Bibliographies thématiques / Violiner

Littérature scientifique sur le sujet « Violiner »

Auteur : Grafiati
Publié le 25 juillet 2024

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Sommaire

Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Violiner ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Articles de revues sur le sujet "Violiner"

1

Renat, Maryla. « The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century ». Notes Muzyczny 2, no 12 (13 décembre 2019) : 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

Texte intégral
Résumé :
The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Dondi, Piercarlo, Luca Lombardi, Marco Malagodi et Maurizio Licchelli. « 3D modelling and measurements of historical violins ». ACTA IMEKO 6, no 3 (27 septembre 2017) : 29. http://dx.doi.org/10.21014/acta_imeko.v6i3.455.

Texte intégral
Résumé :
Measuring historical violins provides crucial information about the morphology of the instruments, useful both for researchers and violin makers. Generally, these measures are taken manually using a calliper, but they can be repeated only occasionally due to both the restricted access to these precious instruments and the need of avoiding accidental damages to the wood or to the varnishes. In this work, we describe and assess the accuracy of a protocol for the acquisition and creation of high quality 3D models of violins, suitable for taking accurate measurements. Six historical violins of 17th – 18th centuries, kept in “Museo del Violino” in Cremona (Italy), were used as test set. The quality of the final outcomes was checked comparing measures taken on the 3D meshes with the correspondent ones taken by calliper on the original instruments. Finally, a comparison between the sound board of the instruments were performed.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Mihălcică, Mircea, Mariana Domnica Stanciu, Silviu Marian Nastac, Florin Dinulică, Alina Maria Nauncef, Ioan Călin Roșca et Adriana Savin. « Signature Modes of Old and New Violins with Symmetric Anatomical Wood Structure ». Applied Sciences 11, no 23 (29 novembre 2021) : 11297. http://dx.doi.org/10.3390/app112311297.

Texte intégral
Résumé :
The paper aims to investigate old and new violins from the perspective of the correlation between the anatomical structure of spruce and maple wood, and the dynamic response of violins. Thus, in the first stage, for each violin, the characteristics of the annual rings were measured on the entire width of the top plate, determining the degree of symmetry of the face with respect to the longitudinal axis of the violin body. Then, each violin was dynamically tested with the impact hammer, determining its own frequency spectrum, mainly the so-called “signature” mode and quality factors. The most important findings consist of identification of the first five modes for old violins, (known as provenance), current new violins, and violins whose origin is unknown, but which could correlate with anatomical, constructive and dynamic characteristics, in order to be able establish origins, and also the measurement of anatomical features of top and back plates in the violins’ construction.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Stanciu, Mariana Domnica, Mircea Mihălcică, Florin Dinulică, Alina Maria Nauncef, Robert Purdoiu, Radu Lăcătuș et Ghiorghe Vasile Gliga. « X-ray Imaging and Computed Tomography for the Identification of Geometry and Construction Elements in the Structure of Old Violins ». Materials 14, no 20 (9 octobre 2021) : 5926. http://dx.doi.org/10.3390/ma14205926.

Texte intégral
Résumé :
Numerous studies on heritage violins have shown that there are a number of factors that contribute to the acoustic quality of old violins. Among them are the geometric shape of the violin, the thickness of the tiles, the arching of the tiles, the dimensions and position of the bass bar, the size and position of the acoustic holes. Thus, the paper aims to compare the structural and constructive elements of old violins made in various famous violin workshops (Stainer, Klotz, Leeb, Babos Bela), using nondestructive and noncontact techniques based on image analysis. The violins that were studied date from 1716 to 1920, being in good condition, most of them being used by artists from the Brașov Philharmonic of Romania. In the first stage of the study, the violins were optically analyzed and scanned to identify the structure of the resonant wood, using the WinDENDRO Density 2007 program. X-ray imaging and computed tomography (CT) were also used. Combining the types of analyses, capitalizing on the expertise of violin producers and the knowledge of researchers in the field, valuable data on the geometric and constructive characteristics of old violins were extracted.
Styles APA, Harvard, Vancouver, ISO, etc.
5

Caselli, Gabriele, Giovanni Cecchi et Giulio Masetti. « Characteristics, mechanisms, and perceivability of combination tones in violins ». Journal of the Acoustical Society of America 152, no 5 (novembre 2022) : 2513–23. http://dx.doi.org/10.1121/10.0014600.

