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Статті в журналах з теми "Compositors italians":
Oliveira, Katya Beatriz de, and Laura Rónai. "A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita." Per Musi, no. 24 (December 2011): 151–66. http://dx.doi.org/10.1590/s1517-75992011000200016.
Teixeira, Thiago Plaça. "Recepção e influência de Lorenzo Perosi (1872-1956) na música religiosa de Alberto Nepomuceno (1864-1920)." Revista Música 19, no. 2 (November 24, 2019): 17–43. http://dx.doi.org/10.11606/rm.v19i2.160085.
Yáñez Navarro, Celestino. "Música para pianoforte, órgano y clave, en dos cuadernos zaragozanos de la primera mitad del siglo XIX." Anuario Musical, no. 62 (December 30, 2007): 291. http://dx.doi.org/10.3989/anuariomusical.2007.62.27.
Capdepón Verdú, Paulino. "Música de tecla en la España del siglo XVIII: Domenico Scarlatti y el padre Antonio Soler." Cuadernos de Estudios del Siglo XVIII, no. 21 (October 5, 2017): 7–34. http://dx.doi.org/10.17811/cesxviii.21.2011.7-34.
Zanardi, Nicoletta. "Cohesion in Italian adult learners’ and native speakers’ compositions." Australian Review of Applied Linguistics 17, no. 2 (January 1, 1994): 22–50. http://dx.doi.org/10.1075/aral.17.2.02zan.
Béjar Bartolo, Alejandra, and Fabrizio Ammetto. "Las composiciones de Francesco Antonio Pistocchi (1659-1726): listado actualizado de su obra." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 11 (May 20, 2017): 313. http://dx.doi.org/10.23913/ricsh.v6i11.120.
Soler Campo, Sandra. "Vittoria Aleotti e Isabella Leonarda, compositoras del barroco italiano." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 9, no. 18 (February 16, 2021): 254–65. http://dx.doi.org/10.23913/ricsh.v9i18.235.
Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.
Krekovics, Diana. "Análisis de errores de e/le referentes a las partículas, pronombres y adverbios en las producciones de alumnos italianos." Acta Hispanica 13 (January 1, 2008): 109–33. http://dx.doi.org/10.14232/actahisp.2008.13.109-133.
ony Mitchell, T. "Paolo Conte: Italian ‘Arthouse Exotic’." Popular Music 26, no. 3 (October 2007): 489–96. http://dx.doi.org/10.1017/s0261143007001390.
Дисертації з теми "Compositors italians":
Jiménez, Carmona Susana. ""Fragmente-Stille, an Diotima" de Luigi Nono: escuchar lo imposible." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/671778.
En aquesta tesi ens acostem a Fragmente-Stille, an Diotima de Luigi Nono per a, partint de la seva anàlisi, anar rastrejant el que posa en joc aquesta obra per a quartet de cordes: les concepcions del so i del silenci implicades, la construcció espaciotemporal que genera, els seus vincles amb les altres obres i els textos del compositor, les ressonàncies amb els pensaments d’altres autors (músics, escriptors, filòsofs) i les implicacions polítiques que comporta tota aposta de món que és una obra d’art
Doctorat en Ciències Humanes, del Patrimoni i de la Cultura
Corrent, Vinicio. "La riscoperta della poesia antica italiana nei compositori del primo Novecento in Italia : dalla generazione dell’Ottanta a Luigi Dallapiccola." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20091.
