Bibliografías temáticas / Stenhammar

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Literatura académica sobre el tema "Stenhammar"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 14 de febrero de 2022

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Artículos de revistas sobre el tema "Stenhammar"

1

Likos, Christos N. y Joakim Stenhammar. "Electrostatics and Soft Matter: a Themed Collection in memory of Per Linse". Soft Matter 14, n.º 20 (2018): 4019. http://dx.doi.org/10.1039/c8sm90077a.

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Przhiboro, A. A. "Two typically coastal halophilous species of dipterans are found inland in freshwater habitat (Diptera: Psychodidae, Sphaeroceridae)". Zoosystematica Rossica 13, n.º 1 (28 de diciembre de 2004): 115–16. http://dx.doi.org/10.31610/zsr/2004.13.1.115.

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Two typically coastal halophilous species: Telmatoscopus similis Tonnoir (Psychodidae) and Thoracochaeta brachystoma (Stenhammar) (Sphaeroceridae), were collected at the shore of a freshwater lake in Pskov Prov.
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3

Skodvin, Knut Einar. "Fredrik Stenhammar: Riktade FN-Sanktioner och Rule of Law i Folkrätten". Tidsskrift for Rettsvitenskap 122, n.º 03 (27 de agosto de 2009): 475–88. http://dx.doi.org/10.18261/issn1504-3096-2009-03-07.

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4

STUKE, JENS-HERMANN. "New species of Philygria Stenhammar (Diptera: Ephydridae) from Germany". Zootaxa 4942, n.º 3 (15 de marzo de 2021): 439–46. http://dx.doi.org/10.11646/zootaxa.4942.3.7.

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5

Marshall, S. A. y I. P. Smith. "A revision of the Nearctic Pseudocollinella Duda (Diptera; Sphaeroceridae)". Canadian Journal of Zoology 71, n.º 4 (1 de abril de 1993): 835–57. http://dx.doi.org/10.1139/z93-109.

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The genus Pseudocollinella Duda, 1924, treated by recent authors as part of the genus Opacifrons Duda, 1918, is redefined and revised for the Nearctic region. Pseudocollinella flavilabris (Hackman) and P. abhorrens (Roháček) are recorded from the Nearctic region for the first time. All of the above species, plus the North American species P. caelobata (Spuler), P. pellucida (Spuler), and P. sciaspidis (Spuler) and the European species P. septentrionalis (Stenhammar), P. humida (Haliday), P. jorlii (Carles-Tolrá), P. tunisica (Papp), and P. ochrea (Papp), are given as new combinations. Pseudocollinella aquilifrons Marshall, P. attractans Marshall, P. arctopellucida Marshall, P. boreosciaspidis Marshall, P. charlottensis Marshall, P. hirsutipellucida Marshall, P. parapellucida Marshall, P. parasciaspidis Marshall, and P. utapellucida Marshall are described as new. A key to all species is given and their phylogenetic relationships are discussed.
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6

Edmiston, J. F. y Wayne N. Mathis. "A revision of the New World species of the shore-fly subgenus Nostima Coquillett (Genus Philygria Stenhammar; Diptera: Ephydridae)". Smithsonian Contributions to Zoology, n.º 623 (2005): 1–108. http://dx.doi.org/10.5479/si.00810282.623.

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7

Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ". World Science 3, n.º 3(43) (31 de marzo de 2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.

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The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.
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8

KAHANPÄÄ, JERE. "Nematode-induced demasculinisation of Dolichopus males (Diptera: Dolichopodidae)". Zootaxa 1689, n.º 1 (25 de enero de 2008): 51. http://dx.doi.org/10.11646/zootaxa.1689.1.3.

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Species-level identification of male dolichopodid flies (Diptera: Dolichopodidae) is based on the structure of genitalia and secondary sexual characters. The effect of parasitic nematodes on the diagnostic features was studied in a sample of over 6000 Dolichopus adults collected mostly from Finland. Large nematodes were found in the abdominal cavity of 45 Dolichopus males. Parasitised males of the small to mid-sized species D. fraterculus Zetterstedt, D. lepidus Staeger, D. longitarsis Stannius and D. picipes Meigen were clearly demasculinised. Secondary sexual characters like a narrowed face, long ciliae on hind femora and modified tarsal segments were weakly developed or absent. Changes in the size, shape and position of male genitalia were also found. Larger species like D. discifer Stannius and D. popularis Wiedemann were less affected by the parasites. Some of the nematode-infected males have been described as new species and they are here synonymised as follows: Dolichopus brachyurus Zetterstedt 1859=D. fraterculus Zetterstedt, 1843; D. consimilis Wahlberg, 1850=D. picipes Meigen, 1824; D. cruralis Wahlberg, 1850=D. lepidus Staeger, 1842; D. kowarzianus Stackelberg, 1928=D. longitarsis Stannius, 1831; D. lapponicus Becker, 1917=D. lepidus Staeger, 1842; D. micropygus Wahlberg, 1850=D. fraterculus Zetterstedt, 1843; D. parvicaudatus Zetterstedt, 1843=D. plumipes (Scopoli, 1763); D. pectinitarsis Stenhammar, 1851=D. plumipes (Scopoli, 1763) syn. nov.
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9

Røllum-Larsen, Claus. "Musikselskabet af 14. Marts 1896. En rekonstruktion og en karakteristik af dets repertoire." Fund og Forskning i Det Kongelige Biblioteks Samlinger 57 (1 de septiembre de 2018): 131. http://dx.doi.org/10.7146/fof.v57i0.118771.