Texte intégral
Résumé :
Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian violins and decreased down to a minimum in a factory-made violin. All of these findings are well explained by the boosting action of A0, the main air resonance of the violin that correlates well with the strongest CT. A listening test, performed using selected dyads and violins, showed that the differences between dyads with and without CTs were correctly recognized by a group of professional and amateur musicians, suggesting a possible musical significance of the main CT. The results investigating the possible source of violin nonlinearity are also described.
Styles APA, Harvard, Vancouver, ISO, etc.
6

Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin et Dai-Ting Chung. « Acoustic evolution of old Italian violins from Amati to Stradivari ». Proceedings of the National Academy of Sciences 115, no 23 (21 mai 2018) : 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.

Texte intégral
Résumé :
The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output.
Styles APA, Harvard, Vancouver, ISO, etc.
7

Mahmudin, Mohammad. « ANALISIS TEKNIK PERMAINAN VIOLIN II PADA LAGU CONCERTO FOR TWO VIOLINS, 1st MOVEMENT KARYA J.S. BACH ». Repertoar Journal 2, no 2 (9 juillet 2022) : 295–311. http://dx.doi.org/10.26740/rj.v2n2.p295-311.

Texte intégral
Résumé :
Abstrak: Penelitian ini membahas tentang teknik permainan violin yaitu teknik bowing dan teknik fingering lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Penelitian ini bertujuan untuk mendeskripsikan teknik permainan violin II pada Lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Metode yang digunakan pada penelitian ini adalah metode penelitian kualitatif deskriptif. Data yang diperoleh dalam penelitian ini melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Sementara itu, terdapat uji keabsahan data dengan teknik triangulasi. Hasil penelitian menunjukkan bahwa teknik permainan yang digunakan violin II pada lagu Concerto For Two Violins, 1st Movement karya J.S. Bach adalah teknik staccato, legato, legatura, trill, tenutto, vobrato dan accent. Sementara itu, terdapat tanda ekspresi dan dinamika diantaranya adalah diminuendo, poco dim, ritardo, vermata, forte (f), mezzo forte (ff), crescendo (<), decrescendo (>), piano (p), pianissimo (pp), dan mezzo piano (mp).
Styles APA, Harvard, Vancouver, ISO, etc.
8

Widyaswara, Silvana Nada, et Slamet Haryono. « Bamboo Violin Innovation in Japan Village Kudus Regency ». Jurnal Seni Musik 12, no 1 (30 juin 2023) : 60–70. http://dx.doi.org/10.15294/jsm.v12i1.68111.

Texte intégral
Résumé :
The violin is a common musical instrument constructed of wood, specifically a variety of maple wood. A bamboo violin musical instrument has been created by a woodworker from Kudus Regency's Japan Village. The aim of this study was to discover and describe the innovations used by woodworkers in the production of violins in Japan Village, Kudus Regency, as well as the discovery and description of the production method for bamboo-based violins in Japan Village, Kudus Regency. The research was conducted using a case study research design and a qualitative research methodology. Following are the study's findings: 1) Local wood and bamboo, such as petung bamboo, rosewood wood, Dutch teak wood, and wood mahogany, are used as the basic building blocks for violins. Wood craftsmen also incorporate Indonesian wayang carvings and a scroll design with an eagle head and a puppet head that both have symbolic meaning when creating violin designs for their musical instruments.
Styles APA, Harvard, Vancouver, ISO, etc.
9

Wang, Qi, et Changchun Bao. « Individual Violin Recognition Method Combining Tonal and Nontonal Features ». Electronics 9, no 6 (8 juin 2020) : 950. http://dx.doi.org/10.3390/electronics9060950.

Texte intégral
Résumé :
Individual recognition among instruments of the same type is a challenging problem and it has been rarely investigated. In this study, the individual recognition of violins is explored. Based on the source–filter model, the spectrum can be divided into tonal content and nontonal content, which reflects the timbre from complementary aspects. The tonal/nontonal gammatone frequency cepstral coefficients (GFCC) are combined to describe the corresponding spectrum contents in this study. In the recognition system, Gaussian mixture models–universal background model (GMM–UBM) is employed to parameterize the distribution of the combined features. In order to evaluate the recognition task of violin individuals, a solo dataset including 86 violins is developed in this study. Compared with other features, the combined features show a better performance in both individual violin recognition and violin grade classification. Experimental results also show the GMM–UBM outperforms the CNN, especially when the training data are limited. Finally, the effect of players on the individual violin recognition is investigated.
Styles APA, Harvard, Vancouver, ISO, etc.
10

Flašar, Martin. « MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači ». Musicologica Brunensia, no 2 (2022) : 177–86. http://dx.doi.org/10.5817/mb2022-2-9.