The main purpose of this research was to study the motivations and requirements of a group of Italian composers, born around the years 1880's; for this chronological coincidence defined by Massimo Mila as the composers of the generation of the eighties recognizing the texts of ancient Italian poetry for some of their operas' lyrics. It was a path of investigation taking into account many factors, in particular the interweaving of artistic and literary interests and the cultural historical complexity of the context of the late nineteenth and the early twentieth centuries. Fundamental in the first place was the need to set up chronological indicative terms of the change, in fact, of the real breakthrough determined at European level by the general crisis of positivism reflected in various ways in Italy in the form of a strong reaction to Verismo in literature and to Melodramma specifically within the music. One of the first important aspect that we focused on in the present work was the fact that the composers we took into consideration were creating not only pieces made for the theatre, but also symphonic and instrumental compositions.In conclusion, it was found that the desire of the composers of the beginning of the 20th century to approach to the texts of ancient Italian poetry has been conditioned by many factors, affected by the social, economic, cultural and historical aspects.If there was a merely general interest in that period as far as the literature is concerned, then the same rough times were perceived by each composer in a very unique, personal way and in this research we believe that the significant contribution to the study of this aspect of the 20th century music has been given to a certain extent
Lo scopo principale della presente ricerca è stato quello di studiare le motivazioni e le esigenze che hanno portato un gruppo di compositori italiani, nati intorno al 1880, e per questa coincidenza cronologica definiti da Massimo Mila, come i compositori de « la generazione dell’Ottanta » a utilizzare per le loro opere cantate testi della poesia antica italiana. Si è trattato di un percorso di indagine che ha dovuto tenere conto di numerosi fattori dato soprattutto l’intreccio di interessi artistici e letterari e la complessità storico culturale del contesto di fine Ottocento e inizio Novecento. Fondamentale in prima istanza è stata l’esigenza di fissare dei termini cronologici indicativi di un cambiamento, anzi di una vera e propria rottura determinata a livello europeo dalla generale crisi del positivismo riflessasi in vario modo in Italia nelle forme di una forte reazione al verismo in ambito letterario e al melodramma in quello più specificamente musicale. Un primo dato importante su cui ci si è concentrati nel nostro lavoro è stato quello che si trattava di compositori a tutto tondo, che creavano non solo opere cantate per il teatro, ma anche strumentali da camera e sinfoniche. In conclusione si è riscontrato che il desiderio dei compositori del primo Novecento di rifarsi e riprendere i testi dell’antica poesia italiana per le loro opere, non va attribuito a un solo elemento, ma deve essere riferito a una pluralità di aspetti molto spesso dipendenti da esigenze socio economico culturali e storiche. Se vi fu un generale interesse per quel periodo della letteratura lo stesso fu poi elaborato in modo del tutto personale da ogni compositore e in questa ricerca crediamo di aver dato per quello che abbiamo considerato un significativo contributo allo studio di questo aspetto della musica del Novecento
Samperi-Mangan, Jacqueline. "Languages in contact : error analysis of Italian childrens' compositions in a multilingual context." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60594.
An effort is made to show all the different errors and interferences that occur, and to discover a pattern of their causes. The data put forth might eventually serve as a base for further studies on the pedagogical prevention or correction of errors in the teaching of Standard Italian as adapted to the specific situation in Montreal.
Rekleitis, Konstantinos. "Portfolio of compositions." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8303.
Ferrari, Giordano. "Etude du théâtre musical d'avant-garde : analyse des expériences des compositeurs italiens au début des années soixante." Paris, EHESS, 1995. http://www.theses.fr/1995EHES0322.
Theatre related problems with which the generation of avant-garde composers of the 1950's and 60's was confronted are analysed through the study of three italian. Works: luciano berio's passaggio (1963) bruno maderna's hyperion (1964-69), and franco evangelisti's die schachte (1966). The three works - studied from the preparatory sketches to the stage performance-illustrate three distinct avant-garde musical theatre strategies : drama developed from within the music (maderna); multimedia performance (evangelisti); self discursive musical theatre (berio)
Allori, Sonia. "Music, text, gender and notions/influences of an Italian cultural perspective as the source for original music compositions." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/6691.
Privitera, Giovanni. "Naissance et évolutions de la chanson d’auteur italienne : de 1958 à l’orée du vingt-et-unième siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3049.
This doctoral thesis explores the Italian art song genre from 1958 until the dawn of the twenty-first century; the broad scope of investigation was chosen so that the subject would not be overly circumscribed either temporally or notionally. The thesis also examines the relationship between the Italian art song and its social and political contexts. The first part, taking into account those influences as well as the effect of the random events of History, analyses the main artistic phenomena at the end of the '50 that led to an "artistic" turning point for the Italian popular song, hitherto locked into an opera derived melismatic mode. The second part investigates the language, the poetics and the aesthetics of the art song genre addressing at length dialect, demonstrating that this question cannot be explained merely in terms of folklore. The third part develops the art song seen through the lens of History, both retrospectively and as a reflexion of the current events of the day. The fourth and last part discusses the new forms of art song that have developed within a contemporary context: rock, the new cantautoriale school and rap. The rewriting, the performance act itself are discussed; the cultural legitimacy of an artistic genre and new forms and ways of experiencing art, as well as revolutionary modes of creation with the advent of the Internet are explored. The song was granted an important place in the society and culture of the second half of the twentieth century and the beginning of the twenty-first; today, imbued with the troubles of a new period, it invites our questions and research more than ever to help us understand the age we live in
Bousquet, Emmanuelle. "Quête identitaire et dramaturgie de l'intime dans les drames lyriques de Riccardo Zandonai (1883-1944)." Paris 8, 2001. http://www.theses.fr/2001PA082052.
