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Artykuły w czasopismach na temat „Paganini”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 31 stycznia 2023

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1

Anderson, Robert, Maria Rosa Moretti, and Anna Sorrento. "Paganini Catalogued." Musical Times 128, no. 1733 (July 1987): 386. http://dx.doi.org/10.2307/964533.

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2

Dillon-Malone, Aubrey, Gerry McAvoy, and Pete Chrisp. "Like Paganini?" Books Ireland, no. 286 (2006): 148. http://dx.doi.org/10.2307/20632928.

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3

Nitschkova-Goleminova, Lilia. "Schumann - Moscheles - Paganini." Die Musikforschung 31, no. 1 (September 22, 2021): 16–28. http://dx.doi.org/10.52412/mf.1978.h1.1766.

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4

Rybicki, Marie-Hélène. "Balzac et Paganini." L'Année balzacienne 8, no. 1 (2007): 431. http://dx.doi.org/10.3917/balz.008.0431.

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5

Yuan, He Si, He Si Xian, and Gao Xin. "A review on the Performance Interpretation and Emotional Expression of Rachmaninoff Rhapsody on A Theme of Paganini Op 43." International Journal of Music Studies 4, no. 1 (January 15, 2022): 1–15. http://dx.doi.org/10.37745/ijms.16/vol4n1115.

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Throughout history, music has played a vital role in influencing people's moods and eliciting complex emotions. Examining music's emotional side helps us investigate and reveal the neurological mechanisms underlying music's emotional influence. This article discusses the results of previous studies that explore the performance and emotional expression of Sergei Rachmaninoff's Rhapsodies on a Theme of Paganini, a piece for piano composed by the Russian-American composer-pianist (1873-1943). The themes are investigated from both a historical and a musical standpoint. The inclusion of background

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6

Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy." Nineteenth-Century Music Review 1, no. 1 (June 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

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It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition writ

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7

Cavalera, David. "ANALISIS TEKNIK PERMAINAN BIOLA PADA LAGU INTRODUZIONE E VARIAZIONI SUL TEMA NEL COR PIU NON MI SENTO PER VIOLIN SOLO KARYA NICCOLO PAGANINI." Repertoar Journal 2, no. 1 (July 2, 2021): 13–20. http://dx.doi.org/10.26740/rj.v2n1.p13-20.

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Abstrak Nel Cor Piu Non Mi Sento merupakan sebuah komposisi karya Giovani Paisiello, seorang komposer berpengaruh dan populer pada akhir 1700an di Italia. Lagu tersebut kemudian digubah lagi oleh Paganini menjadi bentuk komposisi yang berjudul Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo. Karya tersebut memiliki keunikan yang menjadi ciri khas Paganini yang digubah menjadi 7 Variasi Melodi Penelitian ini bertujuan (1) Mendeskripsikan teknik gesekan biola; (2) dan penjarian pada lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.Penel

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8

Iandoli, Gerardo. "Gloria Paganini, Walter Zidari." Narrativa, no. 44 (November 30, 2022): 265–67. http://dx.doi.org/10.4000/narrativa.2348.

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9

Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s." Studia Musicologica 54, no. 2 (June 1, 2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental c

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10

Stetsenko, Nikita. "Performance Features of Variations on a Theme by Paganini, op. 35 (first book) by I. Brahms." Eurasian music science journal, no. 2 (September 29, 2021): 13–20. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/64.

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The article examines the unambiguous of the iconic works of romantic music Variations on the theme of Paganini by I. Brahms from the point of view of performance characteristics. This is one of the most difficult pieces in all piano literature. "Variations on a Theme of Paganini" is also called the "encyclopedia" of Brahms' pianism. It is a powerful cycle of diverse content, in which dynamic and frantic pieces alternate with elegiac, scherzo and waltz-like episodes. In the well-known theme of Paganini, Brahms discovered new sides and discovered unexpected subtexts. This cycle presents the most

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11

Perry, Jeffrey. "Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1." 19th-Century Music 27, no. 3 (2004): 208–29. http://dx.doi.org/10.1525/ncm.2004.27.3.208.

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Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is

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12

O'Shea, J. G. "Was Paganini Poisoned with Mercury?" Journal of the Royal Society of Medicine 81, no. 10 (October 1988): 594–97. http://dx.doi.org/10.1177/014107688808101015.

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13

Reitz, M. "Die Leiden des Niccolo Paganini." Aktuelle Dermatologie 35, no. 10 (March 16, 2009): 411–14. http://dx.doi.org/10.1055/s-0028-1119679.

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14

O'Shea, J. G. "Was Paganini poisoned with Mercury?" British Homoeopathic journal 78, no. 2 (April 1989): 116–17. http://dx.doi.org/10.1016/s0007-0785(89)80077-8.