Texte intégral
Résumé :
The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.
Styles APA, Harvard, Vancouver, ISO, etc.
Plus de sources

Thèses sur le sujet "Violiner"

1

Lischka, Rainer. « Violin-Samba : für 2 Violinen ». Rainer Lischka, 2013. https://slub.qucosa.de/id/qucosa%3A23416.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Käbisch, Renate. « Musik für Violine und Klavier ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-22968.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Benjumea, Natalia Londoño. « Posicionamento na mão esquerda do violino : um estudo experimental com iniciantes ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115660.

Texte intégral
Résumé :
A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros.
The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Lee, Kyung Ha. « A comparative study of selected violin works of Isang Yun Gasa für Violine und Klavier (1963) and Sonate für Violine und Klavier Nr. 1 (1991) / ». Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243887615.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Reinert, Gina. « Fantasia do Concerto para violino e orquestra de Octávio Meneleu Campos : uma proposta pedagógica ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12220.

Texte intégral
Résumé :
O presente trabalho teve como objetivo a realização de uma proposta pedagógica para a obra Fantasia de Concerto, do compositor brasileiro nascido em Belém do Pará, Meneleu Campos. A partir do conhecimento da obra em questão, foi realizada uma comparação com o chamado repertório tradicional violinístico, a fim de identificar os aspectos técnicos semelhantes e, a partir disso, formular uma proposta pedagógica. A comparação com o repertório tradicional, foi baseada no artigo “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). Para a realização da proposta pedagógica, utilizou-se, como referencial teórico o livro “Practice” (2004) de Simon Fischer, no qual o autor mostra soluções técnicas para passagens do repertório tradicional. Identificados os aspectos técnicos e violinísticos da Fantasia de Concerto, foi possível, baseado nas propostas de Fischer, desenvolver exercícios para a obra em estudo.
This essay aimed at presenting a pedagogical proposal for the work Fantasia de Concerto by Meneleu Campos - a Brazilian composer, born in Bélem do Pará. A study of the work paved the way for a comparison with the standard violin repertoire, thus establishing common technical issues which in turn served as the starting point for the pedagogical proposal. The comparison with the standard repertoire was based on the article “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). The pedagogical proposal was based on the book “Practice” (2004) by Simon Fischer. This author offers suggestions on how to work and solve problems found in the standard violin repertoire. Therefore, once the technical difficulties of the Fantasia de Concerto were identified, exercises of a similar nature were devised.
Styles APA, Harvard, Vancouver, ISO, etc.
6

Santos, Juliano Buosi dos 1976. « Consort de violinos : música instrumental germânica para mais de quatro vozes na segunda metade do século XVII ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285234.

Texte intégral
Résumé :
Orientador: Esdras Rodrigues Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva
Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics
Mestrado
Praticas Interpretativas
Mestre em Música
Styles APA, Harvard, Vancouver, ISO, etc.
7

Gebel, der Jüngere Georg. « Sonata Es-Dur ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70100.

Texte intégral
Résumé :
Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
Styles APA, Harvard, Vancouver, ISO, etc.
8

Naumann, Johann Gottlieb. « Par che di giubbilo ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70131.

Texte intégral
Résumé :
Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.
Styles APA, Harvard, Vancouver, ISO, etc.
9

Naumann, Johann Gottlieb. « Par che di giubbilo ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149649.

Texte intégral
Résumé :
Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.
Styles APA, Harvard, Vancouver, ISO, etc.
10

Gebel, der Jüngere Georg. « Sonata Es-Dur ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149779.