Ancillotti, Lorenzo. "Alessandro Esposito (1913-1981) : l'éclectisme infatigable d'un organiste-compositeur confronté aux antagonismes d'une époque." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL177.
This thesis is based on the principle of biographical reconstruction and, at the same time, on the analysis of a cultural context into which the protagonist was born, studied and operated. Alessandro Esposito’s life, his experiences and his enconunters become a source of scientific interest thanks to a meticulous research, aimed at a historical, geographical and musicological contextualization. Parallel to this chronology, numerous paths are traced that highlight a series of heterogeneous situations addressed to the world of the organ, illustrated thanks to the discovery of a rich documentation. Identification, classification and analysis of these witnesses led the reflection towards the different research areas encountered by the protagonist in his human path : training and specialization, relating to a period that extends from 1924 to 1942, the concert activity (1926-1981), the repertoire and the interpretative characteristics; the activity of composer (1926-1978), particularly dedicated to the organ in its liturgical and concertistic role; the didactic activity (1941-1978) and the editorial one (1956-1976). The transversal and constant factor that stems from this research is the identification of Alessandro Esposito's thinking about the concept of the organ, through the observation of his activity as an animator of the debate concerning the interpretation of literature and progress in the art of organ building. This man’s fascination with every area of the world of the organ and music related to it, allows him to combine many different activities, which reveal a predisposition and an eclecticism that permits a reflection about the complex world, rich in opinions and divergent points of view concerning the king of instruments, the true protagonist of this work
Pruvost, Céline. "La chanson d’auteur dans la société italienne des années 1960 et 1970 : une étude cantologique et interculturelle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040227.
This doctoral thesis analyzes a specific cultural object, the songs by singer-songwriters in Italy, between 1958 and 1980. The chosen methodological approach, cantology, consists in crossing analysis of text, music and interpretation. The study also looks at links between songs and Italian cultural and social context in which they were created, as well as and influences from other cultures, with francophone and anglophone songs.The first part provides a series of benchmarks to seize this object. Redrawing emergence of the neologism "cantautore" and expression "canzone d’autore" allows to precisely define the field. Historical perspective is given, as well as geographical and biographical elements regarding the authors of the corpus. The second part gathers methodological and aesthetic reflections, by offering a synthesis of innovative and multidisciplinary approaches which allow not to reduce the study of the song to that of its text, thus avoiding yet too frequent assimilation with poetry. An analysis comparing singable and non-singable translations shows how writing music deeply affects writing texts. The third part analyzes the major innovations introduced in the song in these two decades : at first considering thematic content changes with regard to the Italian legislative changes, then focusing inside of the song, and finally studying the layout of these songs. This path leads to the study of song genre interactions with other languages, through forms including image, such as film or rock opera
Книги з теми "Compositors italians":
Maier, Bruno. Compositori di vita. Trieste: Hammerle, 2002.
Balboni, Paolo. Sillabo di riferimento per l’insegnamento dell’italiano della musica. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-270-3.
Diniz, Jaime C. Um compositor italiano no Brasil, Joseph Fachinetti. Rio de Janeiro, RJ, Brasil: Tempo Brasileiro, 1986.
Ruffini, Mario, ed. Laura. La dodecafonia di Luigi Dallapiccola dietro le quinte. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-719-1.
Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.
Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.
Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.
Sessa, Andrea. Il melodramma italiano, 1861-1900: Dizionario bio-bibliografico dei compositori. Firenze: L.S. Olschki, 2003.
Fazzini, Paolo. Visioni sonore: Viaggio tra i compositori italiani per il cinema. Roma: Un mondo a parte, 2006.
Comuzio, Ermanno. Musicisti per lo schermo: Dizionario ragionato dei compositori cinematografici. [Rome?]: Ente dello spettacolo, 2004.
Частини книг з теми "Compositors italians":
Seifert, Herbert. "The secular-dramatic compositions of Fux: a general survey." In Johann Joseph Fux and the music of the Austro-Italian Baroque, 138–52. Routledge, 2017. http://dx.doi.org/10.4324/9781315092287-8.
Schulenberg, David. "Bach the Teacher." In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.
