Gotowe bibliografie tematyczne / 1811-1886

Gotowa bibliografia na temat „1811-1886”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 28 lipca 2024

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Artykuły w czasopismach na temat "1811-1886"

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SANGSTER, GEORGE, ANDREW D. SWEET i KEVIN P. JOHNSON. "Paraclaravis, a new genus for the Purple-winged and Maroon-chested Ground-doves (Aves: Columbidae)". Zootaxa 4461, nr 1 (20.08.2018): 134. http://dx.doi.org/10.11646/zootaxa.4461.1.10.

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Previous molecular phylogenetic analyses and new analyses reported here demonstrate that the genus Claravis is not monophyletic and comprises two lineages, one with the species pretiosa Ferrari-Pérez, 1886 (Blue Ground-dove), and the other with two species: geoffroyi Temminck, 1811 (Purple-winged Ground-dove) and mondetoura Bonaparte, 1856 (Maroon-chested Ground-dove). Because the generic name Claravis is typified by C. pretiosa (Ferrari-Pérez, 1886), a new genus, Paraclaravis gen. nov., is described for geoffroyi Temminck, 1811 and mondetoura Bonaparte, 1856.
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Józsa, László. "Franz Liszt was born 200 years ago (1811–1886)". Orvosi Hetilap 152, nr 9 (luty 2011): 352–54. http://dx.doi.org/10.1556/oh.2011.ho2337.

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Gut, Serge, Michael Short i Leslie Howard. "Ferenc Liszt. (1811-1886). List of Works. Elenco delle opere". Revue de Musicologie 91, nr 1 (1.01.2005): 269. http://dx.doi.org/10.2307/20141605.

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Davison, Alan. "Virtuosity Domesticated: Portraits of Franz Liszt by Two Biedermeier Artists". Nineteenth-Century Music Review 2, nr 1 (czerwiec 2005): 3–22. http://dx.doi.org/10.1017/s1479409800001543.

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The wide variety of nineteenth-century images of the great pianist—composer Franz Liszt (1811–1886) provides both art historians and musicologists with a rich resource through its sheer diversity and comprehensiveness. Of great potential value are the insights that Lisztian iconography may provide into the changing nature of Romanticism and music during much of the nineteenth century.
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Кондратьев, Евгений Николаевич, i Василий Викторович Аникин. "Список мух-кровососок (Diptera: Hippoboscidae) Среднего и Нижнего Поволжья". Полевой журнал биолога 2, nr 4 (30.12.2020): 289–91. http://dx.doi.org/10.18413/2658-3453-2020-2-4-289-291.

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В статье приведены новые сведения о фауне мух-кровососок Среднего и Нижнего Поволжья. Материал собран на территории Республики Татарстан (2018) и Саратовской области (2014, 2016– 2018, 2020). На основании литературных данных и личных сборов показано, что фауна мух- кровососок представлена не менее чем 10 видами: Crataerina pallida (Olivier in Latreille, 1811), Icosta ardeae (Macquart, 1835), Olfersia fumipennis (Sahlberg, 1886), O. spinifera (?) (Leach, 1817), Ornithoica turdi (Olivier in Latreille, 1811), Ornithomya avicularia Linnaeus, 1758, O. chloropus Bergroth, 1901, O. fringillina Curtis, 1836, Ornithophila metallica (Schiner, 1864), Lipoptena cervi (Linnaeus,1758), Melophagus ovinus (?) (Linnaeus,1758). Впервые для территории Среднего Поволжья приводится C. pallida, для Нижнего Поволжья – O. avicularia, для Среднего и Нижнего Поволжья – L. cervi.
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Tanguy, Jean-François. "Gobbi, Gérald, Le comte de Falloux, 1811-1886. Entre Église et monarchie". Annales de Bretagne et des pays de l'Ouest, nr 118.2 (30.05.2011): 183–86. http://dx.doi.org/10.4000/abpo.2032.

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Guyver, C. "Le Comte de Falloux 1811-1886: Entre Eglise et monarchie, by Gerald Gobbi". English Historical Review 127, nr 529 (28.11.2012): 1557–59. http://dx.doi.org/10.1093/ehr/ces247.

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Teixeira, Thiago Plaça. "Sinos de Nepomuceno: intertextualidade em Cloches de Noël". OPUS 23, nr 3 (26.11.2017): 109. http://dx.doi.org/10.20504/opus2017c2306.

