Relevant bibliographies by topics / Violine, Viola da Gamba

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  2. Dissertations / Theses
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Academic literature on the topic 'Violine, Viola da Gamba'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Violine, Viola da Gamba"

1

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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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 (September 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 (September 1988): 160. http://dx.doi.org/10.2307/941416.

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Ashbee, A. "Electronic journal for the Viola da Gamba Society." Early Music 36, no. 2 (May 1, 2008): 349. http://dx.doi.org/10.1093/em/can041.

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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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POLLENS, STEWART. "A VIOLA DA GAMBA TEMPERAMENT PRESERVED BY ANTONIO STRADIVARI." Eighteenth Century Music 3, no. 1 (March 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 divided frets (that is, the frets were not tied across the fingerboard in a straight line but were in effect cut apart and glued or inset beneath each string as required) as well as interchangeable fingerboards for different keys (much like the set of crooks for the later Inventionshorn). It was Salmon’s intention to overcome the lack of purity associated with fretting systems that ‘falsify the proportions’ and thus ‘deprive us of that satisfactory pleasure which arises from the exactness of sonorous numbers’. In his system the C major scale was constructed of large and small whole tones having ratios of 9:8 for the intervals C–D, F–G and A–B, 10:9 for the intervals D–E and G–A, and 16:15 for the semitones E–F and B–C. The two sizes of whole tones were divided 18:17:16 and 20:19:18, resulting in the following scale:
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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 (November 1, 2003): 656–58. http://dx.doi.org/10.1093/ml/84.4.656.

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Chatziioannou, Vasileios. "Reconstruction of an early viola da gamba informed by physical modeling." Journal of the Acoustical Society of America 145, no. 6 (June 2019): 3435–42. http://dx.doi.org/10.1121/1.5111135.

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Tartas, André, Silvana Scarinci, and Kristina Augustin. "A Ornamentação na Viola da Gamba a partir da Visão de De Machy." Revista Vórtex 9, no. 1 (May 18, 2021): 1–26. http://dx.doi.org/10.33871/23179937.2021.9.1.4.

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Sandford, Gordon, Johann Sebastian Bach, Lucy Robinson, and John Butt. "Sonatas, BWV 1027-1029; For viola da gamba (Violoncello) and Obbligato Harpsichord." Notes 45, no. 2 (December 1988): 383. http://dx.doi.org/10.2307/941371.

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Dissertations / Theses on the topic "Violine, Viola da Gamba"

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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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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
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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
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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 de violes. L’important corpus d’œuvres nées à une époque donnée (1610-1773) met en lumière un idéal esthétique en même temps que l’ensemble des processus créateurs visant à cette expression de la beauté. La période montre la transition du jeu de la viole de consorts à la musique pour solo viole et pour un ensemble d’instruments dans lequel le pardessus joue un rôle important. Le rôle de l’archet (comme vecteur des effets) et le placement des ornements ou « agréments » seront étudiés avec une attention particulière notamment à la lumière des nombreuses pages que les méthodes leur consacrent. Les témoignages d’œuvres littéraires (mémoires, essais, débats, récits de concerts) apporteront un premier éclairage sur les conditions socioculturelles de la pratique de la viole
Playing the viola da gamba became an art during the XVIIth-XVIIIth centuries in France. The first task of this thesis is the development of a summary catalogue of viola da gamba music from these centuries. This catalogue forms an essential tool for a study of the vdg repertory from 1610 to 1773, a period which includes the apogee and the decline of the instrument. Based on the catalogue, the thesis focuses on virtuoso violists and viol consorts. We do not treat here their biography nor the structural and technical analysis of their works, nor that of the sets of viols. The important corpus of works composed during the period represents an aesthetic ideal as well as the set of creative processes aimed at this expression of beauty. The period saw a transition in the use of the viol from consorts to solo music, and to ensembles in which the viol was mixed with other instruments giving an important role to the pardessus. The role of the bow (as a vector of effects) and placement of ornaments or "agréments" will be studied with particular attention, with the help of the many pages that the methods devote to them. The testimonies of literary works (memoirs, essays, debates, narratives of concerts) shed some light on the socio-cultural conditions of the practice of the viola da gamba
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Berget, Claire. "Les représentations et l'imaginaire de la viole de gambe en Angleterre aux dix-septième et dix-huitième siècles." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2031.

