Relevant bibliographies by topics / Lute manuscript

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

Academic literature on the topic 'Lute manuscript'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Lute manuscript"

1

Picken, Laurence. "The Dunhuang lute-manuscript transcribed by Coralie Rockwell." Musicology Australia 20, no. 1 (1997): 15–60. http://dx.doi.org/10.1080/08145857.1997.10415971.

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Meyer, Christian, and Victor Coelho. "The Manuscript Sources of Seventeenth-Century Italian Lute Music." Revue de musicologie 82, no. 1 (1996): 189. http://dx.doi.org/10.2307/947211.

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Tyler, James, and Victor Coelho. "The Manuscript Sources of Seventeenth-Century Italian Lute Music." Notes 52, no. 4 (1996): 1158. http://dx.doi.org/10.2307/898386.

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Schöning, Kateryna. "Lautentabulatur UKR-LVu 1400/I als ein humanistisches Scholarbuch." Die Musikforschung 73, no. 3 (2021): 202–34. http://dx.doi.org/10.52412/mf.2020.h3.14.

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The Krakow Lute Tablature UKR-LVu 1400/I (ca. 1555-1592) belongs to the hardly explored collections of the Lviv University Library (Ukraine). This paper considers the manuscript is in the context of humanist culture and didactic practice in Central Europe during the 16th century. At the centre is an examination of the Tablature's relation to the elaborate scholarly traditions from the first half of the 16th century, especially to the humanist Lessons Book tradition and Commonplace practice. It is argued that the Krakow Lute Tablature was a guide to poetic and musical enterntainment in the uppe
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Leszczyńska, Agnieszka. "Emanuel Wurstisen, his Tablature and Links to Poland. Lute Music with Medicine in the Background." Muzyka 65, no. 2 (2020): 3–24. http://dx.doi.org/10.36744/m.445.

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The lute tablature CH-Bu F IX 70 was compiled by Emanuel Wurstisen (1572–1616), a Basel University student, who became a physician in Biel toward the end of his life. His biography has been supplemented here so as to include new information concerning, among other things, his collaboration with German surgeon Wilhelm Fabricius Hildanus during the first decade of the seventeenth century. When commencing his tablature, in 1591, Wurstisen planned to divide it into eight books, each devoted to works of a similar genre. The manuscript comprises nearly five hundred works, mostly anonymous, while amo
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Schöning, Kateryna. "21 hands for playing: on resolving a puzzle from the ‘Krakow lute tablature’." Early Music 47, no. 3 (2019): 345–60. http://dx.doi.org/10.1093/em/caz058.

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Abstract The ‘Krakow lute tablature’ (c.1553–1592) is preserved among the little-explored collections of the Ivan Franco National University in Lviv, Ukraine. This article is devoted to the 21 unique hand drawings on the tablature folios. Did such illustrations have any significance for readers of tablature in the 16th century? Were the hand-signs intended to convey information about the pieces to which they were obviously assigned, or even about the manuscript as a whole? Were they of didactic importance, and do they relate to performance practice around 1550 in the Polish–Lithuanian region?
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Boye, Gary R. "Lessons for the Lute, and: Duets from the Phalese Anthologies, and: Lute Duets, and: Duets by Francesco da Milano and Joanne Matelart, and: Five Duets from "Fronimo" (1584), and: Suite for 2 Lutes, and: Lute Music, and: Complete Works, and: English Lute Song before Dowland, and: Eight Pieces for the Ten-Course Lute, and: The Moscow "Weiss" Manuscript (review)." Notes 57, no. 2 (2000): 473–80. http://dx.doi.org/10.1353/not.2000.0065.

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Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.

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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the
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Gvantseladze, Teimuraz I., Gvantsa T. Gvantseladze, and Shakhban M. Khapizov. "GEORGIAN-ARABIC PALIMPSEST FROM DAGESTAN (BRIEF REPORT)." History, Archeology and Ethnography of the Caucasus 14, no. 4 (2018): 8–12. http://dx.doi.org/10.32653/ch1448-12.