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Claus Røllum-Larsen: Musikselskabet af 14. Marts 1896. En rekonstruktion og en karakteristik af dets repertoire Med dannelsen af Musikselskabet af 14. Marts 1896 skabte William Behrend, Louis Glass og Gustav Helsted et forum for den ny udenlandske musik. Med sin private karakter og sin kompromisløshed i programlægningen i retning af det “moderne” – som stifterne tilstræbte og så det – gik de videre ad de veje, andre musikforeninger havde betrådt med det formål at bidrage til en udvidelse af koncertrepertoiret. Det var derimod ikke selskabets formål at give de unge komponister mulighed for at få deres egne værker bragt frem. Gennem dels indledninger/foredrag, dels arrangementer for to klaverer og firhændigt klaver gav de optrædende tilhørerne et formodentlig levende indtryk af en række musikværker, hvoraf mange først længe efter fik deres første fremførelser for orkester på dansk grund. Indsatsen for Bruckners musik er særdeles tankevækkende. Den tager sin begyndelse før den første danske opførelse af en Bruckner-symfoni finder sted og er for flere af symfonierne en til to generationer forud for værkernes første danske opførelser. Foruden kompositioner af Wagner og Bruckner, som var de dominerende komponister, opførtes en række værker af ikke mindst franske (Chausson, Debussy, Duparc, Franck) og russiske (Borodin, Čajkovskij, Glasunov, Kjui, Rachmaninov, Rimskij-Korsakov, Skrjabin) – komponister hvoraf flere i øvrigt repræsenterede markante stilistiske alternativer til Wagner og Bruckners centraleuropæiske stil. Men også andre væsentlige værker af komponister uden for det gængse repertoire i Københavns koncertsale programsatte man: Liszts Eine Symphonie zu Dantes Divina Commedia, Mahlers 2. symfoni, Smetanas Trio for klaver, violin og cello op. 9, samt værker – overvejende sange – af Stenhammar, Strauss og Wolf. De medlemmer, som mødte flittigt op til sammenkomsterne, har stiftet bekendtskab med et bredt og udsøgt udvalg af nyere, og ofte helt nye værker med udpræget stilistiske fornyelsestendenser. En sådan musikformidling må betegnes som bemærkelsesværdig om ikke ligefrem enestående – i hvert fald i Danmark.
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10

PONT, ADRIAN C., CHRISTER BERGSTRÖM y ADRIAN C. PONT. "The Muscidae described by J. W. Zetterstedt (Insecta: Diptera)". Zootaxa 2852, n.º 1 (29 de abril de 2011): 1. http://dx.doi.org/10.11646/zootaxa.2852.1.1.

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The 204 species-group names of Muscidae proposed by J.W. Zetterstedt, including the species described by Stenhammar and Wahlberg in Zetterstedt, are reviewed. Excluded from this total are the nomina nuda listed in Zetterstedt (1837, 1845). Of these 204 names, 192 are available names, whilst 10 are unavailable because they are nomina nuda or were proposed in synonymy and not made available before 1961 (Aricia atrata, Anthomyza bicolor, Cyrtoneura coerulescens, Cyrtoneura curvinervis, Anthomyza insignita, Pyrellia luteipennis, Pyrellia parviceps, Aricia pulchella, Anthomyza pusilla, Aricia sororia), and two are unjustified emendations (Anthomyza ocreata, Anthomyza trigonota). Of the 192 available names, 85 are valid species whilst 107 are now placed in synonymy. In this review, 106 lectotypes are designated. Three names are raised from synonymy and are given new status as valid species: Mydaea detrita (Zetterstedt, 1845), Lophosceles impar (Zetterstedt, 1846), and Helina lapponica (Ringdahl, 1918). Fourteen new synonyms are proposed: Anthomyza cingulipes Zetterstedt, 1849 with Anthomyza (now Coenosia) bilineella Zetterstedt, 1838, Anthomyza nigrifemur Zetterstedt, 1845 with Palusia (now Coenosia) testacea Robineau-Desvoidy, 1830, Anthomyza cineraria Zetterstedt, 1845 with Anthomyza (now Helina) fratercula Zetterstedt, 1845, Anthomya veterana Zetterstedt, 1838 with Anthomyza (now Helina) longicornis (Zetterstedt, 1838), Anthomyza nivalis Zetterstedt, 1838 with Aricia (now Helina) flavisquama Zetterstedt, 1849, Aricia duplaris Zetterstedt, 1845 with Anthomyia (now Helina) obscurata Meigen, 1826, Lonchaea metallica Zetterstedt, 1849 with Anthomyia (now Hydrotaea) capensis Wiedemann, 1818, Anthomyza hians Zetterstedt, 1846 with Musca (now Lophosceles) mutatus Fallén, 1823, Anthomyza electa Zetterstedt, 1860 with Anthomyza (now Mydaea) detrita Zetterstedt, 1845, Anthomyza humeralis Zetterstedt, 1845 and Anthomyza humeralis Zetterstedt, 1860 with Mydaea setifemur Ringdahl, 1924, Anthomyza vicina Zetterstedt, 1838 with Anthomyza (now Phaonia) consobrina Zetterstedt, 1838, Aricia fumipennis Zetterstedt, 1845 with Anthomyza (now Spilogona) arctica Zetterstedt, 1838, and Anthomyza hirsutula Zetterstedt, 1838 with Anthomyza (now Thricops) innocua Zetterstedt, 1838. Following Reversal of Precedence, Helina flavisquama is preserved as a nomen protectum and Helina nivalis rejected as a nomen oblitum.
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Tesis sobre el tema "Stenhammar"