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La viole de gambe en Angleterre connaît un destin singulier, passant d’une popularité incontestable dans l’aristocratie anglaise au dix-septième siècle à un rejet d’une intensité croissante au fil du dix-huitième siècle. Les représentations de l’instrument dans des documents périphériques à la sphère musicale – lettres, poèmes, peintures – trahissent la complexité de l’imaginaire qui entoure la viole. Dans sa période faste, la viole génère simultanément des images lubriques de corps sensuel, et d’instrument noble en raison de la mélancolie supposée de son timbre. Elle est alors étroitement associée au sentiment national anglais, dont elle cristalliserait la spécificité. Cependant, sa popularité décroissante auprès de l’élite voit la prolifération d’images négatives : vieillesse et stérilité semblent désormais être l’apanage de la viole, que l’on met également à distance idéologiquement comme instrument étranger. La viole réapparaît dans la deuxième moitié du dix-huitième siècle au moment où le culte de la sensibilité se développe : brièvement, son archaïsme et son timbre unique donnent voix à l’individu et ses émotions. La viole, dans le paradigme cyclique de la Renaissance tout comme dans le paradigme linéaire et discursif des Lumières, parvient à s’incarner selon des modalités esthétiques et idéologiques très différentes dans l’imaginaire anglais
In England, the viola da gamba has a singular destiny, from an incontestable popularity with the aristocracy in the seventeenth century to a rejection of increasing intensity over the eighteenth century. The representations of the instrument in documents peripheral to the musical sphere, such as letters, poems or paintings, reveal the complexity of the imaginaire surrounding the instrument. Although, in prosperous times, the viol conjures up lewd images of a sensual body, it is simultaneously associated with ideals of nobility through the supposed melancholy of its tone. At that period, it is also felt to be closely connected to the English national identity, whose specificity it appears to crystallise. However, its dwindling popularity with the elite leads to the proliferation of negative images. Senescence and sterility are increasingly associated with the viol, while ideologically, the instrument is spurned as non- English. The brief resurgence of the viol in the second half of the eighteenth century is brought on by the development of the cult of sensibility. Individual emotions are voiced through its perceived archaism and unique tone. The viola da gamba, both in the circular paradigm of the Renaissance, and in the linear and discursive paradigm of the Enlightenment, successfully embodies contrasting aesthetic and ideological imaginaires
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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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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 iconography to our modern knowledge of instrument-making, I expose the differences between building conceptions in the late fifteenth and early sixteenth centuries and those that stem from later "surviving" instruments. Finally, by placing historical models within the musical framework of plausible repertoire, I reveal the ingredients for an updated sense of sound and performance practice.
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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 the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.
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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 Machy's rivals were the eventual victors of this conflict, and thus have become the model for modern violists to emulate. This has, however, encouraged modern violists to completely disregard the efforts of De Machy, which, as this thesis shall demonstrate, are as important as those of his contemporaries. Chapter 1 discusses De Machy's place in modern scholarship, giving readers an overall view of the kinds of biases and prejudices that currently exist. It also serves to act as a brief collation and analysis of modern writings that discuss De Machy. Chapter 2 provides us with a historical account of the viol in France, giving special emphasis to solo viol playing. It also traces the evolution of musical style and playing technique as well as the development of the instrument within its social role. Chapter 3 discusses French ornamentation on plucked instruments, keyboard instruments and the viol, giving special emphasis to De Machy's own ideas on ornamentation. Possible explanations for the proper execution of these ornaments are also provided. Chapter 4 revaluates Rousseau and the Traité de la Viole (1687), and seeks to determine its reliability as a credible source of information. Chapter 5 describes and analyses the quarrel between De Machy and Rousseau as described by Rousseau in the Réponce de Monsieur Rousseau (1688). In addition to providing a more complete picture of the social interactions of the viol community of the late seventeenth century, this chapter seeks to better explain the issues that De Machy and Rousseau argued about. Chapter 6 examines historical and modern writings and attempts to explain one of the main issues of aforementioned quarrel, the left hand position otherwise known as the ports de main as advocated by De Machy. Appendix A reproduces the avertissement from De Machy's Pièces de Violle. The facsimile of the original publication is presented alongside the English translation. This document is central to many of the issues discussed in this thesis. Appendix B is an English translation of the Réponce de Monsieur Rousseau. One of the aims of this thesis is to re-examine the history of the viol in France, and more specifically, its use as a solo instrument. It is through De Machy's Pièces de Violle and Rousseau's Réponce that most of this information is centred.
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Books on the topic "Violine, Viola da Gamba"

