Relevant bibliographies by topics / Saraband

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

Academic literature on the topic 'Saraband'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Saraband"

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Sáez-González, Jesús Miguel. "Saraband (Ingmar Bergman)." Vivat Academia, no. 91 (December 15, 2007): 21. http://dx.doi.org/10.15178/va.2007.91.21-22.

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Amorim Melo Alvim, Luiza Beatriz. "As angústias da escolha." ALCEU 21, no. 42 (2020): 153–58. http://dx.doi.org/10.46391/alceu.v21.ed42.2020.188.

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O livro Rostos de Bergman: vida e morte em um plano é constituído de textos de diversos autores em torno de sete filmes (Morangos silvestres, O sétimo selo, Gritos e sussurros, A hora do Lobo, Persona, Sonata de outono e Saraband). Após um primeiro texto sobre Morangos silvestres, o livro está organizado em três blocos de duplas de filmes, como os duetos do último filme de Bergman, Saraband. Entre textos de apresentação e textos analíticos, de vieses filosóficos, psicanalíticos e outros, a coletânea nos traz rostos imagéticos e sonoros da vida e da morte, duo fundamental na obra do diretor sueco.
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Johnston, Keith. "Ealing's Colour Aesthetic: Saraband for Dead Lovers." Journal of British Cinema and Television 7, no. 1 (2010): 21–33. http://dx.doi.org/10.3366/e1743452109001319.

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Venn, Edward. "Birtwistle Complete Piano Works." Tempo 59, no. 234 (2005): 64–65. http://dx.doi.org/10.1017/s0040298205280324.

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BIRTWISTLE: The Axe Manual1; Oockooing Bird; Sad Song; Berceuse de Jeanne; Précis; Hector's Dawn; Ostinato with Melody; Betty Freeman: Her Tango; Saraband: The King's Farewell; Harrison's Clocks. Nicolas Hodges (pno), 1Claire Edwardes (perc). Metronome MET CD 1074.
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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.
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Nicolela, Kika. ""Ecstasy Poem", 2006 e "Flickering", 2009 (Vídeo)." Em Tese 19, no. 1 (2013): 367. http://dx.doi.org/10.17851/1982-0739.19.1.367-368.

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Apresentam-se os vídeos <em>Ecstasy Poem</em> e <em>Flickering</em>, da vídeo artista Kika Nicolela. O primeiro deles traz duas imagens em paralelo da atriz norueguesa Liv Ullmann em <em>Gritos e sussurros </em>(1972) e <em>Saraband </em>(2003), de Ingmar Bergman. O segundo vídeo é um “autorretrato” da artista entre a luz e a escuridão.
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Laycock, Mark. "Rehearsal and Performance Guide: Sentimental Saraband from Britten's Simple Symphony." American String Teacher 65, no. 3 (2015): 26–30. http://dx.doi.org/10.1177/000313131506500303.

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Hibbs, Thomas. "Late Bergman: The Lived Experience of the Absence of God in Faithless and Saraband." Religions 7, no. 12 (2016): 147. http://dx.doi.org/10.3390/rel7120147.

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Davis, Kelly. "Book ReviewsLittle crackers: Tales from the edge Beda Higgins Saraband, Glasgow pp139 £8.99 ISBN 978 190864368 1." Practice Nursing 26, no. 5 (2015): 255. http://dx.doi.org/10.12968/pnur.2015.26.5.255.

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Baker, Charley. "Little Crackers: Tales from the Edge Higgins Beda Little Crackers: Tales from the Edge 160pp £8.99 Saraband 9781908643681 1908643684." Mental Health Practice 19, no. 4 (2015): 10. http://dx.doi.org/10.7748/mhp.19.4.10.s10.

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Dissertations / Theses on the topic "Saraband"

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Barboza, Naylini Sobral. "“Saraband” : o habitus sueco no filme de Ingmar Bergman." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/3189.

