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

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Published: 4 June 2021
Last updated: 8 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Döbereiner, Christian. "Über die Viola da Gamba und ihre Verwendung bei Joh. Seb. Bach." Bach-Jahrbuch 8 (February 23, 2018): 75–85. http://dx.doi.org/10.13141/bjb.v19111264.

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12

O'LOGHLIN, MICHAEL. "FRANZ XAVER HAMMER (1741–1817) THE LAST GAMBIST: SONATAS FOR VIOLA DA GAMBA Simone Eckert (viola da gamba) / Hamburger Ratsmusik Christophorus CHR 77303, 2008; one disc, 76 minutes." Eighteenth Century Music 7, no. 1 (January 21, 2010): 148–50. http://dx.doi.org/10.1017/s1478570609990650.

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13

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.
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14

Pinto, David. "Review: The Viola da Gamba Society Index of Manuscripts Containing Consort Music, i." Music and Letters 84, no. 1 (February 1, 2003): 84–87. http://dx.doi.org/10.1093/ml/84.1.84.

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15

Rabin, Ronald J., and Steven Zohn. "Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits." Journal of the Royal Musical Association 120, no. 1 (1995): 112–45. http://dx.doi.org/10.1080/02690403.1995.11828226.

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In 1773 Johann Christian Bach filed a bill of complaint in Chancery for breach of musical copyright, initiating what was to become a landmark case in British copyright law. Bach claimed that the publishing firm of Longman, Lukey & Co. had brought out unauthorized editions of two of his compositions: a ‘new lesson for the Harpsichord or Piano Forte’ and a ‘new Sonata’ for keyboard and viola da gamba.
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16

Wronkowska, Sonia. "Newly discovered works for viola da gamba by Carl Friedrich Abel: the Maltzan Collection." Early Music 46, no. 2 (May 2018): 271–84. http://dx.doi.org/10.1093/em/cay024.

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17

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 (October 2020): 2750. http://dx.doi.org/10.1121/1.5147646.

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18

Woodfield, I. "Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch. By Peter Holman." Music and Letters 93, no. 4 (November 1, 2012): 600–602. http://dx.doi.org/10.1093/ml/gcs084.

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19

Suckling, Christopher. "Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch - By Peter Holman." Journal for Eighteenth-Century Studies 35, no. 2 (May 24, 2012): 300–301. http://dx.doi.org/10.1111/j.1754-0208.2011.00465.x.

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20

Linfield, Eva. "North and South European influences on Buxtehude's chamber music : despite influences, a unique repertory." Schütz-Jahrbuch 10 (August 21, 2017): 104–25. http://dx.doi.org/10.13141/sjb.v1988722.

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Die Studie untersucht (1) den englischen Einfluß auf die Kammersonaten Buxtehudes, der sich speziell in der Klangstruktur mit Melodieinstrumenten in Sopran- und Alt-/Baß-Lage und in der Besetzung mit Viola da gamba auswirkt, (2) das italienische Vorbild von Sonaten und Opernsinfonien als formgebendes und expressives Element in den Sonaten Buxtehudes, und sie versucht, (3) das individuelle Gepräge des Repertoires zu beleuchten. Der Begriff des „Stylus phantasticus“ dient als Ausgangspunkt für die Diskussion der revidierten Sonate in B (BuxWV 255). Buxtehudes Transformation von Einflüssen zu einem höchst persönlichen Kompositionskonzept läßt sich anhand der Revisionen exemplarisch darstellen. (Vorlage)
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21

Medlam, C. "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School. By Michael O'Loghlin." Music and Letters 91, no. 3 (August 1, 2010): 424–26. http://dx.doi.org/10.1093/ml/gcq048.

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22

Stockigt, Janice B. "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School - By Michael O'Loghlin." Journal for Eighteenth-Century Studies 35, no. 3 (August 5, 2012): 430–31. http://dx.doi.org/10.1111/j.1754-0208.2010.00339.x.