Townsend, Peter. "Musical Development Assisted by Technology." In The Evolution of Music through Culture and Science, 17–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0002.
Buszta-Bąk, Aleksandra. "Compositori ed esecutori italiani al Castello Reale di Varsavia Włoscy kompozytorzy i wykonawcy na Zamku Królewskim w Warszawie." In Italia e Polonia (1919-2019). Un meraviglioso viaggio insieme lungo cento anni / Włochy i Polska (1919-2019). Sto lat wspólnej fascynującej podróży. Warsaw University Press, 2019. http://dx.doi.org/10.31338/uw.9788323541400.pp.311-316.
Тези доповідей конференцій з теми "Compositors italians":
Longo, G., C. Coluzza, A. Bonfiglio, R. Beccherelli, A. Galloppa, and P. Maltese. "CHARACTERISATION OF POLYANILINE CONDUCTIVE COMPOSITES." In Proceedings of the 6th Italian Conference. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812810779_0015.
DE GIROLAMO DEL MAURO, A., A. CITARELLA, E. MASSERA, L. QUERCIA, and G. DI FRANCIA. "ON THE FABRICATION PROCESS OF POLYMER-COMPOSITES BASED SENSORS." In Proceedings of the 12th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833594_0020.
Caucci, D., L. Aiello, F. Bagnoli, M. Bernabei, Alberto D’Amore, Domenico Acierno, and Luigi Grassia. "AGING AIRCRAFT TRANSPARENCIES: AN ITALIAN AIR FORCE FLEET CASE HISTORY." In IV INTERNATIONAL CONFERENCE TIMES OF POLYMERS (TOP) AND COMPOSITES. AIP, 2008. http://dx.doi.org/10.1063/1.2988966.
FALCIAI, R., J. M. KENNY, A. TERENZI, C. TRONO, and R. MEZZACASA. "REINFORCING AND MONITORING OF CONCRETE STRUCTURES WITH COMPOSITES AND FIBER OPTIC SENSORS." In Proceedings of the 9th Italian Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701770_0057.
QUERCIA, L., M. BOMBACE, F. LOFFREDO, G. DI FRANCIA, and D. NINNO. "INFLUENCE OF FILLER TYPE ON SENSING PROPERTIES OF POLYMERIC COMPOSITES THIN FILMS." In Proceedings of the 10th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833532_0028.
Valentini, F., A. Lupu, S. Orlanducci, D. Compagnone, C. Cremisini, M. L. Terranova, and G. Palleschi. "DIAMOND-BASED NANO-COMPOSITES AND CARBON NANOSTRUCTURES ELECTRODES AS NEW ELECTROCHEMICAL PROBES." In Proceedings of the 7th Italian Conference. WORLD SCIENTIFIC, 2002. http://dx.doi.org/10.1142/9789812776457_0043.
DE GIROLAMO DEL MAURO, ANNA, SAVERIO DE VITO, GIANBATTISTA BURRASCA, ETTORE MASSERA, GABRIELLA RAMETTA, and GIROLAMO DI FRANCIA. "TERPENES DETECTION USING AN ARRAY BASED ON POLYMER-CARBON BLACK COMPOSITES SENSORS." In Proceedings of the 13th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812835987_0019.
Cataldo, F., P. Mondini, R. Beccherelli, and P. Maltese. "PREPARATION OF POLYANILINE CONDUCTIVE COMPOSITES WITH DIENERUBBER OR POLYPHENYLACETYLENE SUITABLE FOR GAS SENSING." In Proceedings of the 6th Italian Conference. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812810779_0014.
BELLAN, F., A. BULLETTI, L. CAPINERI, L. MASOTTI, F. GUASTI, and E. ROSI. "ACOUSTIC GUIDED WAVES INTERDIGITAL TRANSDUCERS FOR NON DESTRUCTIVE TESTING OF CARBON-EPOXY COMPOSITES FOR SPACECRAFT STRUCTURES." In Proceedings of the 9th Italian Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701770_0042.
BELLAN, F., A. BULLETTI, L. CAPINERI, A. CASSIGOLI, L. MASOTTI, O. OCCHIOLINI, F. GUASTI, and E. ROSI. "REVIEW OF NON DESTRUCTIVE TESTING TECHNIQUES FOR COMPOSITES MATERIALS AND NEW APPLICATIONS OF PIEZO-POLYMER INTERDIGITAL TRANSDUCERS." In Proceedings of the 10th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833532_0101.