Relevant bibliographies by topics / Niccolò Paganini

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  2. Dissertations / Theses
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Academic literature on the topic 'Niccolò Paganini'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Niccolò Paganini"

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Reitz, M. "Die Leiden des Niccolo Paganini." Aktuelle Dermatologie 35, no. 10 (March 16, 2009): 411–14. http://dx.doi.org/10.1055/s-0028-1119679.

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Wolf, P. "Creativity and chronic disease Niccolo Paganini (1782-1840)." Western Journal of Medicine 175, no. 5 (November 1, 2001): 345. http://dx.doi.org/10.1136/ewjm.175.5.345.

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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 (March 10, 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 on the performing arts of prominent representatives of musical romanticism – H. Berlioz, K. Lipinsky, F. Liszt, F. Chopin, R. Schumann and others – is defined.
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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (May 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 lacking in foresight, however, about the way in which such a claim would enhance their subject's credibility. The value of such a sulphurous reputation for a musician is not merely a recent phenomenon but also has historical precedents. A hundred years before Johnson (who lived 1911–1938), the guitarist and violinist Niccolo Paganini (1782–1840) was considered such a suspiciously devilish virtuoso that his audiences were reputed to cross themselves before his concerts in hope of protection from subtle demonic influence. One audience member even fled a concert after reporting seeing the Devil himself aiding Paganini's performance. Going a little further back, Giuseppe Tartini (1692–1770) explained of his best-known sonata, The Devil's Trill (1713), that he had ‘written down the piece after waking from a particularly vivid dream of the Devil playing a violin with ferocious virtuosity’, and claimed that it was ‘but a shadow of what he had witnessed in the dream, for he was unable to capture on the page the Devil's full intensity’. His long career was certainly not harmed by this youthful excursion into Hell.
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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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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.

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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.
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Palmarini, Luca. "Breslavia nelle lettere di Niccolò Paganini / Wrocław in music and letters of Niccolò Paganini." Italica Wratislaviensia 1, no. 5 (April 26, 2015): 177. http://dx.doi.org/10.15804/iw.2014.05.07.

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Mantero, R. "Les mains de Marfan de Niccolò Paganini." Annales de Chirurgie de la Main 7, no. 4 (January 1988): 335–40. http://dx.doi.org/10.1016/s0753-9053(88)80032-2.

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Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s." Studia Musicologica 54, no. 2 (June 1, 2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental compositions from the 1830s, particularly the “Clochette” Fantasy and the first version of the “Paganini” Etudes. Not only technically and performatively brilliant, these pieces also help establish the medium of mimesis as artistically valid. Liszt argued that this type of orientation was indispensable for the “artist of the future,” in which “virtuosity is a means, not an end.” Somewhat paradoxically then, after his death Paganini becomes the benchmark by which the transcendent artistry of composer-pianists is measured, and a baseline for further artistic experimentation. Thus Liszt’s return to Paganini in the 1840s and 1850s constitutes an ongoing effort to refine virtuosity in order to bring about artistic unification among musicians, regardless of instrumental specialty.
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Perciaccante, A., and A. Coralli. "Early and late seizures associated to Niccolò Paganini's viral encephalitis." Journal of the Neurological Sciences 382 (November 2017): 122. http://dx.doi.org/10.1016/j.jns.2017.10.001.