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23

Bailey, Candace. "Peter Holman,Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch; and Peter Holman, editor,Purcell." Journal of Musicological Research 31, no. 4 (October 2012): 330–35. http://dx.doi.org/10.1080/01411896.2012.720916.

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24

Owens, S. "Die Viola da gamba am Wiener Kaiserhof: Untersuchungen zur Instrumenten- und Werkgeschichte der Wiener Hofmusikkapelle im 17. und 18. Jahrhundert." Music and Letters 87, no. 3 (August 1, 2006): 429–31. http://dx.doi.org/10.1093/ml/gci192.

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25

Bruggaier, Roswitha. "Das Urbild von Johann Sebastian Bachs Choralbearbeitung "Nun komm, der Heiden Heiland" (BWV 660) - eine Komposition mit Viola da gamba?" Bach-Jahrbuch 73 (May 9, 2018): 165–68. http://dx.doi.org/10.13141/bjb.v19872568.

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26

HOWARD, ALAN. "ATTILIO ARIOSTI (1666–?1729) THE STOCKHOLM SONATAS I: LESSONS AND SONATAS FOR VIOLA D’AMORE Thomas Georgi (viola d’amore), Lucas Harris (theorbo/archlute/guitar), Joëlle Morton (viola da gamba/great bass viol) BIS CD 1535, 2006." Eighteenth Century Music 4, no. 1 (March 2007): 164–65. http://dx.doi.org/10.1017/s1478570607000851.

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27

WALLS, PETER. "GIUSEPPE TARTINI (1692–1770) SONATE A VIOLINO SOLO; ARIA DEL TASSO Chiara Banchini (violin), Patrizia Bovi (soprano) Zig-Zag Territoires, ZZT080502, 2006/2007; one disc, 69 minutes - GIUSEPPE TARTINI (1692–1770), FRANCESCO MARIA VERACINI (1690–1768) THE DEVIL'S TRILL: SONATAS BY GIUSEPPE TARTINI [AND FRANCESCO MARIA VERACINI] Rodolfo Richter (violin), Susanne Heinrich (viola da gamba), Silas Standage (harpsichord), William Carter (archlute, baroque guitar) / Palladians Linn, CKD 292, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (July 30, 2010): 314–16. http://dx.doi.org/10.1017/s1478570610000230.

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28

HOLMAN, PETER. "ANN FORD REVISITED." Eighteenth Century Music 1, no. 2 (September 2004): 157–81. http://dx.doi.org/10.1017/s1478570604000119.

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Twentieth-century accounts of the life and musical activities of Ann Ford, later Mrs Thicknesse (1737–1824), have largely relied on the entry for her in the Victorian Dictionary of National Biography. The rediscovery of a fifty-four-page article on her in Public Characters (London, 1806) has led to a re-evaluation of other sources of information, including her semi-autobiographical novel The School for Fashion (London, 1800), the pamphlets published in the course of her dispute with the Earl of Jersey and her treatises on playing the English guitar and the musical glasses. These throw new light on her musical activities and help us to understand the context and significance of her public concerts in 1760 and 1761. Her public persona and her preference for soft, exotic instruments such as the viola da gamba, the archlute and the guitar are seen as embodying the cult of sensibility, at its height during her period of fame around 1760.
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29

Castro, Marcos Câmara de, and Flávia Camargo Toni. "“Ele militou no sonho de ver os músicos engajados politicamente”." Revista da Tulha 3, no. 2 (May 21, 2018): 165. http://dx.doi.org/10.11606/issn.2447-7117.rt.2017.143053.

