Bibliografías temáticas / Frederick Chopin

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Literatura académica sobre el tema "Frederick Chopin"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de abril de 2022

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Artículos de revistas sobre el tema "Frederick Chopin"

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Sweeney-Turner, Steve, Iwo Zaluski y Pamela Zaluski. "The Scottish Autumn of Frederick Chopin". Musical Times 135, n.º 1815 (mayo de 1994): 286. http://dx.doi.org/10.2307/1003168.

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Musielak, Henri, Józef Michał Chomiński, Teresa Dalila Turło, Frederick Chopin, Jozef Michal Chominski y Teresa Dalila Turlo. "Katalog Dzieł Fryderyka Chopina -- A Catalogue of the Works of Frederick Chopin". Revue de musicologie 80, n.º 1 (1994): 143. http://dx.doi.org/10.2307/947314.

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Sourian, Eve. "George Sand and Frederick Chopin in Majorca (review)". Nineteenth Century French Studies 35, n.º 3 (2007): 688–90. http://dx.doi.org/10.1353/ncf.2007.0068.

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Berezutsky, V. I. y M. S. Berezutskaya. "CASE OF FREDERIC CHOPIN: COULD MUSIC BE A SYMPTOM?" Journal of the Grodno State Medical University 18, n.º 2 (2020): 211–16. http://dx.doi.org/10.25298/2221-8785-2020-18-2-211-216.

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Vazquez Caruncho, M. y F. Branas Fernandez. "The hallucinations of Frederic Chopin". Medical Humanities 37, n.º 1 (24 de enero de 2011): 5–8. http://dx.doi.org/10.1136/jmh.2010.005405.

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Berezutsky, V. I. y M. S. Berezutskaya. "FOURTEEN PHYSICIANS OF FREDERIC CHOPIN: FOURTEEN WAYS TO TELL A PATIENT ABOUT HIS DISEASE". Journal of the Grodno State Medical University 19, n.º 3 (1 de julio de 2021): 344–55. http://dx.doi.org/10.25298/2221-8785-2021-19-3-344-355.

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The narratives based on history of the disease of famous people are an effective pedagogical tool for future physicians’ preparation in medical ethics and psychology. The objective of this study was to analyze the methods that doctors used to inform Frederic Chopin about his disease. Frederic Chopin's and Georges Sand's letters, the works of the composer's biographers as well as scientific publications devoted to Chopin's illness were analysed. The analysis showed that most of Frederic Chopin's physicians hid from him an incurable and fatal diagnosis for ethical reasons. This tactic proved to be effective: Chopin lived for more than 10 years with severe symptoms of pulmonary tuberculosis.
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Kubba, Adam K. y Madeleine Young. "The Long Suffering of Frederic Chopin". Chest 113, n.º 1 (enero de 1998): 210–16. http://dx.doi.org/10.1378/chest.113.1.210.

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Popiołek-Walicki, Aleksandra. "Cultural Importance of the 4th International Chopin Piano Competition in the Light of Polish Music Life Reviving after the WW II". Edukacja Muzyczna 15 (2020): 327–45. http://dx.doi.org/10.16926/em.2020.15.08.

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The article aims at summarizing different activities undertaken to organize and run the first post- war Chopin piano competition. It is an attempt to collect facts, accounts and memories concerning actions initiated by Polish music culture environment after the Second World War. The author fo- cuses on a detailed description of the organization and proceedings of the 4th International Piano Competition, making use of information that has existed in independent sources so far. The article uses diaries, biographies, autobiographies, private notes, interviews with representatives of Polish culture, archive films and documentaries belonging to the Polish Film Chronicle. Press excepts were not used on purpose, as most press information was included in the aforesaid bibliography entries. The analyzed sources let us conclude that the organization of the first post-was Chopin piano competition in Warsaw was an event requiring both the engagement of all state institutions and personal contribution of musicians and music teachers. The author considers such a detailed historical-cultural account justified and necessary, especially in 2020, the 210th birth anniversary of Frederic Chopin, the year in which the 18th Frederic Chopin International Piano Competition was supposed to take place.
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Berezutskyy, V. I. y M. S. Berezutska. "Spes phthisica: the case of Frederic Chopin". Ukrainian Neurological Journal, n.º 4 (23 de diciembre de 2019): 67–71. http://dx.doi.org/10.30978/unj2019-4-67.

