des pratiques musicales traditionnelles. Je m’intéresse à l’intégration des répertoires religieux dans les marchés de la musique nationaux et internationaux et aux rôles des différents acteurs impliqués (musiciens et publics) dans ce que je nomme un « processus de transposition ». J’interroge également le rôle des supports d’enregistrement dans ce processus, en suivant leurs trajectoires sociales et les différentes requalifications dont ils font l’objet. Mon travail se base sur une recherche de terrain menée entre 2010 et 2013 auprès des harpistes Mitsɔgɔ de la province de la Ngounié en République du Gabon.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
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Clayton, Cathryn. "The Importance of Harpist John Thomas as a Welsh Nationalistic Composer and His Impact on the Development of VIrtuosic Harp Repertoire." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195519.

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Welsh-born harpist and composer John Thomas performed for audiences throughout Europe serving as the harpist to Queen Victoria of England. He was trained in London at the Royal Academy of Music, yet remained loyal to his Welsh heritage throughout his life. He began composing at the age of 16 while still a student at the Academy and continued arranging and composing repertoire for harp well into the Twentieth Century.This document will show that John Thomas was instrumental in the development of virtuosic harp literature and the recognition of the double-action pedal harp as a concert instrument while maintaining a strong sense of Welsh Nationalism as demonstrated in his original compositions. Like the Welsh harpists and composers before him, Thomas collected and preserved Welsh Airs. In addition, Thomas participated at numerous Eisteddfoddau, lectured on the history of the Welsh Harp, and wrote the "Welsh Music History" article in the first edition of the Grove Dictionary of Music and Musicians. However, unlike his predecessors, Thomas composed for the modern pedal harp and employed virtuosic techniques heretofore unexplored in Welsh harp music.Though this harpist, composer, and music historian produced a prolific output of virtuosic works and historical writings, very little has been documented on his life and career. There are no complete works lists in print. Many of Thomas' manuscripts and published works remain out of print in the National Library of Wales. The Groves Dictionary of Music and Musicians contains only a brief article on this composer's life and career.Thomas is internationally recognized as a leading composer and performer among harpists of the Nineteenth Century. His works are still performed by harpists in recitals at international conferences and competitions including the World Harp Congresses. Further, Thomas' students became touring performers and made a significant mark on the performing arena throughout much of the Twentieth Century.
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Chen, Lee-Fei. "The Emergence of the Double-Action Harp as the Standard Instrument: Pleyel's Chromatic Harp and Erard's Double-Action Harp." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/109.

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The primary purpose of this essay is to provide comparisons between Pleyel's chromatic harp and Erard's double-action pedal harp, in order to find the factor leading to the emergence of the double-action harp as today's standard instrument. This essay includes biographies of Gustave Lyon and Sébastien Erard, historical background, literature, criticisms, influences, performance techniques and as well as musical examples demonstrating written techniques of Pleyel's chromatic harp and Erard's double-action pedal harp. In addition, this essay also includes a list of earlier twentieth-century works for the chromatic harp.
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Books on the topic "Harpistas"

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Jennings, Jan. The harpist's complete wedding guidebook: Practical advice for the freelance harpist. Orlando, Fla: J. Jennings, 1993.

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Rensch, Roslyn. Harps and harpists. London: Duckworth, 1989.

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Rensch, Roslyn. Harps and harpists. Bloomington, IN: Indiana University Press, 2008.

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Harps and harpists. Bloomington: Indiana University Press, 1989.

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Harps and harpists. London: Duckworth, 1989.

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Owens, Dewey. Carlos Salzedo: From aeolian to thunder : a biography. Chicago: Lyon & Healy Harps, 1992.

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McKillip, Patricia A. Harpist in the wind. London: Futura, 1985.

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Jones, Ivor Wynne. Minstrels and miners: The life and times of David Francis. Blaenau Ffestiniog: Quarry Tours, 1986.

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Govea, W. M. Nineteenth- and twentieth-century harpists: A bio-critical sourcebook. Westport, CT: Greenwood Press, 1995.

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Life on a harp string. London: Thorne, 1987.

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Book chapters on the topic "Harpistas"

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Chadefaux, Delphine, Jean-Loïc Le Carrou, Benoît Fabre, and Laurent Daudet. "Investigation of the Harpist/Harp Interaction." In Lecture Notes in Computer Science, 3–19. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12976-1_1.

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Winter, Irene J. "The harpist’s left hand:." In In Context: the Reade Festschrift, 127–34. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctv1ddckv5.14.

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Winter, Irene J. "The harpist’s left hand:." In In Context: the Reade Festschrift, 127–34. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctv1ddckv5.14.

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Gregory, Justina. "Coda." In Cheiron's Way, 243–46. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190857882.003.0010.

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THE EDUCATION OF Achilles enjoyed a long afterlife in the Western literary tradition. In the first book of Matthew Arnold’s dramatic poem Empedocles on Etna, published in 1852, the philosopher Empedocles, who has climbed the slopes of Mount Etna in Sicily with the intention of ending his life there, overhears a young harpist named Callicles singing of another mountain and another sage:...
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Frood, Elizabeth. "Sensuous Experience, Performance, and Presence in Third Intermediate Period Biography." In Ancient Egyptian Literature. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265420.003.0009.

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This chapter analyses biographical motifs relating to sensory experience found in inscriptions largely belonging to one tenth-century bc priestly family in Thebes. The four statues which are the focus of discussion (CG 42225; CG 42226; CG 42227; CG 42228) were dedicated in the temple precinct of Karnak by Hor IX for himself, his ancestor, and his wife. Inscriptions on a statue of Horakhbit I (CG 42231) from Karnak are also treated. Celebration of the senses is found in these texts through the fusion of biography with themes known from harpists' songs, a genre previously associated with tombs; the use of myrrh, a pleasurable and ritual substance; and through phraseology that mobilises the sensuous geographies of sacred space. Study of how such motifs relate to other features of biography across the statues offers insights into transformations of more than one genre and developments in the function of statues in temples.
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Smith, Steven C. "Orchids in the Moonlight." In Music by Max Steiner, 118–33. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0009.

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After producing too many movie musicals at the dawn of sound, Hollywood had virtually abandoned the genre by 1932. Steiner was convinced that the public was eager to see a well-made musical—and after the success of Warner Bros.’ 42nd Street in March 1933, he had a chance to prove it. The visually extravagant Melody Cruise was only a modest hit, but it opened the door for a cinematic breakthrough at RKO: Flying Down to Rio, which paired Fred Astaire and Ginger Rogers for the first time. This chapter details the swift evolution of movie musical production and Steiner’s role in it, as he and his team experimented with pre-recording music to be used as “playback” during filming. During Rio’s making, the twice-divorced Steiner began a romance with studio harpist Louise Klos. It would become one of the most significant, and complicated, relationships in Max’s life.
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