Letteratura scientifica selezionata sul tema "1791-1857"
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Articoli di riviste sul tema "1791-1857"
1
Forster, Ann M. C. "The Chronicles of the English Poor Clares of Rouen—I". Recusant History 18, n. 1 (maggio 1986): 59–102. http://dx.doi.org/10.1017/s0034193200020057.
Testo completoAbstract (sommario):
IN VOLUME 14 of the Catholic Record Society, in an introductory survey mainly devoted to the foundation and history of the English Poor Clares of Gravelines, brief mention is made of their daughter-houses: Aire (established 1629), Rouen (1644) and Dunkirk (1652). Today all four houses are represented by St. Clare's Abbey, Darlington, where are preserved four manuscript volumes relating to the Rouen community: a Register of death-bills’ and three books of annals whose contents adhere closely to chronological order and which are titled ‘Rouen I’ (covering most years of the period 1644 to 1701), ‘Rouen II’ (1702–69) and ‘French Revolution’ (1791–1857).
2
Haddad, Rami, e Nabil Al - Darras. "An Analytical Study of the Pedagogical Views of Carl Czerny Dedicated for Piano Performing Skills". Journal of Arts and Social Sciences [JASS] 6, n. 3 (1 dicembre 2015): 111. http://dx.doi.org/10.24200/jass.vol6iss3pp111-120.
Testo completoAbstract (sommario):
Carl Czerny (1791-1857) was a composer and music educator who made nearly a thousand musical compositions. He was a piano performer, a teacher of the instrument and a theorist. His achievements in the field of education are considered a solid foundation to teach beginners and skilled performers. The study aims to shed some light on the educational point of view of Carl Czerny from a theoretical analytical perspective, in addition to highlighting the principles and methods developed by him that can provide and help both students and teachers to achieve their goals more effectively. The study brings out Czerny’s ideas, theories and methodology of teaching music in general, and learning to play the piano in particular. The researchers studied the most important educational principles developed by Carl Czerny in which he saw a basis for the process of learning to play the Instrument, and they managed to elaborate the methodology he created.
3
Jagt, John W. M., e René-Pierre Carriol. "The allegedly Late Cretaceous Chthamalus darwini Bosquet, 1857: a junior synonym of extant Chthamalus stellatus (Poli, 1791) (Cirripedia, Balanomorpha, Chthamalidae)". Neues Jahrbuch für Geologie und Paläontologie - Abhandlungen 249, n. 1 (1 luglio 2008): 87–92. http://dx.doi.org/10.1127/0077-7749/2008/0249-0087.
Testo completo
4
RIEDEL, MATTHIAS, e KYOHEI WATANABE. "The genus Coelichneumon Thomson in Japan (Hymenoptera, Ichneumonidae, Ichneumoninae)". Zootaxa 4948, n. 4 (23 marzo 2021): 501–45. http://dx.doi.org/10.11646/zootaxa.4948.4.2.
Testo completoAbstract (sommario):
In this taxonomic study, 29 species of the genus Coelichneumon Thomson, 1893 found in Japan are described in detail. For some species, other East Palaearctic material is also mentioned. Five of the species are new to science: Coelichneumon caerulogaster nov. sp. (from Hokkaido and Honshu), C. carinator nov. sp. (from Honshu; also Russia and Korea), C. cyanator nov. sp. (from Honshu), C. terebrator nov. sp. (from Honshu) and C. uchidai nov. sp. (from Honshu). Four species are newly reported from Japan: C. clypeatus (Uchida, 1955), C. decemguttatus Uchida, 1932, C. maritimensis Heinrich, 1980 and C. nobilis (Wesmael, 1857). C. femoralis Uchida, 1927 is newly recorded from Far East Russia and C. rufibasalis (Uchida, 1927) from China and Mongolia. C. birmanicus Heinrich, 1966 is newly synonymized under Ichneumon bivittatus Matsumura, 1912. C. coxalis Uchida, 1926 is newly synonymized under Ichneumon sinister Wesmael, 1848, and Ichneumon flavitarsis Smith, 1874 is newly synonymized under Ichneumon deliratorius Linnaeus, 1758. The female of C. rufibasalis (Uchida, 1927) and the male of C. maritimensis Heinrich, 1980 are described for the first time. For C. flavitarsis sensu Lee et al. non Smith, a new name, C. flavitarsator, is established and a lectotype designated. The genus Aglaojoppa Cameron, 1901 is newly synonymized under Coelichneumon. Hence, A. centummaculata (Christ, 1791) is transferred to Coelichneumon (rev. stat.). The specific names of A. rufofemoratus Cameron, 1903 and A. victoriae Heinrich, 1968 are preoccupied in Coelichneumon and two replacement names are proposed, Coelichneumon cameroni nom. nov. for the former and C. paravictoriae nom. nov. for the latter species.
