Relevant bibliographies by topics / Suites (Viola da gamba)

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

Academic literature on the topic 'Suites (Viola da gamba)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Suites (Viola da gamba)"

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Scott, Nicholas V., Sarah Jensen, and Edward Maday. "Tonal-timbral based bicoherence analysis of a viola da gamba suite for wolf tone characterization." Journal of the Acoustical Society of America 148, no. 4 (2020): 2750. http://dx.doi.org/10.1121/1.5147646.

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Hunt, Edgar, and Adolf Heinrich Konig. "Die Viola da Gamba." Galpin Society Journal 43 (March 1990): 186. http://dx.doi.org/10.2307/842498.

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Otterstedt, Annette. "The Italian Viola da Gamba." Die Musikforschung 57, no. 4 (2025): 450–52. https://doi.org/10.52412/mf.2004.h4.4663.

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Campbell, D. Murray, J. Patricia Campbell, and Jim Woodhouse. "Acoustical evolution of the viola da gamba." Journal of the Acoustical Society of America 138, no. 3 (2015): 1911. http://dx.doi.org/10.1121/1.4934010.

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Irion, Millard, Karl Friedrich Abel, Walter Knape, and Folkmar Langin. "10 Solostucke; fur Viola da gamba senza basso." Notes 45, no. 1 (1988): 160. http://dx.doi.org/10.2307/941416.

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Shaffer, Ann. "Music for Viola da Gamba from Edition Guntersberg." Notes 69, no. 4 (2013): 806–14. http://dx.doi.org/10.1353/not.2013.0073.

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Ashbee, A. "Electronic journal for the Viola da Gamba Society." Early Music 36, no. 2 (2008): 349. http://dx.doi.org/10.1093/em/can041.

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POLLENS, STEWART. "A VIOLA DA GAMBA TEMPERAMENT PRESERVED BY ANTONIO STRADIVARI." Eighteenth Century Music 3, no. 1 (2006): 125–32. http://dx.doi.org/10.1017/s1478570606000522.

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The problem of tempering keyboard and fretted instruments has occupied the attention of musicians and theorists for hundreds of years. Since the sixteenth century most fretted instruments such as the lute and viola da gamba have employed equal temperament (or an approximation of it based upon the 18:17 rule) or an adaptation of mean-tone tuning, but these systems suffered from ‘tempered’, or ‘impure’, intervals. In 1705 the music theorist Thomas Salmon (born London, 1648; died Mepsal [now Meppershall], Bedfordshire, 1706) proposed a system of intonation for the viola da gamba that employed div
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Pinto, David. "Review: The Italian Viola da Gamba. Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April–1 May 2000." Music and Letters 84, no. 4 (2003): 656–58. http://dx.doi.org/10.1093/ml/84.4.656.

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Putra, Diki Pratama, Ibnu Sina, and Febri Yulika. "INTERPRETASI REPERTOAR: SEBUAH UPAYA KONSEPTUALISASI KARAKTER SOLIS." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 1 (2021): 23. http://dx.doi.org/10.26887/lg.v7i1.1536.

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The cello solis performance is an instrumental show that places great importance on the maturity of a solist in presenting the repertoires which he will present in the form of a recital examination. The cello is a stringed instrument just like the violin. The current cello is called the modern cello. The modern cello is a development of the previous Cello such as the viola da gamba, viola da spalla, viola da bracchio and bass viol. Initially, the Cello served as the bass in a musical foundation. In the 17th century, composers such as Domenico Gabrielli and Giuseppe Colombi created works for si
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Dissertations / Theses on the topic "Suites (Viola da gamba)"

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Cheney, Stuart. "Dubuisson: A Study of His Music for Solo Bass Viol." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500315/.

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Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of
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O'Loghlin, Michael. "The Viola da gamba music of the Berlin School, 1732-1772 /." [St. Lucia, Qld.], 2002. http://adt.library.uq.edu.au/public/adt-QU20021223.153129/index.html.

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Schmidt, Harro. "Die Viola da gamba der Violinfamilie. Ein vergessener Gambentyp des Barock." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38349.

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Erodi, Gyongy Iren. "The sixteenth century basse de violon fact or fiction?, identification of the bass violin (1535-1635) /." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12121.

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Yu, Wei-Shuan. "A Comparison of Cello and Viola da Gamba Bow Technique and Style from 1600–1750." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627667722072256.

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Mariani, Jacob. "From Poet's Aid to Courtier's Pastime: An Examination of the Shift in Visual Style and Sounding Function of Italian Viols During the Renaissance." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18399.

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This thesis examines evidence of the earliest viols in Italy. In light of recent changes in perspective on the origins of the Italian viola da gamba, a new approach to building historical models of the instrument is necessary. By using Castiglione's description of violas as a significant signpost, I have developed a clearer picture of the early viola da gamba's socio-musical context. Using this context, along with my experience as a luthier, I redefine the parameters by which we may interpret the corresponding iconography of the instrument. By relating the building techniques that appear in ic
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Ng, Shaun Kam Fook. "Le Sieur de Machy and the French solo viol tradition." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0060.