Texte intégral
Résumé :
Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
Styles APA, Harvard, Vancouver, ISO, etc.
Plus de sources

Livres sur le sujet "Violiner"

1

Bolt, Nina. Passionsspil : Roman. Kbh : Tiderne Skifter, 2005.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Kilian, Dietrich. Konzerte für Violine, für zwei Violinen, für Cembalo, Flöte und Violine : Kritischer Bericht. Kassel : Bärenreiter, 1989.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Rinaldi, Benedetto Gioffredo. Classica fabbricazione di violini in Piemonte = : Klassische Violinen-Fabrikation in Piemont = Classic violin-making in Piedmonte. Bologna : Florenus, 1992.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Bach, Johann Christian. Quintett D-Dur für Querflöte (Violine), Oboe (Violine), Violine, Viola, Violoncello und Basso continuo, op. 11/6 = : Quintet in D major for flute (violin), oboe (violin), violin, viola, violoncello and basso continuo. Kassel : Bärenreiter, 1989.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Falkner, John Meade. The lost Stradivarius. Oxford : Oxford University Press, 1991.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Matthews, Augustus F. Violin acoustics : A new look at the old art. New York : Vantage Press, 1988.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

Glazunov, Aleksandr Konstantinovich. Albumblatt : Für Violine und Klavier = Album leaf : for violin and piano. Frankfurt/M : M.P. Belaieff, 1997.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Gabrielli, Domenico. Quattro balletti für Violine und Basso continuo (Violine II ad libitum) op. I/3, 4, 5, 8 = : For violin and basso continuo (violin II ad libitum). Budapest : Editio Musica, 1989.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Mendelssohn-Bartholdy, Felix. Leichte Stücke für Violine und Klavier = : Easy pieces for violin and piano. Wien : Universal Edition, 1993.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Reger, Max. Three duos for two violins : In A. Boca Raton, Fla : Masters Music Publications, 1995.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
Plus de sources

Chapitres de livres sur le sujet "Violiner"

1

Menuhin, Yehudi. « Präludium ». Dans Die Violine, 7–10. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_1.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Menuhin, Yehudi. « Die Violinen der Welt ». Dans Die Violine, 265–92. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_10.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Menuhin, Yehudi. « Vom Entstehen Der Töne ». Dans Die Violine, 11–42. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_2.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Menuhin, Yehudi. « Von der Leere zur Schwingung ». Dans Die Violine, 43–70. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_3.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Menuhin, Yehudi. « Vom Menschen, der die Violine Baut ». Dans Die Violine, 71–98. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_4.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Menuhin, Yehudi. « Vom Menschen, der die Violine Spielt ». Dans Die Violine, 99–146. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_5.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

Menuhin, Yehudi. « Vom Menschen, der Violine Unterrichtet ». Dans Die Violine, 147–86. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_6.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Menuhin, Yehudi. « Vom Menschen, der Für die Violine Komponiert ». Dans Die Violine, 187–224. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_7.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Menuhin, Yehudi. « Die Partner ». Dans Die Violine, 225–50. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_8.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Menuhin, Yehudi. « Das Hören ». Dans Die Violine, 251–64. Stuttgart : J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-04442-6_9.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Actes de conférences sur le sujet "Violiner"

1

Kitto, Kathleen L. « Using Violin “Engineering” to Create Innovative Lecture Demonstrations to Actively Engage Materials Science Students ». Dans ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84945.

Texte intégral
Résumé :
An introductory Materials Engineering course can be challenging for students since in that course it is often the first time where students must integrate their knowledge of mathematics, chemistry and physics to solve a wide variety of complex and, at times, abstract problems. Finding new methods to teach the course content in order to more actively engage students is equally challenging for instructors. Two years ago, students at Western Washington University began to study part of the course content in materials engineering within the less abstract framework of acoustic/materials signatures of stringed musical instruments (particularly, violin “engineering”). Students can be actively engaged in this subject by posing a rather simple question. Why does a violin or guitar sound the way it does? Trying to answer that very question with materials science (and geometry) in class is a new way instructors may use in their course to more actively engage their students in materials science. This paper describes the use of violin “engineering” to create innovative lecture demonstrations and presentations illustrating acoustic and materials signatures as course supplements for any basic materials engineering course. These demonstrations require only the use of a laptop computer, the academic version of the Adobe Audition® software package (or equivalent), an inexpensive condenser type microphone, an inexpensive student stringed instrument (violin or guitar), and aluminum and wood vibrating plates. The paper gives the exact specifications for the various components needed to create these new lecture and/or lab demonstrations. The approach is innovative in that it takes a fundamental (and expensive) methodology normally used in the acoustic research of violins and other stringed instruments and translates it into a format that is not only affordable, but has also shown promise in our materials course to be a practical tool to actively engage students in materials science. Initial assessment data shows that the students are indeed more engaged in the course and there is measurable improvement in classical test question scores. Also, many students in the class have chosen to complete their research papers required for the class in these subjects; others have volunteered to work on undergraduate research projects investigating the materials signature of stringed instruments and new materials for such instruments. Geometry to create flat vibrating plates, including the top plate of a violin, is also given in the paper (the “violin.dxf” or “violin.igs” file is available upon request). A lengthy reference section is included so that additional demonstrations can be created by other instructors to satisfy their local materials engineering course needs.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Тянь, Лэй. « The formation of violin art in China ». Dans Современное социально-гуманитарное образование : векторы развития в год науки и технологий : материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.25.89.081.