5
Liguang, Zhou. "A NEW APPROACH IN PIANO TEACHING: WE TEACHERS CAN COMPOSE REPERTOIRE IN MINIMALISM FOR STUDENTS". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 46–48. http://dx.doi.org/10.36550/2415-7988-2021-1-195-46-48.
Testo completoAbstract (sommario):
Patterns and repetitions are the essence of studies and exercises for piano. In music history, among composers, Carl Czerny (1791–1857) composed a great number of easy pieces for piano pedagogy that widely employed patterns and repetitions. Nowadays, minimalistic music is a new style but overlaps with the traditional repertoire of piano pedagogy on this emphasis. To employ minimalistic music in piano teaching is a new approach. Further, piano teachers can even compose pedagogical repertoire in minimalism for students. Here, I introduced my own experiences of composing such music for my students. The result was proved satisfactory in teaching. Many piano teachers composed music for their students, which was a convention in piano teaching in music history. They contributed huge amount of repertoire to piano. In the meanwhile, they were dedicated to teaching as well. Nowadays, this practice is still shining in A New Approach in Piano Teaching 6 piano pedagogy. There is a great number of piano teachers who compose music for piano pedagogy. They naturally make the music collections and published them. Undoubtedly, music composition is a specific major study in music schools and conservatories. However, the twenty-first century is an era of free style, like you can mix drinks of different flavors from a beverage machine. Further, minimalism naturally brings a solution for achieving your own piano pedagogical pieces. You can have a try! It is so fun and joyful, when you teach your students your own pieces and then enjoy progresses your students make. Ultimately, this practice will bring you such happiness when they can even memorize and perform your music. Of course, it will be fantastic if you publish your music for piano pedagogy.
6
Arathi, Anitha R., P. Graham Oliver, Raveendhiran Ravinesh e Appukuttannair Biju Kumar. "The Ashtamudi Lake short-neck clam: re-assigned to the genus Marcia H. Adams & A. Adams, 1857 (Bivalvia, Veneridae)". ZooKeys 799 (28 novembre 2018): 1–20. http://dx.doi.org/10.3897/zookeys.799.25829.
Testo completoAbstract (sommario):
The economically valuable bivalve mollusc, known as the short-neck clam, is the major fishery resource of the brackishwater Ashtamudi Lake in Kerala, India. This fishery carries a Marine Stewardship Council certification for sustainability wherein it and all hitherto published reports identify the short-neck clam or yellow-foot clam as Paphiamalabarica (Dillwyn, 1817). It is noted that this name does not conform with current nomenclature and is now correctly referred to Protapesgallus (Gmelin, 1791). Furthermore, it is shown that the identification is also incorrect. Comparative shell morphology of venerid clams of the subfamily Tapetinae from the south Indian coast demonstrates that the short-neck clam in Ashtamudi Lake is Marciarecens (Holten, 1802). Small numbers of M.opima (Gmelin, 1791) were found in Ashtamudi Lake but appear not to be part of, or contribute significantly to, the fishery. The venerid clams Protapesgallus and P.ziczac (Linnaeus, 1758) are not found in Ashtamudi Lake but are inhabitants of the shallow coastal waters of south India. Descriptions of the four confused species M.recens, M.opima, P.gallus, and P.ziczac are given. On the basis of this study, the species involved in Marine Stewardship Council (MSC) certification may be better considered at the generic level of Marcia or at the species level as Marciarecens, the most dominant species in the Ashtamudi Lake clam fishery zone.