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Entrevista com Flávia Toni. Eleita em 2017 para a cadeira nº 40 da Academia Brasileira de Música, cujo patrono é Mário de Andrade, antes ocupada por Renato Almeida e por Vasco Mariz, Flávia Camargo Toni é mestre e doutora em Artes, livre-docente, pesquisadora e professora titular do Instituto de Estudos Brasileiros (IEB/USP). Como musicóloga, especializou-se em questões envolvendo a literatura musical de Mário de Andrade, Modernismo e Música, e vida e obra de Camargo Guarnieri. Atuou em conjuntos musicais como instrumentista de viola da gamba e de violoncelo, e em 1973 participou da I Bienal Internacional de Música realizada em São Paulo. Fez cursos de especialização nos Estados Unidos e na França e atuou em congressos no Brasil e no exterior. É responsável pela edição crítica de obras de Mário de Andrade, bem como de sua correspondência com Luciano Gallet e com Camargo Guarnieri. Organizou o levantamento das fontes sobre as estadias de Villa-Lobos em São Paulo em estudo que trata da relação desse compositor com o autor de Macunaíma entre 1922 e 1945. Autora de vários livros e capítulos em obras coletivas sobre música, publicou dezenas de artigos em periódicos brasileiros e estrangeiros. Destaque especial merece sua atuação como orientadora e supervisora de dissertações de mestrado e teses de doutorado.
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Pinto, D. "The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. 2. Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright." Music and Letters 90, no. 2 (April 29, 2009): 278–80. http://dx.doi.org/10.1093/ml/gcn116.

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31

Wissick, Brent. "A Viola da gamba Miscellanea: Articles From and Inspired by Viol Symposiums Organized by the Ensemble Baroque de Limoges, France / Christophe Coin, director (review)." Notes 63, no. 1 (2006): 86–87. http://dx.doi.org/10.1353/not.2006.0125.

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32

NG, SHAUN. "PETER HOLMAN LIFE AFTER DEATH: THE VIOLA DA GAMBA IN BRITAIN FROM PURCELL TO DOLMETSCHWoodbridge: Boydell, 2010 pp. xxii+394, isbn978 1 84383 574 5." Eighteenth Century Music 10, no. 1 (February 6, 2013): 124–26. http://dx.doi.org/10.1017/s1478570612000413.

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WEISS, ZOE. "JACQUES MOREL (fl.c1700–1749)PREMIER LIVRE DE PIÈCES DE VIOLLE Alejandro Marías (viola da gamba) / La Spagna Brilliant Classics 95962, 2019; one disc, 72 minutes." Eighteenth Century Music 18, no. 1 (February 5, 2021): 215–17. http://dx.doi.org/10.1017/s1478570620000585.

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34

ROBINSON, LUCY. "MICHAEL O'LOGHLIN FREDERICK THE GREAT AND HIS MUSICIANS: THE VIOLA DA GAMBA MUSIC OF THE BERLIN SCHOOLAldershot: Ashgate, 2008 pp. xviii + 253, isbn978 0 7546 5885 6." Eighteenth Century Music 7, no. 1 (January 21, 2010): 124–26. http://dx.doi.org/10.1017/s1478570609990558.

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35

Holman, P. "A Viola da Gamba Miscellanea. Ed. by Susan Orlando. pp. 244. (Ensemble Baroque de Limoges, Presses Universitaires de Limoges, Limoges, 2005, 40. ISBN 2-84287-353-X.)." Music and Letters 87, no. 4 (November 1, 2006): 690–92. http://dx.doi.org/10.1093/ml/gcl027.

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36

Dirksen, Peter. "Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs?" Bach-Jahrbuch 89 (March 12, 2018): 7–36. http://dx.doi.org/10.13141/bjb.v20031780.

