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Relevant bibliographies by topics / Niccolò Paganini

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Academic literature on the topic 'Niccolò Paganini'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Journal articles on the topic "Niccolò Paganini"

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Azmiyati, Ismi, Agus Firmansah, and Fensy Sella. "TEKNIK PERMAINAN LEFT HAND PIZZICATO PADA KARYA NEL COR PIU NON MI SENTO ARANSEMEN NICCOLO PAGANINI UNTUK VIOLIN BAGIAN TEMA." SWARA - Jurnal Antologi Pendidikan Musik 3, no. 1 (2023): 21–38. http://dx.doi.org/10.17509/swara.v3i1.55625.

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Nel Cor Piu Non Mi Sento Aransemen Niccolo Paganini menjadi salah satu karya masterpiece dari Niccolo Paganini. Karya ini memiliki sepuluh bagian, salah satunya adalah Tema yang terdapat pada bagian kedua. Penelitian yang berjudul “Teknik Permainan Left Hand Pizzicato Pada Karya “Nel Cor Piu Non Mi Sento” Aransemen Niccolo Paganini Untuk Violin Bagian Tema” bertujuan untuk mengetahui teknik permainan Left Hand Pizzicato. penelitian difokuskan pada permainan teknik Left Hand Pizzicato dan hubungan atau keterkaitan antara teknik bowing dan teknik Left Hand Pizzicato dalam karya Nel Cor Piu Non M

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Reitz, M. "Die Leiden des Niccolo Paganini." Aktuelle Dermatologie 35, no. 10 (2009): 411–14. http://dx.doi.org/10.1055/s-0028-1119679.

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Cavalera, David. "ANALISIS TEKNIK PERMAINAN BIOLA PADA LAGU INTRODUZIONE E VARIAZIONI SUL TEMA NEL COR PIU NON MI SENTO PER VIOLIN SOLO KARYA NICCOLO PAGANINI." Repertoar Journal 2, no. 1 (2021): 13–20. http://dx.doi.org/10.26740/rj.v2n1.p13-20.

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Abstrak Nel Cor Piu Non Mi Sento merupakan sebuah komposisi karya Giovani Paisiello, seorang komposer berpengaruh dan populer pada akhir 1700an di Italia. Lagu tersebut kemudian digubah lagi oleh Paganini menjadi bentuk komposisi yang berjudul Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo. Karya tersebut memiliki keunikan yang menjadi ciri khas Paganini yang digubah menjadi 7 Variasi Melodi Penelitian ini bertujuan (1) Mendeskripsikan teknik gesekan biola; (2) dan penjarian pada lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.Penel

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Wolf, P. "Creativity and chronic disease Niccolo Paganini (1782-1840)." Western Journal of Medicine 175, no. 5 (2001): 345. http://dx.doi.org/10.1136/ewjm.175.5.345.

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ERGÜN, Gülşah. "Nicolla Paganini'nin 24 Numaralı Kaprisi Üzerine Detaylı Bir İnceleme ve Çalışma Önerileri." Premium E-Journal of Social Sciences 7, no. 33 (2023): 919–25. https://doi.org/10.5281/zenodo.8308428.

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Keman oldukça karmaşık bir çalım tekniğine sahiptir. Sağ ve sol elin birbirinden bağımsız ancak birbiriyle iş birliği halindeki hareketleri yoluyla farklı tınılara sahip sesler elde edilir. İki elin içerdiği çokça tekniğe hakim olabilmek için sistemli bir çalışma şarttır. Kemandan kaliteli ve nitelikli bir ses elde etmek, ise oldukça zordur. Bu nedenle keman eğitimi uzun ve zorlu bir süreçtir. Bu eğitimin sistematik ve amaca uygun bir biçimde ilerlemesi başarı için gereklidir. Yüzyıllardır kusursuz icra i&cc

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Zavialova, Olha, Oleksandr Stakhevуch, Mariya Kalashnyk, Hanna Savchenko, and Halyna Stakhevуch. "Formation of romantic instrumental performance and violin art of Niccolo Paganini." Revista Amazonia Investiga 11, no. 50 (2022): 180–87. http://dx.doi.org/10.34069/ai/2022.50.02.18.

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The article analyzes the features of formation of instrumental performance of the romantic period and the main factors of this process revealed on the example of Niccolo Paganini’s violin work. The methodological basis of the article is a comprehensive review based on historical-theoretical and music-performing approaches to the research of the stated problems. The main methods of work are historical-comparative, structural-functional and theoretical generalization. The main principles of performance and repertoire of the Italian violinist are determined. The influence of the Italian maestro o

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Kukuh Pertiwi, Re Karunia. "Teknik Permainan dan Bentuk Musik Pada Komposisi Caprice No.21, Op.1 Karya Niccolo Paganini." Repertoar Journal 4, no. 1 (2023): 158–68. http://dx.doi.org/10.26740/rj.v4n1.p158-168.