7
Swiggers, Pierre. "Franz Bopp, “mit Haar und Haut ein Mensch der Bücher”: searching for the origin of Indo-European grammatical forms". Veleia, n. 33 (13 dicembre 2016). http://dx.doi.org/10.1387/veleia.16815.
Testo completoAbstract (sommario):
Franz Bopp (1791-1867), comúnmente considerado uno de los padres fundadores de la Gramática Comparada Indoeuropea, se interesó en un primer momento por el origen de las formas gramaticales, un objetivo que persiguió desde 1816 en adelante a través de la comparación analítica de los procesos formativos de los tipos flexivos de palabra en sánscrito, griego, latín, alemán y persa en un primer momento (progresivamente incluyó otras lenguas indoeuropeas en su ámbito de estudio). La mayor parte de la obra de Bopp se desarrolló en el campo del sánscrito, pero su interés por los procesos gramaticales del indoeuropeo activos en la lengua madre (Stammsprache) lo condujo a escribir la primera gramática comparada del indoeuropeo (publicada en tres volúmenes entre los años 1833 y 1852); esta obra de conjunto (cuya segunda edición apareció en 1857-61, y la tercera en 1868-71) estaba precedida y seguida por varios estudios monográficos en los que Bopp aplicó un procedimiento analítico para la segmentación, clasificación y explicación de formas gramaticales indoeuropeas. Combinando una visión cronológica de la carrera académica de Bopp con un estudio de su metodología comparativa, este artículo examina las suposiciones o hipótesis que subyacen en la obra de Bopp, y las reivindicaciones resultantes (que atienden a la estructura de las raíces indoeuropeas, la constitución de formas gramaticales y el contenido de morfemas gramaticales), con atención tanto a la posición institucional e intelectual de Bopp como a la valoración por sus contemporáneos y por las siguientes generaciones de investigadores.
8
PRIÉ, Vincent. "Bivalves d’eau douce de Guyane française : espèces présentes et attendues d’après la bibliographie et l’examen des collections muséologiques". Naturae, n. 3 (15 aprile 2020). http://dx.doi.org/10.5852/naturae2020a3.
Testo completoAbstract (sommario):
Les Bivalves dulçaquicoles figurent parmi les espèces les plus menacées à l’échelle mondiale et font l’objet de programmes de recherche et de conservation de plus en plus nombreux, particulièrement en Europe et en Amérique du Nord. Cette dynamique n’a pour l’heure pas rejailli sur la Guyane française où très peu de données ont été produites. La présente note synthétise les données disponibles pour la Guyane française sur la base de l’examen de la bibliographie et de la recherche de spécimens dans les collections malacologiques des muséums nationaux (à partir des bases de données en ligne) et régionaux (par enquêtes directes auprès des muséums régionaux de France). Elle constitue une liste de référence préliminaire qui présente treize espèces appartenant à quatre familles. Huit d’entre elles ne figurent pas dans le référentiel national TAXREF v12. D’après les données collectées dans les collections des musées, quatre espèces peuvent être ajoutées au référentiel taxonomique sans ambiguïté : Prisodon syrmatophorus (Gmelin, 1791) ; Triplodon corrugatus (Lamarck, 1819), Anodontites crispata Bruguière, 1792 et Anticorbula fluviatilis (H. Adams, 1860). Quatre autres doivent encore faire l’objet d’études plus approfondies concernant leur statut taxonomique : Pisidium sterkianum Pilsbry, 1897 ; Castalia ambigua Lamarck, 1819 ; Castalia cordata Swainson, 1840 et Castalia retusa Hupé, 1857. Parmi toutes ces espèces, seules trois ont été récoltées il y a moins de vingt ans en Guyane française. Cet état de l’art soulève des questions de conservation : ces espèces ont-elles été simplement ignorées des naturalistes ? Vivent-elles dans des milieux difficiles à prospecter ? Sont-elles naturellement rares en Guyane ? Ou ont-elles décliné au point que les naturalistes contemporains ne les retrouvent pas ? Des recherches de terrain approfondies sont nécessaires pour tenter de répondre à ces questions.