Texte intégral
Résumé :
цель данного исследования – раскрытие особенности становления и развития скрипичного искусства, национального скрипичного репертуара, через тонкости взаимосвязи философии и музыки. Автор выделяет основные этапы в развитии скрипичного образования в Китае; характеризует деятельность выдающихся представителей скрипичного искусства в Китае на примере творчества Сянь Синьхая и Ма Сыцуна, анализирует формирование национального скрипичного репертуара. the purpose of this study is to reveal the peculiarities of the formation and development of the violin art, the national violin repertoire, through the subtleties of the relationship between philosophy and music. The author identifies the main stages in the development of violin education in China; characterizes the activities of outstanding representatives of the violin art in China on the example of the works of Xiǎn Xīnghăi and Mǎ Sīcōng, analyzes the formation of the national violin repertoire.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Saulova, Inessa. « Peculiarities of the performing interpretation of the Sonata for violin and piano by Leonid Gurov ». Dans International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.15.

Texte intégral
Résumé :
The article analyzes L. Gurov's Sonata for violin and piano from the point of view of its performing interpretation. The author aims to reveal the original features of this work, which are manifested in particular, in the use of folklore material. The intonation-thematic structure of the composition, the ratio between the parts of the violin and piano are analyzed in detail, methodical recommendations are given. It is concluded that the Sonata for violin and piano by L. Gurov is a typical example of the genre, and its innovation lies in the synthesis of the deep philosophical content, original composition and convincing performance of the violin and piano ensemble.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Lo, Yu-Hsuan, Shih-Peng Li et Shih-Wei Sun. « Deep Violin : Deep Learning-Based Violin Bowing Training System ». Dans 2023 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan). IEEE, 2023. http://dx.doi.org/10.1109/icce-taiwan58799.2023.10227040.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Irigon, Guilherme, Maria Lúcia Grillo Perez Baptista et Luiz Roberto Perez Lisbôa Baptista. « COMPARAÇÃO ACÚSTICA ENTRE DIFERENTES VIOLINOS ». Dans XXVIII ENCONTRO DA SOBRAC. Galoa, 2018. http://dx.doi.org/10.17648/sobrac-87124.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Huang, H. H., W. H. Li, Y. J. Chen et C. C. Wen. « Automatic violin player ». Dans 2012 10th World Congress on Intelligent Control and Automation (WCICA 2012). IEEE, 2012. http://dx.doi.org/10.1109/wcica.2012.6359122.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

Yin, Jun, Ye Wang et David Hsu. « Digital violin tutor ». Dans the 13th annual ACM international conference. New York, New York, USA : ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101353.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Thorn, Seth Dominicus. « Hybrid Violin Performance ». Dans MOCO '20 : 7th International Conference on Movement and Computing. New York, NY, USA : ACM, 2020. http://dx.doi.org/10.1145/3401956.3404251.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Wang, Zhen J., et Cesar Ortega-Sanchez. « Electronic Assisting Violin Tuner ». Dans TENCON 2012 - 2012 IEEE Region 10 Conference. IEEE, 2012. http://dx.doi.org/10.1109/tencon.2012.6412214.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Charles, J. A., D. Fitzgerald et E. Coyle. « Violin sound quality detection ». Dans IET Irish Signals and Systems Conference (ISSC 2008). IEE, 2008. http://dx.doi.org/10.1049/cp:20080676.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Rapports d'organisations sur le sujet "Violiner"

1

Brewer, Charles E. Sonata á Violino Solo by Johann Heinrich Schmelzer. Society for Seventeenth-Century Music, décembre 2022. http://dx.doi.org/10.53610/tkcn2435.