1

Rotter, Signe. "Studien zu den Streichquartetten von Wilhelm Stenhammar /". Kassel ; Basel ; London : Bärenreiter, 2001. http://catalogue.bnf.fr/ark:/12148/cb388967870.

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2

Stagling, Ingvor. "Wilhelm Stenhammar och Den signade dag : Från uppteckning till rapsodi". Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173697.

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Abstract Ingvor Stagling: Wilhelm Stenhammar och Den signade dag. Från uppteckning till rapsodi. C-uppsats vid institutionen för musikvetenskap, Uppsala universitet. Vt 2001. Med utgångspunkt i Bo Wallners frågeställningar kring Stenhammars orkesterrapsodi Midvinter undersöks den folkliga koralen Den signade dag från uppteckning 1902 till rapsodi 1907, med en odaterad fyrstämmig koralsats som mellanled. Stenhammars uppteckning av Moratraditionens Den signade dag, meddelad av en ung Zornmodell, visar melodisk överensstämmelse med en tidigare (1887) och en senare uppteckning (1922) av Moratraditionen, men har en rytmiskt individuell utformning. Melodibildningen har större släktskap med en koralhandskrift från 1693 (Roslagskullahandskriften) än med 1697 och 1820 års koralböcker, vilket visar att den lokalt färgade sångtraditionen under flera sekler hållits levande vid sidan om koralböckerna. I rapsodins centrala del är koraluppteckningen tonsatt för unison kör, till ackompanjemang av orkesterns polskemotiv. Denna dualism – spelmanslåt mot folklig koral – bildar en rikare harmonik än den fyrstämmiga koralsatsens treklanger i grundläge. Körsatsen dateras till senast 1910 genom placeringen i Nils Anderssons koraluppteckningar från samma år.
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3

Choi, Kyungsun. "Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar". Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/347231.

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Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works.
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4

Astorsdotter, Michelle. "The effect of music analysis on vocal performance : An analytical study of two Swedish songs". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79218.

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How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing?
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5

Frost, Johan. "Swedish piano music by Stenhammar in the shadow of Grieg". Thesis, 2001. http://hdl.handle.net/1911/17965.

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As a music-producing part of Europe between 1843--1957 Scandinavia is well known through composers such as Jean Sibelius (1865--1957), Carl Nielsen (1865--1931) and especially Edward Grieg (1843--1907). Grieg is still a national hero in his home country and was immensely popular during his lifetime in Europe as his piano music found its way into the homes of the average music lover. Sweden, the biggest Scandinavian country, has as rich a cultural heritage as Norway, a tremendous treasure of folk music, and a highly important political and historical influence over Scandinavia. Why didn't it have a composer during this time to put Sweden on the international landscape? In this dissertation, I will attempt to answer this question. I will compare Grieg with Wilhelm Stenhammar (1871--1927) who was a remarkable Swedish composer and pianist and the major composer of piano music in Sweden during this time. I will start by giving a brief history of Grieg's and Stenhammar's lives and careers as well as examples of how they expressed themselves through the piano. In chapter three and four, I will discuss facts and circumstances that have been to Sweden's disadvantage in developing a musical atmosphere that could have been seen in other countries as something typically Swedish.
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Libros sobre el tema "Stenhammar"

1

Wallner, Bo. Wilhelm Stenhammar och hans tid. Stockholm: Norstedt, 1991.

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Studien zu den Streichquartetten von Wilhelm Stenhammar. Kassel: Bärenreiter, 2001.

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3

Stenhammar, Wilhelm. Thirty songs of Wilhelm Stenhammar: With International Phonetic Alphabet transcriptions, word-for-word translations and commentary. Geneseo, N.Y: Leyerle Publications, 1999.

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Capítulos de libros sobre el tema "Stenhammar"

1

"Music at the Service of Nordic Modernity? Wilhelm Stenhammar’s Opening Cantata for the “General Arts and Industries Exhibition” in Stockholm in 1897". En Decentering Musical Modernity, 87–122. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839446492-005.

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