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During the late seventeenth century in France, the viol was beginning to emerge as one of the most important musical instruments of the day. French luthiers had created the quintessential French viol, which allowed violists in France to make their mark on viol playing, both as performers and teachers. So fervent was this enterprise that players soon formed cliques, creating two opposing schools of viol playing. One of the main protagonists who is the focus of this thesis, De Machy, led one of these schools. Although we are fully aware of this historical dichotomy, it is widely assumed that De
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Augustin, Kristina. "Mais uma vez em defesa da viola da gamba : tradução e comentarios a obra : Defense de la basse de viole contre les entreprises du violon et les pretensions du violoncel, Hubert le Blanc, Amsterdã 1740." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284887.

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Orientador : Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-02T10:27:27Z (GMT). No. of bitstreams: 1 Augustin_Kristina_M.pdf: 7459733 bytes, checksum: 6566fee2f2ea6a18503d47cbe5d18d14 (MD5) Previous issue date: 2001<br>Mestrado
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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many poi
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Kopsalidou, Evangelia. "L'art de la viole de gambe d'Eustache du Caurroy à Michel Corrette (1610-1773) : du concert de violes à la pièce soliste virtuose." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL018.

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Le jeu de la viole de gambe devient un art aux XVIIe-XVIIIe siècles en France. Notre premier travail consiste à élaborer un bref catalogue des sources pour viole de gambe française dans la période mentionnée ci-dessus. Ce catalogue est l’outil essentiel pour un questionnement sur le répertoire de la viole de gambe de 1610 à 1773, périmètre qui inclut l’apogée et le déclin de l’instrument. Notre second intérêt est consacré aux violistes virtuoses et aux ensembles de violes. Nous ne traitons pas ici leur biographie ni l’analyse structurelle et technique de leurs œuvres, ni le sujet des ensembles
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Books on the topic "Suites (Viola da gamba)"

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Lawes, William. The royall consort: (new version). Fretwork, 1995.

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Vivaldi, Antonio. Opere per viola all'inglese (viola da gamba). Studio per edizioni scelte, 2006.

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International Viola da Gamba Symposium (1991 Utrecht, Netherlands). A viola da gamba miscellany: Proceedings of the International Viola da Gamba Symposium, Utrecht, 1991. Foundation for Historical Performance Practice, 1994.

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Bach, Johann Sebastian. Drei Sonaten für Viola da gamba (Viola) und Cembalo, BWV 1027-1029 =: Three sonatas for viola da gamba (viola) and harpsichord. Bärenreiter, 1987.

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Susan, Orlando, Coin Christopher, and International Symposium on the Italian Viola da Gamba (2000 : Magnano, Italy), eds. The Italian viola da gamba: Proceedings of the International Symposium on the Italian Viola da Gamba. Edition Ensemble Baroque de Limoges, 2002.

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Ganassi, Silvestro. Opere: Per viola da gamba (Venezia, 1542-43). UT Orpheus, 1998.

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Catch, J. R. The care of your viol. The Viola da Gamba Society., 1993.

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Feldman, G. The golden viol: Method for the bass viola da gamba. Grace Note Press, 1994.

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Panofsky, Margaret. Bass viol technique. PRB Productions, 1991.

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Philipsen, Christian. Repertoire, Instrumente und Bauweise der Viola da gamba: XXXVIII. Wissenschaftliche Arbeitstagung und 31. Musikinstrumentenbau-Symposium, Michaelstein, 19. bis 21. November 2010. Wissner-Verlag, 2016.

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Book chapters on the topic "Suites (Viola da gamba)"

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Elste, Martin. "Die Sonaten für Viola da gamba und Cembalo BWV 1027–1029." In Meilensteine der Bach-Interpretation 1750–2000. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03792-3_31.

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Wilson, Miranda. "Domenico Gabrielli (1651/1659–1690)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0002.

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Abstract The cello originated during the Baroque era. The youngest member of the violin family, it went through many variations in size and string tuning before instrument builders and string manufacturers reached a consensus. The earliest solo cello repertoire comes from seventeenth-century Bologna with the pioneering Ricercare of Domenico Gabrielli. After that, the cello rose in popularity across Europe. It superseded the viola da gamba in popularity in France, where Jean-Baptiste Barrière composed his four books of sonatas. In Germany, Johann Sebastian Bach’s Six Suites created a cello repe
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Hoffmann, Bettina. "Getting acquainted." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-1.

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Hoffmann, Bettina. "Anatomy of a viol." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-2.

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Hoffmann, Bettina. "Antecedents." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-3.

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Hoffmann, Bettina. "Renaissance." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-4.

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Hoffmann, Bettina. "Baroque and classical." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-5.

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Hoffmann, Bettina. "The revival." In The Viola da Gamba. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-6.

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"Alternative Instrumentation for the Viola da Gamba Parts." In Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School. Routledge, 2017. http://dx.doi.org/10.4324/9781315093925-5.

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"Solo Compositions for Violin and Viola da gamba with Basso continuo." In Recent Researches in the Music of the Baroque Era, 82. A-R Editions, 1997. http://dx.doi.org/10.31022/b082.

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Conference papers on the topic "Suites (Viola da gamba)"

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Vitiuc, Alexandr. "The double bass viola (viola da gamba) as a predecessor of the modern double bass: some aspects." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.22.

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The present article deals with the formation of the double bass in the context of its predecessor, the double bass viola. The author explores the design features of the first stringed bowed instruments and their relationship with the modern double bass model. In addition, the terminological discrepancies in the names of the first stringed bass instruments described in scientific and didactic literature are analyzed.
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