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15

Palmarini, Luca. "Breslavia nelle lettere di Niccolò Paganini / Wrocław in music and letters of Niccolò Paganini." Italica Wratislaviensia 1, no. 5 (April 26, 2015): 177. http://dx.doi.org/10.15804/iw.2014.05.07.

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16

Debbag, Roberto. "Dr. Hugo René Paganini (1959 - 2010)." Revista chilena de infectología 28 (March 2011): 7–8. http://dx.doi.org/10.4067/s0716-10182011000400001.

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17

Juette, R. "Paganini as a patient of Hahnemann." British Homoeopathic journal 82, no. 1 (January 1993): 62. http://dx.doi.org/10.1016/s0007-0785(05)80961-5.

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18

Harvey, Gabrielle. "Mai Kawabata,Paganini: The “Demonic” Virtuoso." Journal of Musicological Research 34, no. 2 (April 3, 2015): 167–70. http://dx.doi.org/10.1080/01411896.2015.1020255.

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19

Suwahyono, Agus. "CAPRICE NO. 24 KARYA PAGANINI PADA SOLO GITAR ARANSEMEN JOHN WILLIAMS (ANALISIS BENTUK MUSIK)." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 1, no. 1 (June 30, 2018): 24. http://dx.doi.org/10.26740/vt.v1n1.p24-29.

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Caprice no. 24 merupakan salah satu dari 24 caprice yang diciptakan oleh Paganini, Caprice (capricio) adalah musik ringan yang pendek dan lincah, khusus bagi alat musik klaviatur, dikenal dalam abad ke-17. Capricio disusun dalam bentuk fuga. Selain itu ada yang menyebut Capricio sebagai sebuah komposisi yang tidak menuruti peraturan tertentu. Caprice no. 24 karya Paganini aransemen solo gitar oleh John Williams termasuk salah satu karya komposisi dengan bentuk variasi, dari tema yang kemudian dikembangkan dengan berbagai macam variasi baik irama, harmoni, melodi, dan seterusnya. Tema dalam Cap

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20

Serong, Julia. "Claudia Paganini: Werte für die Medien(ethik)." Communicatio Socialis 54, no. 4 (2021): 553–55. http://dx.doi.org/10.5771/0010-3497-2021-4-553.

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21

Cormac, J. "Paganini: The 'Demonic' Virtuoso. By Mai Kawabata." Music and Letters 95, no. 4 (November 1, 2014): 655–57. http://dx.doi.org/10.1093/ml/gcu084.

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22

Muller, Riana Ricci. "Violin Recital Programming From Paganini to Today." American String Teacher 69, no. 3 (August 2019): 45–50. http://dx.doi.org/10.1177/0003131319854707.

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23

Mantero, R. "Les mains de Marfan de Niccolò Paganini." Annales de Chirurgie de la Main 7, no. 4 (January 1988): 335–40. http://dx.doi.org/10.1016/s0753-9053(88)80032-2.

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24

Suvini-Hand, Vivienne. "‘It isn’t he!’: Ingres’s Paganini and Delacroix’s parody." Journal of Romance Studies 11, no. 2 (June 2011): 35–59. http://dx.doi.org/10.3828/jrs.11.2.35.

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25

Wolf, P. "Creativity and chronic disease Niccolo Paganini (1782-1840)." Western Journal of Medicine 175, no. 5 (November 1, 2001): 345. http://dx.doi.org/10.1136/ewjm.175.5.345.

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26

Diz, María Luisa. "Tornay, Lizel; Álvarez, Victoria; Laino Sanchis, Fabricio y Paganini, Mariana (comps.) (2021). Arte y Memoria. Abordajes múltiples en la elaboración de experiencias difíciles. Buenos Aires: Editorial de la Facultad de Filosofía y Letras, Universidad de Buenos Aires, 300 pp." Aletheia 12, no. 24 (June 1, 2022): e130. http://dx.doi.org/10.24215/18533701e130.

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Reseña de Tornay, Lizel; Álvarez, Victoria; Laino Sanchis, Fabricio y Paganini, Mariana (comps.) (2021). Arte y Memoria. Abordajes múltiples en la elaboración de experiencias difíciles. Buenos Aires: Editorial de la Facultad de Filosofía y Letras, Universidad de Buenos Aires, 300 pp.

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27

Di Saia, J. "Adolescents and their music: Paganini, Satanists, and insider trading." JAMA: The Journal of the American Medical Association 263, no. 6 (February 9, 1990): 812–13. http://dx.doi.org/10.1001/jama.263.6.812.