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This research analyzes the construction process of the Swedish habitus that Ingmar Bergman seized and showed in his film work, particularly in the movie "Saraband" (2003). To perform this analysis, that is anchored in a ethnographic methodology, which i raise and analyze certain patterns of behavior, languages and beliefs of the Swedish people, to map the socio-cultural setting in which Bergman was immersed. Thus, my theoretical and methodological support, to the dialogue between the Swedish society and the filmmaker, through the film "Saraband", are the concepts of Norbert Elias (1993.1994, 1995, 1997, 2001, 2006, 2011): Configuration, individuation and habitus. The first two chapters are bibliographical and historical review of Bergman and about Sweden, then enter the third chapter, on the analysis of the film in the light of the information presented and procedural theory of Elias. In this analysis I could see how the interdependence between individual and society is reflected in the film.<br>Esta pesquisa analisou o processo de construção do habitus sueco que Ingmar Bergman apreendeu e evidenciou em sua obra cinematográfica, particularmente no filme “Saraband” (2003). Para a realização dessa análise, ancoro-me em uma metodologia de natureza etnográfica, na qual busco levantar e analisar determinados padrões de comportamento, linguagens e crenças do povo sueco, para mapear o cenário sociocultural no qual Bergman estava imerso. Destarte, meu aporte teórico-metodológico para fazer a interlocução entre a sociedade sueca e o cineasta, através da película “Saraband”, são os conceitos de Norbert Elias (1993,1994, 1995, 1997, 2001, 2006, 2011): configuração, individuação e habitus. Fiz nos primeiros dois capítulos uma revisão bibliográfica e histórica sobre Bergman e sobre a Suécia, para depois adentrar no terceiro capítulo sobre a análise do filme à luz das informações apresentadas e da teoria processual de Elias. Nesta análise, pude constatar como a relação de interdependência entre indivíduo e sociedade é refletida no filme.
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Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.

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The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.
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Barretto, Eleonora Frenkel. "A Paisagem da sarabanda infernal águas-fortes goyescas de R. Arlt." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/94911.

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Tese (doutorado)- Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2011<br>Made available in DSpace on 2012-10-25T17:55:00Z (GMT). No. of bitstreams: 1 290073.pdf: 2721831 bytes, checksum: de902ac8f4a78697eec17e8804ab0a92 (MD5)<br>Roberto Arlt escreveu suas crônicas em El Mundo (Buenos Aires) entre os anos de 1928 e 1942. O título que as consagrou, aguafuertes porteñas, remete a uma técnica de gravura que se realiza pela inscrição sobre uma placa de metal e pela submersão dessa placa em ácido nítrico. Um dos pontos de partida da pesquisa foi o questionamento sobre a escolha da água-forte para denominá-las e a hipótese mais relevante é a de que a linguagem sarcástica e abjeta de seu narrador age como o ácido nítrico sobre o papel, dando relevo a um espetáculo brutal que provoca e corrói o espaço do jornal em que se inscrevem. Em momentos esparsos, Arlt irá mencionar o qualificativo goyesco para caracterizar suas águas-fortes e um segundo ponto de partida foi pensar o que as definiria como tal. Investiguei a hipótese de que o Goya resgatado por Arlt é o gravurista sardônico destacado por Charles Baudelaire em sua leitura de Goya. De modo que, para entender o Goya de Arlt, procuro o Goya de Baudelaire e aquele apreciado por artistas como Facio Hebequer e Adolfo Bellocq, gravuristas cujas criações foram fortemente marcadas pelos traços grotescos dos Caprichos e Disparates do pintor. Finalmente, o goyesco nas crônicas de Arlt conduz a suas percepções da modernidade, que ganham o tom esquivo da modernidade de Baudelaire, que é paixão e calvário, encantamento pelo novo e penúria por sua infâmia. Nesse embate, o que quero apresentar é a fissura aberta pelas imagens expostas de modo sarcástico nas águas-fortes goyescas de Arlt na linearidade progressiva da construção do homem e do Estado modernos, algo como o assombro que se nos apresenta na série de gravuras dos Desastres da Guerra.
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Todd, Richard. "The sarabandes from J.S. Bach's Six suites for solo cello an analysis and interpretive guide for the modern guitarist /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3606.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Oct. 25, 2004, Feb. 14, 2005, Apr. 25, 2005, and Nov. 30, 2006. Includes bibliographical references (p. 56-57).
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Burdick, Adam David. "The influence of French Baroque dance on the cantatas of Johann Sebastian Bach /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11389.

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Nilsson, Alice. "J.S Bach Partita no. 2 : Min tolkning och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3589.

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Masud, Rabia. "Language spoken around the world: lessons from Le Corbusier." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33952.