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Margolis, Mitchell L. "The Long Suffering of Frederic Chopin, Revisited". Chest 114, n.º 2 (agosto de 1998): 655. http://dx.doi.org/10.1378/chest.114.2.655.

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Tesis sobre el tema "Frederick Chopin"

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Franaszczuk, Monika Cecilia. "Chopin Onscreen: Media Representations of Frederic Chopin". Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1531241114714343.

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Ladaique, Gabriel. "Les ancetres paternels de frederic chopin". Paris 4, 1986. http://www.theses.fr/1986PA040155.

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Francois chapin, originaire du dauphine, vient se fixer en lorraine au debut du xviiieme siecle. Il se marie en 1705 a romont (vosges) et s'etablit a xirocourt (m. M. ). Ses descendants s'installent dans la vallee du madon ; ils sont pour la plupart tisserands ; tous cultivent la vigne a la fin de leur vie. Ce sont des artisans ruraux. Francois chopin, petit fils du precedent, grand pere de frederic, vient demeurer a marainville en 1769 ; il est charron. Cette commune compte 250 habitants. . . Et deux chateaux ; la seigneurie est elevee en comte en 1728 ; la coexistent sur un fond lorrain des influences francaises et centre europeennes. De 1780 a 1785, le comte est acquis par jean michel pac, lithuanien, ancien chef de la confederation de bar. Francois chopin, syndic de la communaute, son ami l'abbe noel furent les amis de ce nouveau seigneur. Et quand ils quitterent marainville, jean michel pac et son intendant jean adam weydlich emmenerent nicolas chopin, pere de frederic en alsace puis en pologne. Ce dernier devait se montrer un remarquable pedagogue. L'etude de ces quelques generations met bien en lumiere les dominantes des chopin, les aptitudes acquises et transmises au sein de la famille. La connaissance des ancetres, quand elle est fondee sur des documents nombreux et irrefutables, permet de mieux cerner le climat si important de l'enfance, de mieux saisir l'education donnee puis choisie, elle explique bien souvent la vie de relation menee par l'adolescent. . . Le present travail comporte une iconographie abondante et originale, il s'appuie sur des pieces justificatives pour la plupart inedites. La genealogie des chopin lorrains vient clore cette recherche souhaitee depuis longtemps par les meilleurs biographes de frederic
Francois chapin, a native of the dauphine region, came to live in lorraine at the beginning of the xviiith century. He married in 1705 at romont (vosges) and settled down in xirocourt (meurthe et moselle). His descendants settled down in the madon valley : most of them were weavers ; all of them were vine-growers at the end of then lives. They were rural oraftsmen. Francois chopin, grandson of the above mentioned, grandfather of frederic, came to live at marainville in 1769 ; he was a cartwright. The were 250 inhabitants in this locality and two castles ; the estate became a county in 1728 ; on a lorrain background both french and central-european influences came to coexist. Between 1780 to 1785, the county was acquired by jean michel pac, a lithuanien and former head of the bar confederacy. Francois chopin, who was responsible for the community, and his friend abbot noel were the friends of this new lord. And when they left marainville, jean michel pac and his intendant jean weydlich took with them nicolas chopin, frederic's father, to alsace and poland. The latter eventually proved to be a remarkable pedagogue. The study of these particular generations brings to light the main characteristics of the chopin family, the aptitudes developed and transmitted within the family. The knowledge of ancestors, when founded on numerous and inefutable documents, allows one to grasp the very important climate of youth, and to understand the education first given and then adopted : very often it explains as well the various contacts established by the youngman. The present study includes an abondant and original iconography ; it is based upon bona fide documents which, for the most part, have never been published. The genealogy of the chopins living in lorraine puts the finishing touch to this research which had been long requested by frederic's best biographers
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GRABOWSKI, KRZYSZTOF. "L'oeuvre de frederic chopin dans l'edition francaise". Paris 4, 1992. http://www.theses.fr/1992PA040097.