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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 images et les moyens stylistiques mis en oeuvre par les chroniqueurs pour appréhender le "phénomène Paganini". La seconde partie traite de la manière dont Paganini apparaît dans les textes littéraires qui lui sont consacrés. Derrière les personnages auxquels Paganini prête ses traits et son caractère se dégage un portrait-robot du "virtuose romantique" tel que l'époque le plébiscite, artiste que se distingue subrepticement des musiciens hoffmanniens qui lui servent de modèle. L'étude des nouvelles révèle en outre que le virtuose génois s'efface progressivement du premier plan du récit pour céder la place à un musicien déchu. Cette dimension tragique et ironique, qui prend le pas sur la vision magnifiée de l'artiste, amorce une tendance qui s'affirmera dans la seconde moitié du XIXe siècle. La présence de Paganini dans la littérature de son temps contribue également à mettre en évidence la perméabilité existant, à cette époque, entre la presse et la littérature. L'impossibilité d'établir une distinction franche entre le traitement journalistique et le traitement littéraire du virtuose constitue un facteur décisif pour l'élaboration du "mythe de Paganini"
This study is devoted to the presence of Paganini in the press and literature of his time. It explores how this exceptional musician became a character in fictional works in Italy, Germany, France and England, and what influence this "literary career" had on the representation of musicians in novels and short stories during the nineteenth century. The first part of this study begins with a review of the main events in Paganini's life then focuses on the way in which his actions are recounted in the press, revealing the controversies provoked by the violinist's technique. There follows an analysis of the images and stylistic methods adopted by the chroniclers and columnists to convey their impressions of the "Paganini phenomenon". The second part of this study looks at the image of Paganini as it appears in the various literary texts devoted to him. By attributing Paganini's features and his personality to fictional characters, the authors drew the profile of a "romantic virtuoso", which corresponded to the taste of the public of that time - the figure of an artist who surreptitiously distinguished himself from the musician encountered in the works of E. T. A. Hoffmann who served as his model. Moreover, the short stories reveal how the Genoese virtuoso gradually withdrew from the foreground of the narrative to be replaced by the figure of a failed musician. This tragic and ironic dimension, which overrides the idealised vision of the artist, marks the beginning of a trend that established itself in the second half of the nineteenth century. The presence of Paganini in the literature of his time also reveals the permeability of the press and literature at that time. The fact that it is impossible to distinguish clearly between the journalistic and literary treatment of the virtuoso had a major impact on the constitution of the "myth of Paganini"
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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 assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernés
In the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors
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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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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
國立臺南藝術大學
民族音樂學研究所
107
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, we made a copy of Il Connone, a well-function instrument. Although it is incomparable to the real one, its sound quality is still astonished and breath-taking. It shows the profound design of Guarneri del Gesu, the one of the greatest violin maker of Cremona.
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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
國立臺灣師範大學
音樂學系
105
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 learning background of Niccolò Paganini facilitates a deep research into his personality and creative potential. Second, this study conducts the analysis of musical works and compositions: the background and the characters of musical works and also the style, the melodic attributes and the harmonic characters of compositions. Third, this study explores the historical change and development of left hand techniques on the basis of three crucial aspects: (1) Fingering and shifting positions (2) Double-stopping and chords (3) Special techniques. The last but not the least, this study looks into the playing techniques, such as the speed control and left hand techniques, according to the characters of musical composition itself in order to conclude relevant information and come up with ideas of the writer when playing 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. Bucharest: Editura Universitatii Nationale de Muzica Bucuresti, 2005.

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Niccolò Paganini. Palermo: L'epos, 2006.

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

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

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

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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. Zurich, Switzerland: 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 Grand Sonata Chanterelle. Chanterelle, 1998.

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Rees, Richard. Diabolus in Musica: A Story of Niccolo Paganini. Independently Published, 2020.

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Sugden, John. Niccolo Paganini: Supreme Violinist or Devil's Fiddler? (Great Performers Series). Seven Hills Books, 1989.

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Book chapters on the topic "Niccolò Paganini"

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Steiert, Thomas. "Paganini, Niccolò." In Komponisten Lexikon, 440–41. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_217.

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Steiert, Thomas. "Paganini, Niccolò." In Metzler Komponisten Lexikon, 562–63. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_216.

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Sullivan, Vickie B. "Machiavelli’s Ambiguous Praise of Paganism." In Machiavelli's Three Romes, 102–18. 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 transcendence trumped all the benefits the city of Rome could offer. When the Roman people accepted the imported doctrine, they no longer needed to devote themselves to the earthly city to receive their rewards, and thus “civil life” was utterly transcended in Rome. Therefore, only when the critical element of a promise of divine provision was added to the familiar litany of private benefits did the line of ingenious aspiring tyrants, who wished to transcend civil life, achieve its goal.
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Sullivan, Vickie B. "Old Lands and Machiavelli’s New One." In Machiavelli's Three Romes, 123–46. 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 inherent in both ancient and Christian Rome are corrected by his sketching the outlines of a new, more resilient Rome. The solution he suggests is distinctively modern because it emerges from his own understanding of the manner in which the Christians defeated the pagans. In short, Machiavelli's new Rome utilizes elements of both paganism and Christianity in order to subvert both.
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