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O presente artigo propõe a realização de uma análise musical da peça para piano Cloches de Noël (Sinos de Natal, 1915), do compositor brasileiro Alberto Nepomuceno (1864-1920), procurando encontrar relações intertextuais. A análise demonstra uma aproximação estilística da peça com a obra religiosa de Franz Liszt (1811-1886), principalmente no que concerne a quatro aspectos: (1) a utilização explícita de melodias gregorianas; (2) a harmonização de tais melodias com emprego exclusivo de consonâncias; (3) a referência extramusical e idiomática ao som dos sinos das igrejas e (4) a estrutura formal baseada na intercalação de episódios musicais entre os trechos de transcrição gregoriana.
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Zocchi, Paola. "Medicina e Risorgimento nel carteggio tra Andrea Verga (1811-1895) e Agostino Bertani (1812-1886)". STORIA IN LOMBARDIA, nr 1 (październik 2018): 112–37. http://dx.doi.org/10.3280/sil2017-001007.

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Waszkiel, Halina. "Katarzyna z Fröhlichów Bogusławska". Pamiętnik Teatralny 52, nr 3/4 (30.12.2003): 326–36. http://dx.doi.org/10.36744/pt.1745.

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Autorka podejmuje próbę rekonstrukcji biografii Katarzyny Fröhlich (1811–1886), absolwentki warszawskiej szkoły baletowej, w Teatrze Wielkim szlifującej talent pod okiem Julii Mierzyńskiej. Wymienia spektakle z udziałem tancerki, w tym w partiach solowych, przywołuje pochlebne opinie prasowe o „solo mazurze” z Wesela polskiego w Ojcowie. Uwypukla istotną funkcję życiową szkoły baletowej, którą ubogie, niepiśmienne rodziny wybierały dla swoich dzieci jako szansę na nieodpłatne zdobycie zawodu i kapitału społecznego. Podkreśla, że decyzja tancerki o zakończeniu kariery baletowej wynikała z zamążpójścia. Od jesieni 1834 Fröhlich-Bogusławska koncentrowała się na prowadzeniu domu. Doświadczyła tragedii jako matka: śmierci Ludwika w dzieciństwie i zesłania Władysława na Syberię. Władysław po powrocie z zesłania kontynuował karierę krytyka teatralnego, jego siostra Zofia była nauczycielką muzyki. Na podstawie nowo odnalezionych źródeł autorka weryfikuje datę zgonu Fröhlich-Bogusławskiej oraz przywraca zatartą podczas długiego życia pamięć o jej baletowej karierze.
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Rozprawy doktorskie na temat "1811-1886"

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Gobbi, Gerald. "Biographie d'Alfred Frédéric : comte de Falloux 1811 - 1886". Paris 10, 2009. http://www.theses.fr/2009PA100018.

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La thèse de Doctorat intitulé « Alfred-Frédéric, comte de Falloux (1811-1886» soutenue par le doctorant Gérald GOBBI sous la direction de monsieur le professeur traite de la vie publique et privée du comte Alfred de falloux. Homme politique français du XIXe siècle de tendance légitimiste, il oeuvra à la restauration de la monarchie française à travers le fusionnisme. L’évolution socio-politique française, amorcée depuis la Révolution de 1789, conduisit à la défaite de sa famille politique : le dernier quart du siècle vit le triomphe de la République en France. En tant que catholique, Alfred de Falloux se rangeait dans la famille catholique libérale dont le programme était l’alliance de la religion et de la liberté pour le salut du catholicisme romain. Celui-ci malmené par le Risorgimento et l’industrialisation, luttait pour sa pérennisation au sein dune société européenne en mutation. La fin du pontifical de Pie IX, pape conservateur, marqua une évolution dans les rapports tumultueux et déséquilibrés entre les catholiques libéraux et les ultras catholiques: le pape Léon XIII, d'avantage en conformité avec les attentes du comte de Falloux, eut de bons rapports avec ce dernier. Alfred de Falloux mourut en janvier 1886 : il faisait partie des vaincus de la monarchie
The thesis of philosophies doctorate headed "Alfred-Frédéric, Comte de Falloux (1811 - 1886) " defended by Gérald GOBBI, under guidance of Professor Philippe LEVILLAIN, treats of the public and private life of the Earl Alfred de Falloux. 19th century French politician of legitimist leanings, he worked on the restoration of the French Monarchy through fusionism. The French sociopolitical evolvement initiated since the Revolution of 1789, led to the defeat of his political circle : the last quarter of the century saw the triumph of the Republic in France. Being a catholic, Alfred de Falloux sided with the liberal catholic circle which program was based on the alliance between religion and freedom for the salvation of the Roman Catholicism. Mishandled by the Risorgimento and the Industrialization, it fighted for its perpetuation in the bosom of an European society, then, in change. The end of Pie IX's pontificate, a conservative Pope, stated an evolution in the tumultuous and unbalanced relations between liberal catholics and ultracatholics : Pope Léon XIII, Gloser to Earl Alfred de Falloux's expectations, had with him, good relations. Alfred de Falloux died on January 1886 : he was part of the Monarchy's beaten ones
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Charrier, Jacques. "Alfred de Falloux, 1811-1886 étude de sociologie historique au XIXe siècle". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37596623t.