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Cette these est consacree aux editions des oeuvres de chopin realisees en france depuis l'arrivee du compositeur a paris jusqu'a aujourd'hui. Ces publications sont decrites et analysees au cours des quatre parties qui constituent le corps du premier volume : la premiere traite des editions originales ; dans le deuxieme sont etudiees les publications de le seconde moitie du xixe siecle; la troisieme a pour but d'examiner les volumes parus entre 1900 et nos jours; enfin les transcriptions sont le centre d'interet de la quatrieme partie. Toutes les partitions publiees dans l'hexagone ont ete repertoriees dans un catalogue qui compose le second volume de la these. Pour la plupart de ces editions, les cotes des bibliotheques francaises et, occasionnellement, celles des fonds etrangers sont indiquees. De nombreux volumes n'ont pas ete deposes. Leur existence est cependant signalee par la presse musicale specialisee et dans les catalogues des editeurs. La liste de ce publications est dressee a la fin de chacune des firmes concernees. Deux annexes accompagnent ce travail : un choix d'exemples musicaux illustrant des differences entre les textes primitifs francais et allemands, ainsi que le reproduction des pages de titre de toutes les editions originales parisinnes
This thesis is dedicated to the editions of chopin's works realized in france since the composer arrived in paris until the present day. Those publications are described and analysed in the course of the four parts which make up the first volume's body : the first deals with the original editions; in the second, are studied the second half of the nineteenth century's publications; the third is aiming to examine the volumes brought out between 1900 and the present day; finnaly, the transcriptions are the center of interest of the fourth part. All the scores published in france have been itemized in a catalogue which compose the second volume of the thesis. For the most of these editions, the pressmarks of the french librairies and, occasionally, those from foreigners collections are indicated. Many volumes have not been registrated. However, their existence is indicated by the musical specialized press and in the publishers' catalogues. The roll of these publications is drown up at the end of each firm concerned. Two appendices come with this work : a choice of musical examples illustrating differences between the french and german primitive texts, as the duplication of the title pages of all the original parisian editions
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Khalaf, Abdullah. ""In his master's steps he trod" : Alan Rawsthorne and Frederic Chopin : the piano ballades". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/367873/.

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Alan Rawsthorne is a difficult to place as a composer. To many, his work seems conservative, even academic. Yet in 1937, Patrick Hadley recommended him to Cecil Gray as one of the most 'modern' composers of his generation. This thesis examines the question of Rawsthorne's attitude to contemporary composition, through the lens of his engagement with Chopin. I examine both Rawsthorne's well-known second Ballade (1967) and his comparatively unknown first Ballade (1929), comparing one with the other and analysing them for traces of Chopin's iconic works in the ballade form. I also draw on Rawsthorne's own analysis of the Chopin ballades. Rawsthorne's ballades are clearly a kind of homage to Chopin, insofar as they travel a similar narrative path. It seems, however, that a deeper similarity exists. Like Chopin - who wrote his ballades in a time of great political uncertainty - Rawsthorne turned to the ballade during periods of turbulence and unrest in the world around him (ie., the late 1920s and the late 1960s). In Rawsthorne's case, he wrote music about liberation, which seemed to take on a special meaning for him. In my reading, Rawsthorne's ambivalent approach to tonality and tonal structure, for instance, indicates a kind of troubled search for freedom; equality in a multi-culturalist community and a search for liberty of mankind. Thus, Rawsthorne appears to contribute to the ballade that Chopin created. Parakilas identified Chopin's ballade as a European genre, but Rawsthorne's efforts broaden this concept; he sought to create a ballade that could represent a greater diversity of cultures and people. Rawsthorne's re-articulation of Chopin's ballade and his attraction to its non-nationalist narrativity reflects his time and place. Unlike other musical modernists, he was able to make strikingly new music based firmly on past Romantic model.
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Noland, Kaori Katayama. "Grundgestalt and diatonic/octatonic interaction in Chopin's Ballades". Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10251.