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Abstract. Georgian-Dagestan relations in the early Middle Ages were distinguished by their diversity. At the same time, they included both close political ties and cultural contacts, which became even closer up until the XIV century. This aspect was mainly reflected in the influence of medieval Georgia on the spread of Christianity, Georgian literature and language in Highland Dagestan (Avaria). One aspect of this cultural influence can be considered the spread of book culture and, in particular, Georgian manuscripts. Until recently, the message from Georgian sources was not confirmed in the f
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Lafleur, Didier. "Which Criteria for Family 13 (f 13) Manuscripts? 1." Novum Testamentum 54, no. 2 (2012): 105–48. http://dx.doi.org/10.1163/156853612x628151.

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Abstract For decades, Greek New Testament textual criticism has accepted Family 13 as a first order witness. Beyond the scholarly approval still remains the question of which criteria are—or are not—specific to determine if a manuscript is—or is not—a Family 13 member. In this way, the present paper focuses on five criteria: (1) the transfer of the pericope of the adulteress to a position after Luke 21:38; (2) the transfer of the pericope of the angel and the sweat like drops of blood from Luke 22:43-44 to a position after Matt 26:39; (3) the omission of the sign of the times (Matt 16:2a-3); (
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Dissertations / Theses on the topic "Lute manuscript"

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Eklund, Robert. "UUB 20:13 – A Contextual Analysis of a Lute Manuscript." Thesis, Stockholm University, Department of Musicology, 1991. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-135296.

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Of the various periods in the lute's history, that which is chronologically closest to us - the 18th century - is ironically the least familiar. The lute is strongly associated with Elisabethan England through well known composers such as John Dowland, and the 17th century French lutenists' influence on the style brise clavecin composers is similarly well documented. However, the generations of German lutenists working after c.1720 are largely unfamiliar today. One explanation is that by this time the lute had lost the preeminence which it had enjoyed in previous centuries, its position as the
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Batterson, Teresa E. A. "Variant Versions in Egerton Manuscript 2013." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1197572776.

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Beasley, Douglas William. "Mus. Ms. 1511b: A Historical Review of a Lute Manuscript in the Herwarth Collection at the Bavarian Library, Munich." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-4004.

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Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.

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Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relations
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Craig-McFeely, Julia. "English lute manuscripts and scribes 1530-1630." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260011.

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Torres, George. "Seventeenth-century Pièces de luth : an examination of the manuscript anthology tradition with a special emphasis on the Barbe manuscript /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400527347.

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Sheptovitsky, Levi. "La tablature de luth de Cracovie (CLT) : étude du manuscrit et édition critique." Paris 4, 2003. http://www.theses.fr/2002PA040029.

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La tablature pour luth de Cracovie (CLT), datant de c. 1553 jusqu'au début du XVIIème siècle, est la collection la plus complète et la plus ancienne de musique de luth de la période de la Renaissance polonaise. Le répertoire du CLT, 57 pièces représentantun siècle de musique, est constitué de mises en tablature, de compositions vocales, de danses, de fantaisies et de préludes. Le CLT est la principale source de ces pièces polonaises uniques. Le but fondamental de cette thèse est l'étude de ce manuscrit rare et insuffisamment étudié. Toutes les pièces du CLT ont été analysées , cataloguées et r
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Fojas, Ivar-Nicholas, and Ivar-Nicholas Fojas. "J.S. Bach's Suite in G Minor, BWV 995: A Comparison of Manuscripts for Violoncello, Lute and Lute Intabulation as a Model for a Guitar Arrangement of the Suite in D Major BWV 1012." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624583.

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J.S. Bach (1685 – 1750) is celebrated for his exemplary musical compositions, but less known is Bach the inveterate transcriber. He not only transcribed at least nine concertos by Antonio Vivaldi (1678 – 1741), but he also arranged and adapted his own works, recasting them for other instruments. Among Bach's arrangements, are those for the lute, which were originally written for solo violin and cello. These two arrangements form a significant portion of J.S. Bach’s oeuvre for the lute, an instrument Bach would have been familiar with through his encounters with the finest lutenists of the age.
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Milek, Katarzyna. "Lute music in sixteenth-century German speaking countries : a study of the manuscripts Pl-Lzu M6983, Ch-Bu F.IX.70 and D-Si G.1.4." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/402939/.