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Angesichts der disparaten Quellen und der uneinheitlichen Werkgestalt stellt sich die Frage nach Vorgeschichte und Entstehungszeitraum der Triosonate BWV 528. Als Ausgangspunkt dient die Sinfonia aus der Kantate Die Himmel erzählen die Ehre Gottes BWV 76, die das Urbild von BWV 528/1 darstellt. Dabei werden die Abweichungen zwischen verschiedenen Fassungen des Kantatensatzes ebenso wie die Unterschiede zur Orgelbearbeitung eingehend dargestellt. Die Sinfonia wird dabei in ihren Ursprüngen auf die Weimarer Zeit Bachs datiert, was die weitere Argumentation in der Annahme eines aus dieser Zeit stammenden Kammermusikwerkes stützt, das in der Orgelfassung überdauert haben könnte. Besonders die Instrumentierung der Kantatensätze und die orgelspezifische Einrichtung derselben werden erläutert. Verwiesen wird zudem auf die Sinfonia zu Tritt auf die Glaubensbahn BWV 152, die als Schwesterwerk zu BWV 76/8 betrachtet wird. Der zweite Satz, BWV 528/2, wird vor dem Hintergrund der erhaltenen Frühfassung BWV 528/2a und wiederum BWV 76/8, besonders der Variante (bezeichnet als BWV 76/8a) erörtert. Auch auf andere Werke Bachs mit ähnlichen kompositorischen Elementen wird verwiesen. Bezogen auf seine Befunde anhand des dritten Satzes der Sonate (unter anderem wird eine Verbindungslinie zu BWV 541 erwogen) kommt der Autor zu der Vermutung, dass dieser zwar auch deutliche Hinweise auf ein Weimarer Original liefere, trotzdem stilistisch weit von beiden anderen Sätzen abstäche. Nichtsdestotrotz stellt die hypothetisch rekonstruierte Urfassung für ihn eine wesentliche Bereicherung des Bildes von Bachs Weimarer Schaffen wie seiner Kammermusik dar. Erwähnte Artikel: Hans Eppstein: Grundzüge in J. S. Bachs Sonatenschaffen. BJ 1969, S. 5-30 Werner Breig: Bachs Violinkonzert d-Moll. Studien zu seiner Gestalt und seiner Entstehungsgeschichte. BJ 1976, S. 7-34 Alfred Dürr: Merkwürdiges in den Quellen zu Weimarer Kantaten Bachs. BJ 1987, S. 151-157 Roswitha Bruggaier: Das Urbild von Johann Sebastian Bachs Choralbearbeitung "Nun komm, der Heiden Heiland" (BWV 660). Eine Komposition mit Viola da Gamba? BJ 1987, S. 165-168 Jean-Claude Zehnder: Giuseppe Torelli und Johann Sebastian Bach. Zu Bachs Weimarer Konzertform. BJ 1991, S. 33-95 Bruce Haynes: Johann Sebastian Bachs Oboenkonzerte. BJ 1992, S. 23-44 Klaus Hofmann: Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender. BJ 1993, S. 9-29 Russell Stinson: "Ein Sammelband aus Johann Peter Kellners Besitz": Neue Forschungen zur Berliner Bach-Handschrift P 804. BJ 1992, S. 45-64 Klaus Hofmann: Ein verschollenes Kammermusikwerk Johann Sebastian Bachs. Zur Fassungsgeschichte der Orgelsonate Es-Dur (BWV 525) und der Sonate A-Dur für Flöte und Cembalo (BWV 1032). BJ 1999, S. 67-80
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Wenzinger, August. "Die Viola da gamba in Händels Oratorium „La Resurrezione"." Österreichische Musikzeitschrift 42, no. 2-3 (January 1987). http://dx.doi.org/10.7767/omz.1987.42.23.80.

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38

"Life after death: the viola da gamba in Britain from Purcell to Dolmetsch." Choice Reviews Online 48, no. 10 (June 1, 2011): 48–5595. http://dx.doi.org/10.5860/choice.48-5595.

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Arruda da Silva, Priscila, Valéria Lerch Lunardi, Rodrigo Dalke Meucci, Simone Algeri, Michele Peixoto da Silva, and Flávia Pivoto Franciscatto. "(In) visibility of notifications of violence against children and adolescents registered in a municipality in southern Brazil." Investigación y Educación en Enfermería 37, no. 2 (June 19, 2019). http://dx.doi.org/10.17533/udea.iee.v37n2e11.