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Herrera, Tuesday. "The Element of Endurance in Virtuosic Etudes of Frederic Chopin and Franz Liszt| A Comparative Survey". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10748142.

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Piano Etudes of Frédéric Chopin (1810–1849) and Franz Liszt (1811–1886) remain important concert repertoire and indispensable technical studies for serious pianists to this day. Along with their musical inventiveness, the technical requirement is often novel, with new figurations, extreme range as well as extended passages calling for considerable endurance.

The element of endurance has not been singled out for examination in the literature. To rectify, this paper takes a closer look at the virtuosic etudes from three collections: Chopin's Etudes Op. 10 and Op. 25, and Liszt's 12 Transcendental Etudes (1852) for an analysis of passages requiring endurance, and introduces the Endurance Rating (E.I.) as a factor of duration and strain.

It is hoped that the conclusion regarding endurance will elucidate the differences and similarities between etudes of Chopin and Liszt, determine the role of endurance in contributing to technical difficulty, and assist pianists in choosing appropriate works that would reduce the risk of injury from excessive strain.

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Stanciu, Valeriu. "O universo divinatório de uma obra musical : a descodificação dos 24 prelúdios, op. 28 de Frederic Chopin". Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/1151.

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Mestrado em Música
Este trabalho propõe uma descodificação do universo musical de Frederic Chopin através da implementação dum sistema imagético – musical aplicado aos seus 24 Prelúdios op. 28. Esta investigação pretende criar e fundamentar uma interpretação nova e bela e, no nosso entender, mais artística e convincente. Pretendemos ainda descodificar o grafismo musical encontrado, relacionando os elementos ponto, linha, plano e cor, elementos que constituem, na visão do pintor Wassily Kandinsky, as bases de qualquer imagem, seja pictórica ou musical, com o universo discursivo e musical imaginado pelo compositor. Utilizando como principal ferramenta de implementação, a analogia e, em última análise, a transferência sensorial, descobriremos que, atrás do grafismo duma partitura existe um universo que abrange uma simbiose afirmada de conceitos imagéticos e conceitos musicais. Este foi denominado como sendo o Universo Divinatório, uma fonte incansável de recursos imagético – musicais, a qual, através de canais mais ou menos visíveis, direcciona mensagens de natureza invisível e inenarrável, as quais serão codificadas através da escrita gráfico – musical. Neste sentido, o intérprete identificará, na escrita gráfico – musical, elementos gráficos codificadores de momentos temporais e espaciais de tensão criativa e musical, e imagens imagético – musicais que se encontram em perpétua recriação e reformulação. É nosso propósito mostrá-los em concerto através da performance da obra. ABSTRACT: This work has as primary objective to decode Chopin´s musical cycle known as 24 Prelúdes op. 28. The basis of the construction is a methodology identified as being related to creation of a process of symbiosis manifested between concepts of imagistic and music. This process will be transposed using musical notation which uses as fundamental elements: the point, the line, the plane, and, on another level, colour. The author was able to create a relation between Frederic Chopin and Wassily Kandinsky by using as connection the graphism of the scores. Kandinsky created a series of books as “Point and Line to Plane” (1926), that tries to analyze the geometrical elements which and compose any kind of image (pictorial or musical), and others. He describes the cause and effect of their usage and elaborates a series of theories about the subjective effect produced. In order to reach the goal, the author used the 24 Preludes op. 28 of Frederic Chopin as the element of transition between the two worlds of interaction: the imagistic world and the musical world. The paradigm formed creates a new universe which the author denominated as being related to one Universe of Divination. It combines musical and imagistic fractions under the materialization of a symbiosis process. The main tools is used to define the materialization of this Universe is related to the implementation of the Kandinsky´s system of thinking, the graphism, which exists in a visible form in scores. It can translate in a correct way the utilization of motion with different directionality, and the creation of different tensions by combining those motions. We show our investigation through a performance, on concert,of the 24 Preludes op. 28.
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Walker, Julie. "Le dernier style de Chopin : contexte, analyse et stratégies narratives des œuvres tardives". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC028/document.