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28

Diamond, Jared M. "Quaternary megafaunal extinctions: Variations on a theme by paganini." Journal of Archaeological Science 16, no. 2 (March 1989): 167–75. http://dx.doi.org/10.1016/0305-4403(89)90064-2.

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29

Saia, John Di. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading." JAMA: The Journal of the American Medical Association 263, no. 6 (February 9, 1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052020.

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30

Dardik, Alan. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading." JAMA: The Journal of the American Medical Association 263, no. 6 (February 9, 1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052021.

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31

Carey, Ross G. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading." JAMA: The Journal of the American Medical Association 263, no. 6 (February 9, 1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052022.

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32

Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.

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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and c

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33

Athanassoglou-Kallmyer, Nina. "Blemished Physiologies: Delacroix, Paganini, and the Cholera Epidemic of 1832." Art Bulletin 83, no. 4 (December 2001): 686. http://dx.doi.org/10.2307/3177228.

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34

Brown, Elizabeth. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading-Reply." JAMA: The Journal of the American Medical Association 263, no. 6 (February 9, 1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052023.

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35

Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.

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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the

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36

Parr, Sean M. "Caroline Carvalho and nineteenth-century coloratura." Cambridge Opera Journal 23, no. 1-2 (July 2011): 83–117. http://dx.doi.org/10.1017/s0954586712000031.

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AbstractThis essay explores how the soprano Caroline Carvalho (née Marie Félix-Miolan, 1827–95) perpetuated and extended the art of coloratura singing in the mid-nineteenth century. Creator of roles in sixteen operas, including five by Gounod, Carvalho achieved ‘superdiva’ status (Rutherford) by cultivating her voice – her ‘mécanisme prodigieux’ – to handle coloratura on a scale that explicitly invoked and rivalled the instrumental virtuosity of Paganini. In premièring the title role of Victor Massé's La Reine Topaze (1856), the soprano sang a variations aria based on the Carnival of Venice fo

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37

Zavialova, Olha, Oleksandr Stakhevуch, Mariya Kalashnyk, Hanna Savchenko, and Halyna Stakhevуch. "Formation of romantic instrumental performance and violin art of Niccolo Paganini." Revista Amazonia Investiga 11, no. 50 (March 10, 2022): 180–87. http://dx.doi.org/10.34069/ai/2022.50.02.18.

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The article analyzes the features of formation of instrumental performance of the romantic period and the main factors of this process revealed on the example of Niccolo Paganini’s violin work. The methodological basis of the article is a comprehensive review based on historical-theoretical and music-performing approaches to the research of the stated problems. The main methods of work are historical-comparative, structural-functional and theoretical generalization. The main principles of performance and repertoire of the Italian violinist are determined. The influence of the Italian maestro o

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38

Yücel, D. "Was Paganini born with Ehlers-Danlos syndrome phenotype 4 or 3?" Clinical Chemistry 41, no. 1 (January 1, 1995): 124–25. http://dx.doi.org/10.1093/clinchem/41.1.124.

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39

Campisi, Maria Grazia Aurora. "Andreina e Giuseppina Paganini: allieve e concertiste ed. by Pinuccia Carrer." Fontes Artis Musicae 67, no. 3 (2020): 273–75. http://dx.doi.org/10.1353/fam.2020.0031.

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40

Franzen, C. "Syphilis in composers and musicians—Mozart, Beethoven, Paganini, Schubert, Schumann, Smetana." European Journal of Clinical Microbiology & Infectious Diseases 27, no. 12 (July 1, 2008): 1151–57. http://dx.doi.org/10.1007/s10096-008-0571-x.

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41

Johnston, Blair. "Off-Tonic Culmination in Rachmaninoff's Rhapsody on a Theme of Paganini." Music Analysis 33, no. 3 (July 18, 2014): 291–340. http://dx.doi.org/10.1111/musa.12035.

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Laursen, John Christian. "Skepsis: Le débat des modernes sur le scepticisme. By Gianni Paganini." International Journal for the Study of Skepticism 3, no. 1 (2013): 68–71. http://dx.doi.org/10.1163/221057012x627230.

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43

Fu, Yingjia, and Ruth J. Williams. "Stability of a Subcritical Fluid Model for Fair Bandwidth Sharing with General File Size Distributions." Stochastic Systems 10, no. 3 (September 2020): 251–73. http://dx.doi.org/10.1287/stsy.2019.0058.