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

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Simpson, Christopher. The division-violist, or, An introduction to the playing upon a ground: Divided into two parts : the first, directing the hand, with other preparative instructions : the second, laying open the manner and method of playing ex-tempore, or composing division to a ground : to which, are added some divisions made upon grounds for the practice of learners. New York: Performers' Editions, 1998.

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Rebel, Jean-Féry. Tombeau de Monsieur de Lully: For two violins, viola da gamba and basso continuo. Ottawa, Canada: Dovehouse Editions, 1985.

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Boismortier, Joseph Bodin de. Sonate D-dur für Querflöte (Oboe, Violine), Gambe (Fagott, Violoncello) und Basso continuo : op. 37/3 =: Sonata in D major for flute (oboe, violin), viola da gamba (bassoon, violoncello) and basso continuo : op. 37/3. Kassel: Bärenreiter, 1988.

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Die Viola da gamba. Frankfurt/M., West-Germany: E. Bochinsky, 1985.

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Vivaldi, Antonio. Opere per viola all'inglese (viola da gamba). Firenze: 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. Utrecht: 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. Kassel: Bärenreiter, 1987.

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

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Christian, Ahrens, Klinke Gregor, and Herne (Arnsberg Germany), eds. Viola da gamba und Viola da braccio: Symposium im Rahmen der 27. Tage Alter Musik in Herne 2002. München: Musikverlag Katzbichler, 2006.

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Book chapters on the topic "Violine, 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, 309–10. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03792-3_31.

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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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Hoffmann, Bettina. "Getting acquainted." In The Viola da Gamba, 1–24. 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, 25–60. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-2.

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Hoffmann, Bettina. "Antecedents." In The Viola da Gamba, 61–77. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-3.

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Hoffmann, Bettina. "Renaissance." In The Viola da Gamba, 78–183. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-4.

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Hoffmann, Bettina. "Baroque and classical." In The Viola da Gamba, 184–332. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-5.

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Hoffmann, Bettina. "The revival." In The Viola da Gamba, 333–52. Routledge, 2018. http://dx.doi.org/10.4324/9781315284255-6.

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Baker, Nina. "James Watt as Musical Organ Maker." In James Watt (1736-1819), 209–29. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620818.003.0010.

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This chapter examines Watt’s work in Glasgow between 1756-1744 when he struggled to make a living from mathematical instruments and also resorted to making and selling musical instruments. He made stringed instruments, including viole da gamba and guitars, plus flutes and organs. There are no complete stringed or wind instruments extant, although tools and parts are held in the London Science Museum. Watt also collaborated with Charles Clagget, an accomplished viol de gamba player and innovator in musical instrument technology, including the first trumpet valves. Watt’s accounts books make clear that he made or repaired barrel, chamber and finger organs and the chapter examines the evidence for these organs including the James Watt Organ in the Glasgow Museums’ Service collection. Its potential links to the great man are considered, to try to uncover the boundaries between myth and reality in regards to the provenance of this instrument.
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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, 107–20. Routledge, 2017. http://dx.doi.org/10.4324/9781315093925-5.

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