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Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux œuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais
This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer
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Grosso, Hideraldo Luiz. "Os preludios para piano de Almeida Prado à Luz do Op. 28, de Frederic Chopin : abordagem relacional dos aspectos técnico-panísticos como fundamento a uma interpretação". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284926.

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Orientadores: Mauricy Matos Martin, Silvio Ricardo Baroni
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T01:58:25Z (GMT). No. of bitstreams: 1 Grosso_HideraldoLuiz_D.pdf: 55265405 bytes, checksum: b67dc8d1db8dd26287ba5547b685f411 (MD5) Previous issue date: 2006
Resumo: Este trabalho estabelece uma relação entre os Prelúdios para Piano de Almeida Prado e o Opus 28, de Frederic Chopin, através da comparação de aspectos técnicos de execução, em ambas as coleções, tendo em vista a concepção de uma interpretação a mais criteriosa possível. A metodologia utilizada parte de nossa experiência como intérprete, da leitura dos textos originais, da anotação de dedilhados, assim como da segmentação de cada Prelúdio em seções ou partes, permitindo a apreensão de componentes estruturais selecionados como o espaço, a linguagem, o tempo e o timbre, além da dinâmica, andamento, fraseado e pedalização, com sugestões de recursos técnicos à execução. O caminho percorrido é o da performance para a análise e as ferramentas utilizadas são primeiro as do intérprete e depois as do teórico ou analista. Complementa o trabalho os dois cadernos de Prelúdios para Piano, de Almeida Prado e uma bibliografia reunindo obras a partir das quais nos embasamos. A conclusão revela a interação entre os recursos de execução, exigidos pela linguagem de Chopin e de Almeida Prado, apresentando a possibilidade de um intercâmbio de procedimentos tanto para um como para outro compositor
Abstract: The purpose of this work is to study a possible relationship between the Preludes for Piano by the Brazilian composer Almeida Prado and Op. 28, by Frederic Chopin through the comparison of technical aspects of performance and a critical interpretation. The methodology is based on my experience as a performer, from readings of the original scores, fingering notations, as well as the segmentation of each Prelude. This permitted the comprehension of structural components such as space, musical language, time, timbre, dynamics, tempo, phrasing and pedaling indications. This study departs from performance to analysis and the tools employed thus began with the performer's resources, then those of the theorist or analyst. In this manner, technical resources for interpretation were suggested to obtain a refined performance. Besides, this study was also complemented by both volumes of Preludes for the Piano by Almeida Prado, followed by a bibliography. The conclusion reveals the possibility of interaction between the performance resources required by the musical language presented by Chopin, as well as by Prado. It demonstrates the possibility of an inter-exchange of procedures for either composer
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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.

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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.
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Libros sobre el tema "Frederick Chopin"

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Zaluski, Iwo. The Scottish autumn of Frederick Chopin. Edinburgh: J. Donald Publishers, 1992.

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Chomiński, Józef M. Katalog dzieł Fryderyka Chopina =: A catalogue of the works of Frederick Chopin. Kraków: Polskie Wydawn. Muzyczne, 1990.

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Ekiert, Janusz. Chopin wiecznie poszukiwany: Historia Międzynarodowego Konkursu Pianistycznego im. Fryderyka Chopina w Warszawie. Warszawa: Muza SA, 2010.

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Dineen, Jacqueline. Frédéric Chopin. Minneapolis: Carolrhoda Books, 1998.

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Chopin. New York: Oxford University Press, 1998.

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Samson, Jim. Chopin. Oxford: Oxford University Press, 1996.

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Samson, Jim. Chopin. New York, NY: Schirmer Books, 1996.

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Tomaszewski, Mieczysław. Frederic Chopin und seine Zeit. Laaber: Laaber Verlag, 1999.

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Ciobanu, Luminita, ed. La pian cu Frederic Chopin. Bucharest, Romania: Editura Universitatii Nationale de Muzica Bucuresti, 2010.

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1949-, Hughes Meirion, ed. Liszt's Chopin. Manchester: Manchester University Press, 2010.