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Charrier, Jacques. "Alfred de Falloux, 1811-1886 : étude de sociologie historique du XIX e siècle". Paris 2, 1986. http://www.theses.fr/1986PA020095.

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La biographie d'un homme politique, depute, representant du maine-etloire, ministre de l'instruction publique, avec une etude de sociologie historique du xixeme siecle concernant les divers milieux de la societe francaise et les grandes questions de la vie francaise. Les sujets sont: la legitimite restauree, l'opposition des legitimistes sous la monarchie de juillet,-la seconde republique et le second empire, et leurs esperances de restauration apres 1870, les questions monarchique et electorale - le parti catholique, la question libera- le, les polemiques entre les catholiques liberaux et les ultramon tains - la liberte de l'enseignement et sa conquete, la loi de 1850 sur la liberte de l'enseignement secondaire - la vie rurale dans l'ouest interieur apres la revolution et l'emigration, le bocage se- green et ses gentilshommes - les salons de paris a la fin de la res- tauration et sous la monarchie de juillet - les proces de berryer, nages de fidelite au pretendant au trone et au pape - le salon de ma- dame swetchine et ses hotes - la maison resseguier - les oeuvres de charite a paris - la vie parlementaire a la fin de la monarchie de juillet et sous la seconde republique, la revolution a paris, la vie politique en province, le coup d'etat du 2 decembre 1851 - un grand proprietaire rural, batisseur, agriculteur et eleveur, et ses hotes - la vie d'une publication, "le correspondant", et ses polemiques - l'academie francaise et son opposition au second empire - le peril du saint-siege, les conferences de malines, le concile de vatican i - les candidatures au corps legislatif a la fin du second empire- une saison politique a versailles dans les premieres annees de la troisieme republique - un journal legitimiste a angers, "l"union de l'ouest"
The biography of a statesman, deputy, representative of maine-et-loire, minister of public instruction, with a study of historical sociologie of nineteenth century relating to the divers middles of french society and the great questions of the french life. The subjects are: the restaured legitimity, the opposition of the legitimists under the july monarchy, the second republic and the second empire, and their expectations of restauration after 1870, the monarchical and electoral questions - the catholic party, the liberal question; the pole- mics between the liberal catholics and the ultramontanists - the li- berty of the education and her conquest, the law of 1850 relating to the liberty of classiacl education - the rural life in the ouest in- terieur, the bocage segreen and his gentlemen - the fashionable cir- cles of paris at last the restauration and under the july monarchy - the ciminal suits of berryer, chateaubriand, louis napoleon bonapar- te and montalembert - the pilgrimages of loyalty to the pretender to the french throne and to pope - the house of mrs swetchine and her vi- sitors -the house resseguier-the charitable works at paris -the parliamentary life at last of the july monarchy and the second empire, the revolution at paris, the political life in country, the coup d'e- tat of 2 december 1851 - a great landlord, builder, farmer and cattle breeder and his visitors-the life of a publication, "le correspon- dant", and her polemics - the french academy and her opposition to the second empire-the peril of saint-siege, the conference of mali- nes, the council of vatican i -the candidateships of legislative bo- dy at last of the second empire -a political season at versailles during the early years of the third republic - a legitimist journal at angers, "l'union de l'ouest"
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Lee, Yoon Ju. "Selected operatic paraphrases of Franz Liszt (1811-1886): Compositional style and performance perspectives". Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284277.