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Dalam kehidupan, dipastikan bahwa tidak terlepas dengan sebuah kesenian. Entah hanya sekedar sebagai penikmat, pencipta atau yang lainnya. Salah satunya musik, dengan bunyi sebagai media cipta dan penyajian. Bunyi merupakan musik jika memiliki unsur melodi, irama, ritme, timbre, dinamika, tempo dan wujud. Dalam perkembangannya, terdapat 7 zaman yaitu kuno, abad pertengahan, renaissance, barok, klasik, romantik dan modern. Peneliti menjadikan Caprice No.21 karya Niccolo Paganini seorang komposer era romantik sebagai objek penelitian yang bertujuan, (1) Sebagai acuan bagi violinist ketika mempel

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Moretti, Maria Rosa. "Paganini Marchand Luthier Through Documentary Sources: New Research." Fontes Artis Musicae 71, no. 4 (2024): 243–346. https://doi.org/10.1353/fam.2024.a947248.

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English Abstract: This article offers an exclusively historical and archival examination of Niccolò Paganini's collection of bowed string instruments. Through a meticulous study and comparison of already known and recently traced sources, Paganini's marchand luthier activity, essentially carried out during the year 1839, is reconstructed. The article is a study of the instruments inventoried in Nice on 24 July 1840. Five of these were instruments already in Paganini's possession before 1839, fourteen are instruments that arrived in Marseille and Nice through five shipments, hereby described in

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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.

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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not la

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Sarras, Michael P., and Rainer Deutzmann. "Hydra and Niccolo Paganini (1782-1840)?two peas in a pod? The molecular basis of extracellular matrix structure in the invertebrate,Hydra." BioEssays 23, no. 8 (2001): 716–24. http://dx.doi.org/10.1002/bies.1101.

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Dissertations / Theses on the topic "Niccolò Paganini"

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Park, Jeeyoung. "Comparing Musical Expression in Teresa Millanollo’s “Grand Fantaisie Elegiaque” Opus 1 with Niccolo Paganini’s Compositions." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1613745055878857.

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Yang, Hokyung. "12 variations on Paganini's 24th caprice : an analysis /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11263.

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Rybicki, Marie-Hélène. "Le mythe de Paganini dans la presse et la littérature." Paris 4, 2004. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2932-3.

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Notre étude est consacrée à la présence de Paganini dans la presse et la littérature de son temps. Nous examinons comment, en Italie, en France en Allemagne et en Angleterre, ce musicien exceptionnel devient personnage de fiction et quelle influence cette "entrée en littérature" exerce sur la représentation des musiciens dans les romans et nouvelles du XIXe siècle. Après avoir retracé le parcours du violoniste, nous nous penchons sur la manière dont ses faits et gestes sont relatés dans la presse et exposons les polémiques que la technique paganinienne entraîne. Nous analysons ensuite les imag

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Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.

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Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assim

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Rada, Jan. "Niccolo Paganini: 24 Caprices pro sólové housle op. 1, dílo a interpretace." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-343168.

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The diploma thesis investigates 24 Caprices for Solo Violin op. 1 by Nicolo Paganini in great detail. It also includes a brief biography of the famous performer and composer but mainly focuses on 24 caprices op. 1. The author of this work addresses circumstances of their creation, their main features and methodology problems. He further looks into interpretation options and compares recordings of Ruggiero Ricci, Ivan Kawaciuk, Itzhak Perlman and Shlomo Mintz. The aim of the work is to offer violinists who study any of the capricies recommendation regarding technic and interpretation problems.

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Borer, P. "The twenty-four caprices of Niccolo Paganini: their significance for the history of violin playing and the music of the Romantic era." Thesis, 1995. https://eprints.utas.edu.au/11438/1/Borer_Front_matter%5B1%5D.pdf.

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This project attempts to describe and elucidate the compositional and instrumental character of the 24 Caprices of Niccolo Paganini and their far-reaching influence on violin playing and on musical creativity up to the present time. There is also the wider inspirational value which can be traced in literature, poetry, and fine arts. The first Chapter aims to place the 24 Caprices in their historical perspective. The reception accorded to the work by prominent musicians of the time (in particular Chopin, Liszt and Schumann) whose attention was drawn to the concept of virtuosity as an essentia

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Wang, Yen-Ting, and 王彥庭. "Niccolò Paganini’s violin: the making of 1743 Guarneri def Gesu’s “Il Cannone”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4363dy.

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碩士<br>國立臺南藝術大學<br>民族音樂學研究所<br>107<br>In the history of violin making, there are three families possess the fames: Amati, Stradivari and Guarneri. Although their violins are different in every detail, they show the quality and aesthetics in both sounds and appearances. By referring the archives and photographs, we are going to recreate a famous violin named “Il Cannone”, which made by Guarneri del Gesu in 1743 and owned by a well-known violinist Niccolò Paganini(1782-1840). We focus on the imitation of plate thickness, the worn-off, patches and varnish instead of its sound quality. In the end,

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Lee, Hsiang-Ning, and 李湘寧. "An Analysis and Interpretation of Niccolo Paganini's Violin Caprices, Op. 1, No.1, 4, 9, 17, 24." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/12061715868098219009.