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Capítulos de libros sobre el tema "Frederick Chopin"

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Karenberg, A. J. "Psychosomatic Medicine and Medical History: Frederic Chopin — A Psychosomatic Case ?" En Psychosomatic Medicine, 59–63. Boston, MA: Springer US, 1987. http://dx.doi.org/10.1007/978-1-4684-5454-3_10.

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"Obituaries". En Polin: Studies in Polish Jewry Volume 16, editado por Michael C. Steinlauf y Antony Polonsky, 567–69. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0048.

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WŁADYSŁAW ŚZPILMAN, pianist and composer, was born on 5 December 1911 in Sosnowiec, Poland. His parents were Samuel and Estera (née Rappaport) Szpilman. He married Halina Grzecznarowska on 30 June 1950 in Warsaw. Together they had two sons, Andrzej and Christopher. Szpilman’s initial training as a pianist was at the Akademia Muzyczna im Frederyka Chopina (Frederick Chopin Academy of Music) in Warsaw under two former students of Liszt, Józef Śmidowicz and Aleksander Michałowski. In 1931 he enrolled at the Akademie der Künste (Academy of Arts) in Berlin, where he studied piano under two of the most distinguished players of the day, Artur Schnabel and Leonid Kreuzer, and composition under Franz Schreker, the renowned composer of ...
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Rink, John. "An Essay on The Works of Frederic Chopin." En Chopin, 131–48. Routledge, 2020. http://dx.doi.org/10.4324/9781003075059-10.

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"The Frederic Chopin Society". En The Grants Register 2019, 329. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_507.

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"The Frederic Chopin Society". En The Grants Register 2018, 331. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-94186-5_492.

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Grabowski, Christophe. "Wessel’s Complete Collection of the Compositions of Frederic Chopin: the history of a title-page". En Chopin, 241–50. Routledge, 2020. http://dx.doi.org/10.4324/9781003075059-18.

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Roudet, Jeanne. "FREDERIC CHOPIN, CLARA SCHUMANN, AND THE SINGING PIANO SCHOOL". En Ohne Worte, 65–108. Leuven University Press, 2014. http://dx.doi.org/10.2307/j.ctt14jxt03.6.

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Preston, Katherine K. "Sacred Music". En George Frederick Bristow, 66–76. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0006.

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Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).
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Akkerman, Nadine. "Inseverable Ties with Austria and Spain". En Elizabeth Stuart, Queen of Hearts, 199–210. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199668304.003.0012.

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This chapter studies how not everybody believed that King James would break off negotiations with the Spanish, not least Maximilian I, Duke of Bavaria, now ruler of the Upper Palatinate. The duke was beginning to harbour serious fears about Habsburg expansionism, and for him, the proposed Palatine-Imperial match would have been disastrous. Accordingly, he made a counter offer in December of 1623: Elizabeth Stuart's eldest son Frederick Henry should marry his niece rather than the Holy Roman Emperor's daughter. This match would necessitate the creation of a new, eighth electorate, and thus a change to the Imperial constitution, but would satisfy both branches of the Wittelsbach dynasty, as it imagined the dignity alternating between them. The Capuchin monk Francesco della Rota, also known as Alexander von Hales, was chosen to take these proposals directly to London rather than to The Hague. This resulted in confusion, not least because no one in London was able to confirm that the duke actually had an unmarried niece. News of della Rota's visit left Frederick V and Elizabeth understandably perturbed, but they received assurances that James was only paying the proposition lipservice in order to make it easier to break off the Palatine-Imperial match, which was finally done that month.
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Kolker, Robert P. y Nathan Abrams. "The Jewish Tailor". En Eyes Wide Shut, 41–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678029.003.0003.

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The process of writing the screenplay for Eyes Wide Shut involved ongoing differences with chosen screenwriter Frederic Raphael. The chapter traces the long process and ongoing difficulties in preparing a workable script, examining Kubrick’s markup of Raphael’s drafts until he finally took over polishing the screenplay himself. One of the main sources of conflict was the level of the inherent Jewishness of the source novel that Kubrick wanted removed, another source of conflict with his Jewish screenwriter. The chapter also examines some possible origins of the film’s title and the creation of the character of Ziegler, which was Raphael’s invention.
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