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Le Corbusier's method of creating Architecture in all regions of the world is endlessly rich in techniques. While it is impossible to exactly know his thoughts as he created his modern compositions that skillfully addressed contextual cues, I present a thesis of how Corbusier approached different sites and masterfully created residences that were places "where happiness is born". I will use Shape Grammars and formulate my own languages that will recreate Corbusier's two Monol houses: Maison Jaoul in Paris and Sarabhai Villa in Ahmedabad. Furthermore, I will expand on these houses by creating other iterations, and transforming the grammars to understand critical major and minor moves. In the end I hope to derive architectural lessons that come from formal exercises that can be used in future design processes. I explore this practical effort by creating designs for a site in Midtown, Atlanta. I compare the process of using Shape Grammars with that of the typical studio approach. In conclusion, I find that Shape Grammars allows one to produce iterations that connect to the lessons of the original houses in an intuitive manner.
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Yang, Shu-Pei, and 楊書霈. "GENDER AND CLASS IN MUSIC LEARNING: SARABAND AND TOGETHER." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/u8qn2d.

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碩士<br>國立交通大學<br>音樂研究所<br>106<br>This research focuses on Saraband (2003) by Ingmar Bergman and Together (2002) by Kaige Chen, attempting to explore the issues of gender and class between the characters from the use of music in the films. The dark Sarabande from J. S. Bach’s suite for unaccompanied cello no. 5 appears throughout Saraband; indeed, the film was named after this passionate dance to symbolize the emotional entanglements between the three generations in a family. Karin, a cello student, her father (and teacher) and her grandfather’s ex-wife were all accompanied by the Sarabande, which represents Karin’s deceased mother, in their wrestle with patriarchy and self-discovery. In Together, traditional style music and violin classics etc. form a contrast in social classes. The young Liu Hsiao-Chun went with his poor adoptive father from the countryside to Beijing to study with a better violin teacher, thereby experiencing his confused relationships with his adoptive father, two teachers (father substitute), female neighbor (lover/mother substitute) and classmate. The two young musicians in both films have no biological mothers nor exemplary fathers, but the absence is replaced by music: the intrinsic value of art resists the schema imposed on them by the adult world. The reason why these two films are discussed together is not due to their stylistic similarity. Their cultural differences rather highlight that issues of gender and class involved in the learning of music is a common phenomenon of human nature.
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"The Sarabandes of J.S. Bach: Freedom of Ornamentation and Melodic Manipulation." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17869.

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abstract: This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.<br>Dissertation/Thesis<br>D.M.A. Music 2013
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Wu, Hui-fang, and 吳慧芳. "A Study of J. S. Bach′s French Suites for Keyboard, BWV812-817:The Examples of Allemande、Courante、Sarabande and Gigue." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/20750426246998669969.

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碩士<br>國立臺南大學<br>音樂教育學系碩士班<br>93<br>French Suites is one of the three major keyboard suites of J. S. Bach. The diverse dance style, streamlined and simple structure and skills makes it valuble in teaching. The core dances of Bach’s keyboard works include allemande, courante, sarabande and gigue. These also played a significant role in the German suites of the Baroque era. The author at-tempts to discusses the historical origin and development of the four core dances in Baroque era in this study while exploring the interpretation of performance in the view of being a per-former. Therefore, the paper is divided into two major parts of historical research and per-formance interpretation. Firstly the author discusses the origin of Baroque keyboard suites and compositional background of Bach’s French Suites and then concentrates on the historical origin and passing context of the four core dances in Baroque era. Furthermore, the author uses examples of the four core dances in Bach’s French Suites books on historical develop-ment of various dances and major keyboard teaching treaties of the Eighteenth century to ex-plore the issues of performance interpretation on tempo, articulation and ornamentations of these four dances for better of performance interpretation. It is found, in the historical exploration, that most of the dances in Baroque era had gradually broken out of the accompaniment dance function and became the individual instru-mental compositions. The differences of styles from the original dances affected the per-formance interpretation. Each kind of dances has diverse characteristics in the historical de-velopment. Allemande has dance and instrumental composition style. Courante has French and Italian styles. Due to the locations, sarabande changed to slow and solemn dance from prompt and intense dance. Gigue can be divided into English, French, giga I and giga II. In performance interpretation, based on the time signatures, note values, musical struc-tures and tones of each dance, the author generalizes the basis for selection of dance tempo. In the research of articulation, in addition to considering the interval differences between notes and note values, the author also generalizes the performance design of articulation based on tempo, harmony, style, musical structure and fingering, etc. The ornamentations full of changes in various types are generalized in this paper to be widely used with particular us-age and controversial ornamentations in various performance models.
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Books on the topic "Saraband"

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Saraband. Virago, 1986.

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Bergman, Ingmar. Saraband. Norstedt, 2003.

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Moevs, Robert. Saraband for harpsichord. T. Presser, 1987.

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Grant, Richard. Saraband of lost time. Bantam Books, 1987.

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Hibbert, Eleanor Alice Burford. Saraband for two sisters. Fontana, 1986.