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This work concerns the asymptotic behavior of solutions to a (strictly) subcritical fluid model for a data communication network, where file sizes are generally distributed and the network operates under a fair bandwidth-sharing policy. Here we consider fair bandwidth-sharing policies that are a slight generalization of the [Formula: see text]-fair policies introduced by Mo and Walrand [Mo J, Walrand J (2000) Fair end-to-end window-based congestion control. IEEE/ACM Trans. Networks 8(5):556–567.]. Since the year 2000, it has been a standing problem to prove stability of the data communications

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44

Stadlen, Shoël. "Recent Michael Finnissy." Tempo 57, no. 226 (October 2003): 51–52. http://dx.doi.org/10.1017/s0040298203260356.

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MICHAEL FINNISSY: ‘Lost Lands’. Dilok; Delal; Kulamen Dilan; Moon's gain' down; Runnin' wild; Keroiylu; Lost Lands. Topologies: Christopher Redgate (ob), Julian Warburton (perc), Philip Gibbon (bsn), Guy Cowley (E-flat cl), Andrew McNeil (soprano sax), Darragh Morgan (vln), Ian Pace (piano). Metier MSVCD92050.FINNISSY: ‘Etched Bright with Sunlight’. Snowdrift; O, schöner Mai; Free Setting; Verdi Transcription No.10; Stanley Stokes, East Street 1836; Wenn wir in höchsten Nöthen sind; Alkan-Paganini; Etched Bright with Sunlight. Nicolas Hodges (pno). Metronome MET CD 1058.

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45

Gribaudo, Greta. "Gloria Paganini e Walter Zidarič (a cura di), Città italiane al cinema." Italies, no. 25 (December 2, 2021): 434–36. http://dx.doi.org/10.4000/italies.9753.

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Ortega Arjonilla, Emilio. "LEOPOLD AUER. OBRAS MAESTRAS PARA VIOLÍN: CONSEJOS DE INTERPRETACIÓN." Entreculturas. Revista de traducción y comunicación intercultural, no. 4 (January 29, 2012): 117–18. http://dx.doi.org/10.24310/entreculturasertci.vi4.11600.

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Esta monografía es el resultado de la traducción al español de un clásico de la literatura violinística, la obra escrita en 1925 por Leopold Auer, Violin Master Works and Their Interpretation y editada por Carl Fisher (Nueva York, 1925). En este libro, inédito hasta entonces en castellano, se ofrecen consejos de interpretación para las más importantes obras de la literatura violinística: desde la Sonata del trino del diablo de Tartini hasta las obras de Sarasate y Hubay, pasando por supuesto por Bach, Mozart, Haendel, Beethoven, Paganini, Tchaikovsky, Rimsky-Korsakoff, etc.

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47

Berger, Robert W. "The Devil, the Violin, and Paganini: The Myth of the Violin as Satan’s Instrument." Religion and the Arts 16, no. 4 (2012): 305–27. http://dx.doi.org/10.1163/156852912x651045.

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Abstract Stringed instruments are included in Psalm 150 among those appropriate for music-making in praise of the Lord. For that reason, angels frequently appear in medieval and Renaissance art playing bowed and plucked instruments. The later association of the violin and the Devil is therefore a departure from the religious tradition. This paper traces the appearance of this notion in eastern European folklore, Shakespeare and his contemporaries, reactions to instrumental virtuosity in the Baroque period, Tartini’s dream, and the career of Paganini, in whom the myth reached its apogee.

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48

Kim, Hyun Joo. "Reassessing Rachmaninoff’s Rhapsody on a Theme of Paganini as an Homage to Liszt." Journal of the Musicological Society of Korea 24, no. 1 (May 31, 2021): 105–46. http://dx.doi.org/10.16939/jmsk.2021.24.1.105.

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49

Schilling, F. "Die Instabilität der Hand- und Fingergelenke bei der konstitutionellen Hypermobilität: Ein „Paganini-Syndrom”." Aktuelle Rheumatologie 32, no. 6 (December 2007): 355–57. http://dx.doi.org/10.1055/s-2007-963662.

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50

Manfriani, Chiara, Giovanni Gualdani, Giacomo Goli, Bruce Carlson, Anna Rita Certo, Paola Mazzanti, and Marco Fioravanti. "The Contribution of IoT to the Implementation of Preventive Conservation According to European Standards: The Case Study of the “Cannone” Violin and Its Historical Copy." Sustainability 13, no. 4 (February 10, 2021): 1900. http://dx.doi.org/10.3390/su13041900.

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One of the main goals of preventive conservation (PC) is to reduce the risk of possible damage produced by the interaction between tangible heritage objects and their conservation environments. This work aims to introduce the European standard EN 15757:2010 as a potential tool for implementing effective museum PC, and it details the potential contributions of both active environmental control and Internet of Things (IoT) technologies in this regard. An application of this strategy is proposed by means of a case study of the conservation of two historical violins, part of a small but significan

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