Texte intégral
Résumé :
This edition presents a sonata for solo scordatura violin by Johann Heinrich Schmelzer comprised of 99 varied repetitions of an ostinato. Included here is a detailed examination of the source, problems with the continuo, and a possible performance solution. A complete score and continuo part are included in the appendices along with a detailed formal analysis of the work.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Cai, Wenjie, et Hwan-Ching Tai. String Theories : Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, novembre 2020. http://dx.doi.org/10.51167/acm00006.

Texte intégral
Résumé :
The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, août 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

Texte intégral
Résumé :
The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Sprague, Joshua, David Kushner, James Grunden, Jamie McClain, Benjamin Grime et Cullen Molitor. Channel Islands National Park Kelp Forest Monitoring Program : Annual report 2014. National Park Service, août 2022. http://dx.doi.org/10.36967/2293855.

Texte intégral
Résumé :
Channel Islands National Park (CHIS) has conducted long-term ecological monitoring of the kelp forests around San Miguel, Santa Rosa, Santa Cruz, Anacapa and Santa Barbara Islands since 1982. The original permanent transects were established at 16 sites between 1981 and 1986 with the first sampling beginning in 1982, this being the 33rd year of monitoring. An additional site, Miracle Mile, was established at San Miguel Island in 2001 by a commercial fisherman with assistance from the park. Miracle Mile was partially monitored from 2002 to 2004, and then fully monitored (using all KFM protocols) since 2005. In 2005, 16 additional permanent sites were established to collect baseline data from inside and adjacent to four marine reserves that were established in 2003. Sampling results from all 33 sites mentioned above are included in this report. Funding for the Kelp Forest Monitoring Program (KFM) in 2014 was provided by the National Park Service (NPS). The 2014 monitoring efforts utilized 49 days of vessel time to conduct 1,040 dives for a total of 1,059 hours of bottom time. Population dynamics of a select list of 71 “indicator species” (consisting of taxa or categories of algae, fish, and invertebrates) were measured at the 33 permanent sites. In addition, population dynamics were measured for all additional species of fish observed at the sites during the roving diver fish count. Survey techniques follow the CHIS Kelp Forest Monitoring Protocol Handbook (Davis et al. 1997) and an update to the sampling protocol handbook currently being developed (Kushner and Sprague, in progress). The techniques utilize SCUBA and surface-supplied-air to conduct the following monitoring protocols: 1 m2 quadrats, 5 m2 quadrats, band transects, random point contacts, fish transects, roving diver fish counts, video transects, size frequency measurements, and artificial recruitment modules. Hourly temperature data were collected using remote temperature loggers at 32 sites, the exception being Miracle Mile where there is no temperature logger installed. This annual report contains a brief description of each site including any notable observations or anomalies, a summary of methods used, and monitoring results for 2014. All the data collected during 2014 can be found in the appendices and in an Excel workbook on the NPS Integrated Resource Management Applications (IRMA) portal. In the 2013 annual report (Sprague et al. 2020) several changes were made to the appendices. Previously, annual report density and percent cover data tables only included the current year’s data. Now, density and percent cover data are presented in graphical format and include all years of available monitoring data. Roving diver fish count (RDFC), fish size frequency, natural habitat size frequency, and Artificial Recruitment Module (ARM) size frequency data are now stored on IRMA at https://irma.nps.gov/DataStore/Reference/Profile/2259651. The temperature data graphs in Appendix L include the same graphs that were used in past reports, but include additional violin plot sections that compare monthly means from the current year to past years. In addition to the changes listed above, the layout of the discussion section was reordered by species instead of by site. The status of kelp forests differed among the five park islands. This is a result of a combination of factors including but not limited to, oceanography, biogeography and associated differences in species abundance and composition, as well as sport and commercial fishing pressure. All 33 permanent sites were established in areas that had or were historically known to have had kelp forests in the past. In 2014, 15 of the 33 sites monitored were characterized as developing kelp forest, kelp forest or mature kelp forest. In addition, three sites were in a state of transition. Two sites were part kelp forest and part dominated by Strongylocentrotus purpuratus...
Styles APA, Harvard, Vancouver, ISO, etc.
Vous pouvez également être intéressé par les bibliographies sur le sujet « Violiner » pour d’autres types de sources :
Articles de revues Thèses Livres
Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!

Vers la bibliographie