Relevant bibliographies by topics / History of harpsichords

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

Academic literature on the topic 'History of harpsichords'

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

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Journal articles on the topic "History of harpsichords"

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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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Johnson, Edmond. "The Death and Second Life of the Harpsichord." Journal of Musicology 30, no. 2 (2013): 180–214. http://dx.doi.org/10.1525/jm.2013.30.2.180.

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Though far from being the only historical instrument to receive renewed attention during the decades surrounding the turn of the twentieth century, the harpsichord holds a special place in the history of the early music revival. No other instrument played as visible—or, perhaps, as controversial—a role in popularizing musical activities during the revival. As a large and visually distinctive presence, the harpsichord has a tendency to garner attention wherever it appears, whether in a museum case or on the concert hall stage. In this article I explore the harpsichord’s nineteenth-century “deat
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.

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The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a
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Chanan, Michael. "Piano studies: On science, technology and manufacture from harpsichords to Yamahas." Science as Culture 1, no. 3 (1988): 54–91. http://dx.doi.org/10.1080/09505438809526212.

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Woodfield, Ian. "The Keyboard Recital in Oriental Diplomacy, 1520–1620." Journal of the Royal Musical Association 115, no. 1 (1990): 33–62. http://dx.doi.org/10.1093/jrma/115.1.33.

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The giving of gifts or ‘bribes’ in return for official favours was an immutable fact of life in oriental society that Europeans who travelled to the East in the service of religious or commercial interests had no choice but to accept. Permission to open a trading station or a mission would rarely be granted unless the request were accompanied by a present of some substance. The initial gift, moreover, would inevitably inspire many demands for similar treatment by subordinate officials in whose hands lay considerable power to disrupt the ordered patterns of daily life. The choice of suitable ob
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Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.

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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part
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Halton, Rosalind. "A history of the Harpsichord." Musicology Australia 27, no. 1 (2004): 138–42. http://dx.doi.org/10.1080/08145857.2005.10416531.

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Wraight, Denzil. "A History of the Harpsichord (review)." Notes 60, no. 4 (2004): 931–33. http://dx.doi.org/10.1353/not.2004.0081.

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Artola, Ines R. "“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)." Notes Muzyczny 1, no. 15 (2021): 67–107. http://dx.doi.org/10.5604/01.3001.0014.9691.

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The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical i
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Sukljan, Nejc. "Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament." Musicological Annual 54, no. 1 (2018): 5–22. http://dx.doi.org/10.4312/mz.54.1.5-22.

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This paper deals with the tuning question as it is discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino’s tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.
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Dissertations / Theses on the topic "History of harpsichords"

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Emerson, George F. "Replicating an English virginal with an historical perspective of virginals and virginal books in England." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/495118.

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This project involved an examination of the relative popularity of various harpsichords and related keyboard instruments in England from 1150 to 1820, with particular attention to the virginal period, 1500 to 1680. Considerable research was involved in selecting an appropriate instrument to replicate and the methodology of its builder. Attention was given to the appropriateness of certain bodies of literature to particular instrument types, with special attention to English virginal literature. In order to understand fully the relationship between an instrument type and its literature, it wa
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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It
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Hora, Edmundo Pacheco 1953. "As obras de Froeberger no contexto da afinação mesotonica." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284787.

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Orientador: Helena Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T16:44:26Z (GMT). No. of bitstreams: 1 Hora_EdmundoPacheco_D.pdf: 7784572 bytes, checksum: 6dea0baba38779974864d2974087d576 (MD5) Previous issue date: 2004<br>Resumo: Com o objetivo de verificar a adequação do sistema de afinação utilizado no século XVII, com a produção musical de Johann Jacob Froberger (1616-1667), elaboramos um sistema de análise de todo o material publicado, visando identificar as eventuais discrepâncias entre eles. Assim, tanto a De
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Luzzati, Constance. "Du clavecin à la harpe, transcription du répertoire français du XVIIIe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040238.

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Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et let
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Dos, Reis Chloé. "Les ornements dans les pièces pour clavecin seul de l’école française de 1670 à 1713 : analyse et interprétation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040196.

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L’ornement fait partie intégrante de la musique pour clavecin aux XVIIe et XVIIIe siècles. Ce doctorat a pour objet l’étude des ornements dans les pièces pour clavecin seul, de la première édition connue de cette école : Chambonnières en 1670, au premier livre de François Couperin de 1713. Cette dernière date correspond à un tournant historique, celui de la fin du Grand Siècle et un tournant musical dans l’écriture des pièces de clavecin en France. Le corpus est composé au total de douze compositeurs (Chambonnières, Lebègue, Jacquet de La Guerre, d’Anglebert, Marchand, Dieupart, Clérambault, D
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Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.

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La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture
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Wood, Jessica. "Keys to the Past: Building Harpsichords and Feeling History in the Postwar United States." Diss., 2010. http://hdl.handle.net/10161/2456.

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<p>This dissertation traces the range of popular forms and practices associated with the harpsichord in the twentieth century in the United States, focusing on the 1950s, 60s and 70s. It draws on archives of period correspondence, sound recordings, and news clippings, as well as on my interviews with harpsichord builders and performers and on fieldwork I conducted at a prominent American harpsichord company during 2008. I argue that the harpsichord enabled practices and discourses through which the white middle class could critique the post-World War II United States, and that the material asp
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"Keys to the Past: Building Harpsichords and Feeling History in the Postwar United States." Diss., 2010. http://hdl.handle.net/10161/2456.

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"Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55627.

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abstract: Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the mo
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Muller, Stephanus. "An interpretative analysis of the Capriccio in B flat major, BWV 992, by J.S. Bach, with specific reference to comparative interpretations on the clavichord, harpsichord and piano." Diss., 1997. http://hdl.handle.net/10500/17540.

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The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century a
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Books on the topic "History of harpsichords"

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Vandervellen, Pascale. Clavecins, épinettes et virginals =: Klavecimbels, Spinetten en Virginalen = harpsichords, spinets and virginals. Mardaga, 2000.

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Kottick, Edward L. A history of the harpsichord. Indiana University Press, 2016.

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Harley, John. British harpsichord music. Scolar Press, 1992.

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Harley, John. British harpsichord music. Scolar, 1994.

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Herzog, H. K. I, Piano-Nummern deutscher, europäischer und überseeischer Instrumente: Klaviere, Flügel, Cembali, Harmonien bis 1988 = Piano serial numbers of German, European and foreign instruments : uprights, grands, harpsichords, harmoniums untill [sic] 1988 ; II, 1400 Klavierbauer : 1600-1925 = Piano makers. 7th ed. E. Bochinsky, 1989.

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Bond, Ann. A guide to the harpsichord. Amadeus Press, 1997.

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A history of music for harpsichord or piano and orchestra. Scarecrow Press, 1997.

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Lambrechts-Douillez, J. Antwerp harpsichordmakers in the 16th and 17th century outside the Ruckers-Couchet family: Recent findings based on archival and organological research. Ruckers-Genootschap, 2009.

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Lambrechts-Douillez, J. Antwerp harpsichordmakers in the 16th and 17th century outside the Ruckers-Couchet family: Recent findings based on archival and organological research. Ruckers-Genootschap, 2009.

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Ruckers: A harpsichord and virginal building tradition. Cambridge University Press, 1990.

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Book chapters on the topic "History of harpsichords"

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Koster, John. "History and Construction of the Harpsichord." In The Cambridge Companion to the Harpsichord. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316659359.003.

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"The transition from the harpsichord and clavichord to the piano." In A History of Pianoforte Pedalling. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511597251.002.

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