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In part because of the complexities of the German tablature system, lute music preserved in manuscripts from German-speaking regions has been much less studied than music from sources notated in French or Italian tablature. This thesis provides editions and analysis of music from three important German manuscripts of the sixteenth century: M6983, stored in the University Library in Lodz, Poland; F.IX.70, kept in the Öffentliche Bibliothek der Universität in Basel, Switzerland; and G.1.4, stored in the Württembergische Landesbibliothek in Stuttgart, Germany. This is the first transcription, edi
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Santos, C?ssia de Fatima Matos dos. "Vaga-lume na treva: a poesia de Jo?o Lins Caldas." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16330.

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Made available in DSpace on 2014-12-17T15:07:10Z (GMT). No. of bitstreams: 1 CassiaFMS_TESE.pdf: 3187053 bytes, checksum: 7e5d2fd083a136c82403cb120f2d3736 (MD5) Previous issue date: 2010-11-22<br>Universidade Estadual do Rio Grande do Norte<br>This thesis analyses the poetry of Jo?o Lins Caldas (1888-1967), in Brazilian literature context, aiming at describing and understanding the main features of his poetry. Thus, this research presents a corpus to be worked on: the poems in Poeira do c?u e outros poemas (2009). Our study is characterized by a biographical, historiographical and critical t
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Books on the topic "Lute manuscript"

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The manuscript sources of seventeenth-century Italian lute music. Garland, 1995.

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Coelho, Victor. The manuscript sources of seventeenth-century Italian lute music: A catalogue raisonné. s.n.], 1989.

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Faulkner, William. Luce d'agosto. Adelphi, 2013.

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Par une nuit où la lune ne s'est pas levée: Roman. Gallimard, 2007.

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Menichini, Maria. Alfredo Catalani alla luce di documenti inediti: Con il catalogo dei manoscritti dell'Istituto musicale "Luigi Boccherini" di Lucca. Maria Pacini Fazzi, 1993.

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Gerbert, Martin. Scriptores ecclesiastici de musica sacra potissimum: Ex variis Italiae, Galliae & Germaniae codicibus manuscriptis collecti et nunc primum publica luce donati. G. Olms, 1990.

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Ruoyu, Liang, ed. Mou ye, yue wei sheng-- = Par une nuit où la lune ne s'est pas levée. Huang guan wen hua chu ban you xian gong si, 2007.

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Bergerac, Cyrano de. L' autre monde, ou, Les empires et estats de la lune: Édition diplomatique d'un manuscrit inédit (Bibliothèque Fisher, University of Sydney, RB Add. Ms. 68). Lettres modernes, 1995.

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Gauguin, Paul. Racontars de rapin: Fac-similé du manuscrit de Paul Gauguin : edition enrichie de dix-huit monotypes. Suivie de Art de Papou & chant de rossignoou, la lutte pour les peintres / par Victor Merlhès. Editions Avant et après, 1994.

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Coelho, Victor. The manuscript sources of Seventeenth-century Italian lute music: A catalogue raisonné. 1989.

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Book chapters on the topic "Lute manuscript"

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Perani, Mauro. "Nuova luce su due copisti ebrei italiani: Yequtiel ben Shelomoh Finzi (Crevalcore 1428) e Iṣḥaq ben Yehudah Shuwaykat alias Busacca Sagictuni (Siracusa 1452)." In Manuscrits hébreux et arabes. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.bib.1.102094.

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"Luke." In An East Syrian Manuscript of the Syriac 'Masora' Dated to 899 CE. Gorgias Press, 2014. http://dx.doi.org/10.31826/9781463220648-038.

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Keith, Chris. "The Competitive Textualization of the Synoptic Tradition." In The Gospel as Manuscript. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199384372.003.0005.