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Abstract Objective. To know the perception of health, education and social service professionals about the records and notifications of violence against children and adolescents, carried out in a municipality in the south of Brazil.Methods. This is an exploratory, descriptive, and qualitative approach, specifically developed in places that integrate children and adolescents victims of violence. Ten professionals participated, including three nurses, one doctor, two social workers, two psychologists, one tutor, and one educator. Data collection was performed through a semi-structured interview. The statements were submitted to discursive textual analysis.Results. The analysis showed that the act of recording and reporting violence against children and adolescents is still not a routine practice for health professionals. The registration and formal communication of the information should be considered as a priority; however, the results showed that the protection of the victim seems to overlap with the registry. The study identified important elements in strategies for coping with violence against children and adolescents: centralization of notifications in a single service; creation of a notification flow; existence of an advisory team to deal with cases of violence; and completion of compulsory notification by education and social assistance professionals.Conclusion. For the professionals, the routine attendance of situations involving violence, but not formalized through the notification form, has contributed to the underreporting and invisibility of the cases.Descriptors: nursing; domestic violence; child advocacy; mandatory reporting; registries.How to cite this article: Silva PA, Lunardi VL, Meucci RD, Algeri S, Silva MP, Franciscatto FP. (In) visibility of notifications of violence against children and adolescents registered in a municipality in southern Brazil. Invest. Educ. Enferm. 2019; 37(2):e11.ReferencesCovell, K; Becker JO, NGO Advisory Council for Follow-up to the UN Study on Violence against Children. Five years on: a global update on violence against children [Internet]. 2011 [Cited 11 Feb 2018]. Available from: http://resourcecentre.savethechildren.se/sites/default/files/documents/5085.pdf. Viola TW, Salum GA, Kluwe-Schiavon B, Sanvicente-Vieira B, Levandowsky ML, Grassi-Oliveira R. The influence of geographical and economic factors in estimates of childhood abuse and neglect using the Childhood Trauma Questionnaire: A worldwide meta-regression analysis. Child Abuse Neglect. 2016; 51(1):1-11. Brasil. Ministério da Saúde. Portaria nº 1271, de 6 de junho de 2014. Define a Lista Nacional de Notificação Compulsória de doenças, agravos e eventos de saúde pública nos serviços de saúde públicos e privados em todo o território nacional, nos termos do anexo, e dá outras providências. Diário Oficial da União, Brasília (DF), 2014 Jun 09; Seção 1:67. Egry EY, Apostolico MR, Morais TCP. Notificação da violência infantil, fluxos de atenção e processo de trabalho dos profissionais da Atenção Primária em Saúde. Cien. Saude Colet. 2018; 23(1):83-92. Cezar PK, Arpini DM, Goetz ER. Registros de Notificação Compulsória de Violência Envolvendo Crianças e Adolescentes. Psicol. Cien. Prof. 2017; 37(2): 432-45. Delziovo CR, Bolsoni CC, Coelho EBS. Quality of records on sexual violence against women in the Information System for Notifiable Diseases (Sinan) in Santa Catarina, Brazil, 2008-2013. Epidemiol. Serv. Saude. 2018; 27(1):e20171493. Nunes AJ, Sales MCV. Violence against children in Brazilian scenery. Cien. Saude Colet. 2016; 21(3):871-80. 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European Union Agency for Fundamental Rights. Provisions on professionals’ legal obligation to report cases of child abuse, neglect and violence [Internet]. 2015 [cited 05 Apr 2017]. Available from: http://fra.europa.eu/en/publication/2015/mappingchild-pro-tection-systems-eu/reporting-1 26. Lima JS, Deslandes SF. A notificação compulsória do abuso sexual contra crianças e adolescentes: uma comparação entre os dispositivos americanos e brasileiros. Interface (Botucatu). 2011; 15(38):819-32. Deslandes S, Mendes CHF, Lima JS, Campos DS. Indicadores das ações municipais para a notificação e o registro de casos de violência intrafamiliar e exploração sexual de crianças e adolescentes. Cad. Saude Publica. 2011; 27(8):1633-45. Abath MB, Lima MLLT, Lima PS, Silva MCM, Lima MLC. Avaliação da completitude, da consistência e da duplicidade de registros de violências do Sinan em Recife, Pernambuco, 2009-2012. Epidemiol. Serv. Saude. 2014; 23(1):131-42. 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