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Wang, Chien-Tang, and 王建堂. "An Analysis of Niccolò Paganini’s 24 Caprices, Op. 1 and Discussion on the Evolution of its Left-Hand Technique." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f7na3y.

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博士<br>國立臺灣師範大學<br>音樂學系<br>105<br>This thesis aims at undertaking a research on 24 Caprices of Niccolò Paganini and its main objective is to discuss the application of left-hand techniques and its historical change and development. By understanding the background and the characters of musical works, it allows this study to analyze the genre, the melodic attributes and other elements of musical artworks. To understand how a performer interprets the unique musical language of 24 Caprices is the key element of this study as well. This study can be divided into four main sections: first, the music

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Books on the topic "Niccolò Paganini"

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Ciobanu, Luminita, ed. Niccolo Paganini - Cele 24 de capricii pentru vioara solo, op. 1: Analiza tehnico-interpretativa. Editura Universitatii Nationale de Muzica Bucuresti, 2005.

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Rey, Xavier. Niccolò Paganini: Le romantique italien. L'Harmattan, 1999.

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1780-1838, Harrys Georg, Escudier Leon d. 1881, Bull Ole 1810-1880, and Day, Harold A. E., 1924-, eds. Niccolò Paganini: Journals & jottings, etc. Hobart Press, 2002.

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Iovino, Roberto. Niccolò Paganini: Un genovese nel mondo. Fratelli Frilli, 2004.

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Francesca, Oranges, ed. Niccolò Paganini: Un genovese nel mondo. F.lli Frilli, 2004.

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author, Monicelli Mario 1915-2010, and Scarpelli, Giacomo, 1956- author, editor, eds. Storia meravigliosa di Niccolò Paganini: Un progetto per un film non fatto. Edizioni ETS, 2016.

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Borer, Philippe. The Twenty-Four Caprices of Niccolò Paganini: Their significance for the history of violin playing and the music of the Romantic era. Stiftung Zentralstelle der Studentenschaft der Universität Zürich - Michel Scherrer, 1997.

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Niccolo Paganini. Seven Hills Book Distributors, 1989.

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Niccolo Paganini: Boy Music Genius. ARPress, 2024.

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Niccolo Paganini: Boy Music Genius. ARPress, 2024.

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Book chapters on the topic "Niccolò Paganini"

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Steiert, Thomas. "Paganini, Niccolò." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_216.

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Steiert, Thomas. "Paganini, Niccolò." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_217.

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Morowitz, Harold J. "Koobi Fora." In Entropy and the Magic Flute. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195081992.003.0026.

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Abstract Most Of us like to be present at “firsts” or to visit sites where the original something or other took place. These firsts come with varying degrees of emotional impact. Thus, for example, a few weeks ago in Nairobi I was present at what was billed as the first performance on the African continent of Sonata No. 15 by Niccolo Paganini. Doubtless for Paganini devotees in the audience this was a magical moment, but to me it was merely an interesting footnote to a fine concert by Fernando Antonelli on the violin and Francesco Beroglio on the guitar. I was frankly more taken by the oft-per

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Budden, Julian. "Chamber Compositions." In Verdi. Oxford University PressNew York, NY, 2018. http://dx.doi.org/10.1093/oso/9780195323429.003.0021.

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Abstract if the majority of verdi’s chamber works are of marginal interest only, the fault lies not so much in his lack of aptitude for the medium as in the musical tradition of his time and place. In Italy, since the beginning of the century, only opera was considered to have any importance. The few remaining practitioners of instrumental music pursued their activity abroad—Cherubini in France, Boccherini in Spain, Clementi in England. The last descendant of the great violin school of Corelli and Tartini was Niccolô Paganini whose art was of a very different kind: taut, memorable themes exten

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"Niccolò Paganini (1782–1840)." In Accompanied Voices. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-023.

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Sullivan, Vickie B. "Machiavelli’s Ambiguous Praise of Paganism." In Machiavelli's Three Romes. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747847.003.0006.

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This chapter argues that Niccolò Machiavelli considers the Roman leaders' use of pagan religion to maintain popular support as pernicious. It enabled the leaders of the people to put this religion to a very different purpose. The successive innovations of aspiring tyrants strengthened such appeals and eventuated in the destruction of the republic. Christianity transcends the methods of Caesar and the Gracchi in a critical way. Christ's followers pique the passions of the people not merely with lands that many Romans have not seen, but with domains beyond human experience. This appeal to transc

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Sullivan, Vickie B. "Old Lands and Machiavelli’s New One." In Machiavelli's Three Romes. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747847.003.0007.

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This chapter shows that, to provide a solution to the problem of the divided city that was inherent in ancient Rome and that became prominent in Christian times, Niccolò Machiavelli must go beyond Livy's depiction of Rome. He offers indications that his embrace of Livy's Rome is a calculated and provisional step to win the sympathy of his Renaissance readers, who are imbued with an abiding admiration of antiquity. His final destination is a new Rome that corrects the problems of ancient as well as of Christian Rome, and he arrives there by making changes in Livy's account. The problems inheren

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