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Chapter 4 traces instances where the Synoptic authors self-consciously draw attention to their tradition’s status as written in bids for authority, often in reference to prior Gospels that they consider inferior. An initial section introduces the terms “textual self-consciousness” and “competitive textualization.” Following this section, the chapter addresses moments in each of the Synoptic Gospels where the author or authors draw attention to their status as written tradition. For Mark, the chapter highlights Mark 13:14, though it also shows how Mark is aware of Jewish Scriptures and positions himself with reference to them. For Matthew, the chapter makes an original scholarly contribution by focusing upon Matthew 1:1’s reference to the Gospel as a biblos (“book”), which shows that what Mark considered a “gospel” Matthew considered a “book.” For Luke, the chapter focuses upon the Lukan prologue of Luke 1:1–4, and specifically Luke’s awareness that he is entering a market for Jesus books by writing his Gospel.
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"INDEX OF STILL EXISTING LUTE BOOKS AND MANUSCRIPTS." In The Lute in the Dutch Golden Age. Amsterdam University Press, 2013. http://dx.doi.org/10.2307/j.ctt6wp7b3.17.

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Keith, Chris. "Conclusion." In The Gospel as Manuscript. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199384372.003.0009.

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The conclusion briefly restates the main argument of the book and notes that the gospel-as-manuscript is the connecting thread between Mark’s textualization of the Jesus tradition in the first century and the eventual intertwining of public reading in assembly and canonical status by the fourth and fifth centuries. It particularly highlights the continuance of competitive textualization in Origen’s discussion of the writing of the Gospels in his Homilies on Luke. Also discussed briefly are heresiological charges against Gospel authors and the burning of books in moments of persecution. The conclusion also proposes a few areas for future research.
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"Index of Still Existing Lute Books and Manuscripts Mentioned in the Main Text of the Book." In The Lute in the Dutch Golden Age. Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048519392-015.

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Saweros, Ibrahim. "The Perception of St. Athanasius of Alexandria in Later Coptic Literature." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0011.

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This chapter presents the results of an examination of a set of four Sahidic homilies attributed to Athanasius of Alexandria to explain how he was seen among Copts after his death, and why he was seen in this particular way. The manuscripts which contain these sermons belong to the famous find of al-Hamuli and are now kept at the Pierpont Morgan Library and Museum in New York. The four homilies are entitled “On Michael and Gabriel,” “On Murder and Greed and on Michael, the Archangel,” “On Luke 11:5–9,” and “On Pentecost.”
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Cottereau-Gabillet, Émilie. "Manuscrits de luxe et distinction sociale à la fin du Moyen Âge." In Marquer la prééminence sociale. Éditions de la Sorbonne, 2014. http://dx.doi.org/10.4000/books.psorbonne.3352.

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Blaustein, George. "Introduction." In Nightmare Envy and Other Stories. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190209209.003.0001.

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As “American dream” became a cliché in the twentieth century, the contrary refrain of American nightmare was probably inevitable. This book adopts the phrase “nightmare envy” to capture an atmosphere of transatlantic disparity, projection, recrimination, and longing. But the phrase’s ambiguity is deliberate: it isn’t always clear who is envying whom, or for what reason. Examples from Margaret Mead, David Potter, Mary McCarthy, Simone de Beauvoir, and William Faulkner offer variations on the theme. Nightmare Envy and Other Stories proposes an “Americanist century” that stands in curious tension with the American Century heralded by Henry Luce in 1941. The protagonists are the Americanists who negotiated the imperatives of military occupation and cultural diplomacy in Europe, as well as Japan. The introduction closes with one of the paradigmatic figures of the Americanist century, Ralph Ellison, and offers an interpretation of his European fictions, as well as previously unpublished manuscripts.
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"14. LUKE 16,30-17,23 I.1.b.708 (4778, Copt.7)." In The Literary Coptic Manuscripts in the A.S. Pushkin State Fine Arts Museum in Moscow. BRILL, 1994. http://dx.doi.org/10.1163/9789004312845_055.

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