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Hibbert, Eleanor Alice Burford. Saraband for two sisters. Collins, 1985.

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Mascall, E. L. Saraband: The memoirs of E.L. Mascall. Gracewing, 1992.

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Moravia, Carmen Llera. Sarabanda. 2nd ed. Bompiani, 1997.

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Rüsche, Ana. Sarabanda. Editora Patuá, 2013.

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Morel, Solange. Sarabande. la pensee universelle, 1987.

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Book chapters on the topic "Saraband"

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Fallaize, Elizabeth. "A Saraband of Imagery: The Uses of Biological Science in Le deuxième sexe." In The Existential Phenomenology of Simone de Beauvoir. Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-015-9753-1_5.

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Debussy, Claude. "“Sarabande,” from Pour le Piano (1894–1901)." In Anthology of Post-Tonal Music, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-3.

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"Sarabande." In L’Évangile selon Bergman. Presses de l'Université Laval, 2019. http://dx.doi.org/10.2307/j.ctv1h0p3vm.6.

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Pascall, Robert. "The Sarabande and Gavotte." In Brahms Beyond Mastery. Routledge, 2017. http://dx.doi.org/10.4324/9781315096155-1.

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Reiter, Walter S. "Corelli: Sonata, op. 5, no. 7." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0017.

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This lesson contains detailed observations about the remaining movements of the Corelli sonata, the Corrente, Sarabanda, and Giga, all of whose origins are discussed. The student learns how to perceive and express polyphony within a single line; the characteristics of tonalities as seen by contemporary composers are discussed, and an exercise entitled “Cheating the Metronome” shows how to practice being rhythmically flexible within a steady pulse. There are more tips on shifting, as students learn to infuse more bounce into the stroke of the Giga. The lesson also investigates a mysterious phenomenon, the “silent crescendo.” In Corelli’s day, string-crossing patterns were a cherished resource of infinite fascination; staying in the first position, rather than being a symptom of technical primitivism, enabled that resource to be exploited while assuring the maximum resonance of the violin.
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Reiter, Walter S. "In the Footsteps of Corelli." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0020.

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Technical information on the basic bow stroke of the giga and dynamic variation within it are the subject of two exercises. The sarabanda is contrasted with that of Corelli (Lesson Seventeen) and the student encouraged to realize the figured bass of this and other movements. Rhythm contains emotional information just as harmony does: altering the rhythms of a melody line by Pergolesi and comparing their impact demonstrates this point. Vivaldi uses syncopations, hemiolas, and ambiguities of time signature, and he tussles with the bass to give his corrente rhythmic interest, so maximizing the rhythmic impact is the purpose of Exercise 87. Last, the student is encouraged to read the by now familiar sonata from the original 1709 edition as a preparation to reading seventeenth-century notation in upcoming lessons. As usual, the lesson is packed with detailed observations of the text and technical and musical information.
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Reiter, Walter S. "Nurturing Spontaneity Ornamentation, Module One." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0021.

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The lesson begins with a brief overview of the importance of improvisation and ornamentation in Baroque music, acknowledging that past writers maintained that so practical a skill cannot be learned merely by reading about it. If an ornament can be defined as anything that is not essential, then the composers themselves can be said to have written ornaments into their music: an exercise strips a melody by Handel down to its essentials, and the implication of playing such ‘written ornaments’ is discussed. The lesson asks why many musicians today find it difficult to play what is not written down or to play even simple melodies by ear, and students are encouraged to spend more practice time doing this. The difference between French and Italian ornamentation is outlined. Simple ways of ornamenting Corelli’s Sarabanda are shown, and a contemporary version by Dubourg illustrates how complex such ornamentations can be.
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Losco-Lena, Mireille. "Sarabandes autour du traumatisme : le théâtre de l’ex-Yougoslavie et la guerre." In Ecritures théâtrales du traumatisme. Presses universitaires de Rennes, 2012. http://dx.doi.org/10.4000/books.pur.78015.

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Conference papers on the topic "Saraband"

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Duff. "Backpropagation and Bach's 5th cello suite (Sarabande)." In International Joint Conference on Neural Networks. IEEE, 1989. http://dx.doi.org/10.1109/ijcnn.1989.118317.

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Kaunang, Rolina, Febri Kurnia Manoppo, and Lilly Yulia Wasida. "Discussion in Coffee/Saraba Shop." In Proceedings of the 1st Annual Internatioal Conference on Social Sciences and Humanities (AICOSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/aicosh-19.2019.22.

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