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Journal articles on the topic 'Niccolò Paganini'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Borer, Philippe. "The twenty-four caprices of Niccolo Paganini: their significance for the history of violin playing and the music of the Romantic era." Journal and proceedings of the Royal Society of New South Wales 129, no. 1-2 (1996): 81. http://dx.doi.org/10.5962/p.361387.

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12

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 (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 c

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13

Palmarini, Luca. "Breslavia nelle lettere di Niccolò Paganini / Wrocław in music and letters of Niccolò Paganini." Italica Wratislaviensia 1, no. 5 (2015): 177. http://dx.doi.org/10.15804/iw.2014.05.07.

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14

Banks, Michael. "Rhapsody as European synchrotron examines Niccolò Paganini’s violin." Physics World 37, no. 4 (2024): 11ii. http://dx.doi.org/10.1088/2058-7058/37/04/15.

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15

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

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16

Sivachenko, Nina, and Liudmyla Volska. "Franz Liszt and Violin." Aspects of Historical Musicology 38, no. 38 (2025): 9–56. https://doi.org/10.34064/khnum2-38.01.

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Statement of the problem. One of the important research vectors in historical musicology of the 21st century is the disclosure of little-known pages of the work of outstanding musicians. Such an unexplained page in Ukrainian musicology is the violin music by Franz Liszt, his creative and personal relationships with many famous violinists, and the circumstances of his life that led the great pianist to turn to the violin. Objectives, methods and novelty of the research. The topic of Liszt’s violin works and his various connections with violinists has not yet been considered in Ukrainian Liszt s

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17

Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s." Studia Musicologica 54, no. 2 (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 c

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18

Magdziak, Agata. "Pojedynek wirtuozów. Obraz gry na skrzypcach w warszawskiej publicystyce na tle romantycznego przełomu." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (2022): 65–83. http://dx.doi.org/10.36770/bp.691.

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The article is devoted to the characteristics of different ways of perceiving and conceptualising violin playing at the time of the Romanticist breakthrough. The core axis of the aesthetic dispute described in the article is the polemic between Krystyn Lach Szyrma and Maurycy Mochnacki in the Warsaw press, inspired by a visit to Warsaw of the Italian violinist, Niccolò Paganini, who gave a concert with Karol Lipiński in 1829. The analysis of selected journalistic and critical texts from the first half of the nineteenth century, aims to show the direct influence of different ways of reception a

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19

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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20

Rossetti, Paola Teresa. "Catalogo tematico delle musiche di Niccolò Paganini. Aggiornamento ed. by Maria Rosa Moretti and Anna Sorrento." Fontes Artis Musicae 67, no. 3 (2020): 275–77. http://dx.doi.org/10.1353/fam.2020.0032.

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21

VANZELA, Alexsander. "Técnicas de guitarra aplicadas ao Capriccio nº5 de Niccolò Paganini reescrito por Steve Vai para o filme Crossroad." Revista da Universidade Vale do Rio Verde 10, no. 2 (2012): 35–42. http://dx.doi.org/10.5892/ruvrv.2012.102.3542.

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22

Uhde, Katharina. "Niccolò Paganini. 24 Capricci per Violino solo op. 1; 24 Contradanze Inglesi per Violino solo. Edited by Daniela Macchione. Bärenreiter-Verlag Urtext. Kassel: Bärenreiter-Verlag Karl Vötterle GmbH und Co. KG, 2013. xviii+58 pp., violin part BA 9424, € 16,95." Nineteenth-Century Music Review 14, no. 1 (2016): 153–57. http://dx.doi.org/10.1017/s1479409816000665.

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23

Vasic, Aleksandar. "Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role." Muzikologija, no. 8 (2008): 185–202. http://dx.doi.org/10.2298/muz0808185v.

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Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its reade

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24

Miranda C, Marcelo, Luz Navarrete T, and Gonzalo Zúñiga N. "Niccolo Paganini: Aspectos médicos de su vida y obra." Revista médica de Chile 136, no. 7 (2008). http://dx.doi.org/10.4067/s0034-98872008000700017.

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25

Páscoa, Márcio. "HOMENS DE PRETO: INDUMENTÁRIA E IDENTIDADE NAS REPRESENTAÇÕES ENTRE OS SÉCULOS XVII E XIX." Imagem: Revista de Hist´ória da Arte 1, no. 1 (2022). http://dx.doi.org/10.34024/imagem.v1i1.14191.

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Entre os séculos XVII e XIX, a profissão de músico foi assumida com exclusividade e a sua representação em pintura mostra que a ascensão de condição social e de classe foi acompanhada por hábitos de vestir que trouxeram na adoção da cor uma forte atribuição de identidade. Através da análise de situações pontuais, foi traçado aqui um breve panorama do uso da cor preta na roupa dos músicos representados em pintura e como a cor homologou os profissionais. Passando pelos músicos do Príncipe Ferdinando da Toscana, ao fim do século XVII, chegando aos icônicos Niccolo Paganini e Franz Liszt, o uso do

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26

Zupančič, Maruša. "Joseph Benesch: A Forgotten Bohemian Violinist and an Imitator of Niccolò Paganini Within the Central European Violinistic Tradition." De musica disserenda 18, no. 1-2 (2022). http://dx.doi.org/10.3986/dmd18.1-2.01.

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Joseph Benesch (1795–1873) was among the earliest violin virtuosos to become imitators of the famous Niccolò Paganini, whom he met in Trieste as early as 1824. He was active in Ljubljana for six years and later settled in Vienna, where he was a member of the Hofkapelle and orchestral director of the court theatre. He mainly wrote works for violin, which he performed as part of his personal repertoire

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27

ÇAĞLAK EKER, Tuğba. "TRANSCRIPTIONS OF NICCOLÒ PAGANINI’S CAPRICE 24 FOR VIOLIN AND PIANO." International Journal Of Eurasia Social Sciences, January 1, 2023. http://dx.doi.org/10.35826/ijoess.3372.

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28

Лянь, И. "Features of using traditional Chinese flute playing techniques in P.-A. Genin’s «Carnaval of Venice» for flute and piano op. 14 (near 1857)." Музыковедение, no. 10 (October 7, 2019). http://dx.doi.org/10.25791/musicology.10.2019.953.

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Статья посвящена особенностям использования техник игры, традиционных для китайской бамбуковой флейты, применительно к европейской музыке классикоромантической эпохи. В качестве примера адаптации приемов, характерных для китайского традиционного инструментального музицирования, к музыкальному тексту второй половины XIX века выступает одно из наиболее часто исполняемых современными флейтистами сочинение Венецианский карнавал ПоляАгриколя Женена. Данный опус сравнивается с его прообразом одноименным произведением для скрипки и фортепиано Никколо Паганини, снискавшим популярность как у исполнител

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29

Rempelakos, Leonidas. "The Impact of Syphilis on Late Works of Classical Music Composers." International Journal of Urologic History, July 1, 2021. http://dx.doi.org/10.53101/ijuh71216.

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Objectives Tertiary syphilis represents an advanced stage of infection with treponema pallidum and was an endemic problem in pre-penicillin society. The disease was easily contracted and transmitted in all walks of life and the small coterie of European classical music composers was no exception. We wished to identify those artists of the genre who suffered from Treponema pallidum infection and establish potential effects of the disease on their musical output and career. Methods We reviewed contemporary accounts and secondary source biographic information of known syphilitics who wrote and pe

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