Tesi sul tema "1791-1857"
1
Wong, Ki Tak Katherine School of English Media & Performing Arts UNSW. "The Contribution of Carl Czerny to Piano Pedagogy in the Early Nineteenth Century". 2008. http://handle.unsw.edu.au/1959.4/41508.
Testo completoAbstract (sommario):
Carl Czerny (1791-1857), whose works number over one thousand opuses, had an active career a composer, pianist, exponent of Beethoven, piano teacher, and theorist. He has received lots of criticism both during his lifetime and ever since. Even nowadays, though many of his piano exercises are popular items for many teachers and pupils ranging from beginners to virtuosi, Czerny is still rated as a master of mechanical works that focus mainly on the right hand. This study will argue that Czerny is much underrated, particularly as a pedagogue, and aims to find out what are the underlying principles that Czerny embedded in his piano pedagogical works, what made them indispensable in the teaching of piano playing and to what degree they present other musical elements which are not purely mechanical in order to reassess Czerny?s achievements in the field of piano pedagogy. The discussion is based on the original English edition of Czerny?s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), its Supplement, as well as Czerny?s other pedagogical works, such as Op. 139, Op. 299, Op. 365, Op. 755 and Op. 821. In addition, other selected pedagogical works and representative keyboard method books and exercises (excluding works for the organ) by other authors up to Czerny?s time are discussed for enriching the discussion. Through a detailed analysis of Czerny?s Opus 500, this study identifies fifteen parameters in his teaching sequences that range from beginner to virtuoso and the findings are clarified and contextualized within the field of 19th century piano pedagogy. These fifteen parameters are also exemplified in four selected opuses of Czerny, and through the ?Exam Pieces? of The Associated Board of the Royal Schools of Music. These are used to justify the applicability of the parameters in the learning sequences intrinsic to the graded piano qualifying examinations nowadays. It is argued that in view of the rich pedagogical content of Czerny?s work both technically and stylistically, together with the systematic teaching sequences that he presented in his piano pedagogical works, Czerny?s contribution to the art of keyboard playing should be well acknowledged.
2
Vanoni, Miriam Conti. "Technique and expression in Carl Czerny's teaching: a critical study of Czerny's Piano-Forte School, Opus 500, demonstrating the direct relation between mechanical teaching and expression in performance". Thesis, 2017. https://hdl.handle.net/2144/20893.
Testo completoAbstract (sommario):
Carl Czerny (1791–1857) lived at the turn of the nineteenth century, when the piano
underwent significant development as an instrument, and subsequently generated a huge
repertoire. While Czerny is mostly remembered for his piano exercises and etudes, his
writings about music as well as his works in serious style reveal a man with a sophisticated
awareness of the importance of piano technique, entwined with profound musical ideas and
an understanding of music that make him a forerunner of the romantic style.
This study focuses on Czerny’s Opus 500 Complete Theoretical and Practical
Piano Forte School (1839), and its Supplement (1845). Through analysis of the tutorial’s
content it attempts to prove the deep connection between piano technique and expressive
playing in Czerny’s teaching.
The first five chapters of this work compare elements of expressive playing, such
as articulation, dynamics and tempo, as presented in different tutorials written before
Czerny’s opus 500, clearly relevant to Czerny. The remaining chapters of this study discuss
the pedagogical path that Czerny suggests to master those same aspects, especially through
scales and scale-based exercises, and through constant attention to improving the listening
skills of the student.
The purpose of this work is to reassess Czerny as a key figure of modern piano
technique, as a teacher and pedagogue able to introduce pianists to mechanical training
while honing the essential skills to perform any piece of music in any style expressively.
Libri sul tema "1791-1857"
1
1907-, Bell Raymond Martin, a cura di. The descendants of John Henderson Bell, 1791-1839 and Mary Sigler Bell, 1792-1857 of Mifflin County, Pennsylvania. Philadelphia, Pa: R.M. Bell, 1994.
Cerca il testo completoCapitoli di libri sul tema "1791-1857"
1
Kossick, Kaye. "Richard Furness (1791-1857)". In Nineteenth-Century English Labouring-Class Poets 1800-1900, 43–53. Routledge, 2020. http://dx.doi.org/10.4324/9780429350214-5.
Testo completo