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This study investigates Liszt's compositional style, and considers performance perspectives in his operatic paraphrases, Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod. The great body of transcriptions by Liszt forms an important contribution to the development of piano music, combining technical challenges, innovative notation, dramatic projection, and pianistic effects. Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod offer good examples of Liszt's genius in condensing an operatic score into a viable piano texture. Rather than offering simple medleys of popular arias, Liszt extracts the principal elements of the operas and creates a new art work from each. The relationship of his transcriptions to the original operas is carefully planned throughout. The artistic insight, creativity, and integrity Liszt devoted to these paraphrases extends to his use of the piano to evoke sonorities of both voices and orchestra, and in doing so, he expands the pianist's concept of the instrument. These transcriptions thus pose challenges beyond the purely technical, exploiting the performer's sense of drama, color and imagination in unique ways.
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Grobler, Pieter Johannes Christoffel. "Franz Liszt (1811-1886) the Two episodes from Lenau's Faust as a unified work /". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3970.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 20, 2004, Oct. 24, 2005, Mar. 6, 2006, and Apr. 21, 2007. Includes bibliographical references (p. 41-42).
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Van, Dine Kara Lynn. "Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28488/.

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Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.
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Le, Diagon-Jacquin Laurence. "La Musique de Liszt et les arts visuels : essai d'analyse comparée d'après Panofsky, illustrée d'exemples, Sposalizio, Totentanz, Von der Wiege bis zum Grabe". Université Marc Bloch (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR20056.

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La passion de Liszt pour l'art en général révèle son imagination synesthésique : il ne peut regarder certaines œuvres sans les mettre spontanément en musique. Ses écrits, lettres et articles, révèlent sa culture et sa connaissance de l'art et du milieu artistique. Son texte sur la sainte Cécile de Raphae͏̈l dévoile ses réels talents de critique d'art, et son coup d'œil très sensible. La façon dont il parle du tableau nous a fait penser à la méthode de Panofsky, que nous avons donc choisi d'adapter à la musique de Liszt inspirée d'art visuel. Cette méthode procède en trois étapes, que Panofsky appelle niveaux de signification. Le premier niveau concerne tout l'aspect matériel immédiatement perceptible : formes, volumes, couleurs. Le pendant musical est les motifs et thèmes employés. Le deuxième niveau s'attache aux images, histoires et allégories contenues dans un tableau. Là encore, elles correspondent chez Liszt à une thématique signifiante : il évoque des personnages par des citations, telles que le Stella Matutina pour Sainte Elisabeth. Le troisième niveau considère le contenu d'une œuvre. Liszt l'exprime par la forme. Après avoir abordé l'ensemble de ses œuvres ainsi conçues, nous avons opté pour l'analyse exhaustive de celles qui donnent une idée de la variété de l'écriture de Liszt : Sposalizio, Totentanz, Von der Wieger bis zum Graber. Elles reflètent ses préoccupations principales, la religion et la mort. L'adaptation de la méthode de Panofsky pour l'analyse des œuvres de Liszt inspirées de l'art visuel met en évidence la similitude ou les divergences des principes de perception et de conception. Elle montre également que le contenu commun des œuvres réside dans l'idée qu'elles illustrent
Liszt's passion for art in general testifies to his synaesthetic imagination -he could not look at certain works without spontaneously setting them to music. His writings, letters and articles convey his culture and knowledge of art and artistic circles. His work on Raphael's Sainte Cécile reveals his true talent as an art critic and his highly sensitive eye. The way he speaks about this painting is reminischent of Panofsky's approach, which is adapted here to Liszt's music as inspired by the visual arts. .
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Bongrain, Anne. "La thématique des poèmes symphoniques de Liszt : contribution à l'étude de l'expressivité musicale dans la musique à programme". Paris 4, 1985. http://www.theses.fr/1985PA040055.

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Goodchild, Neil John English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Liszt's technical studies: a methodology for the attainment of pianistic virtuosity". Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/38153.

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In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.
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Vavrušová, Andrea. "Franz Liszt: Totentanz". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261365.

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Książki na temat "1811-1886"

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Ier, Bibliothèque royale Albert, red. Franz Liszt, 1811-1886. Bruxelles: Bibliothèque royale Albert Ier, 1986.

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Smith, Sarah. Hodgson & Robinson archive, 1811-1886. Manchester: John Rylands University Library of Manchester, 1997.

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Fischer, Urs. Der Orgelbauer Friedrich Haas (1811-1886). Zürich: Fotorotar, 2002.

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Hamilton, Kenneth. Liszt, Sonata in B minor. Cambridge: Cambridge University Press, 1996.

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Eckhardt, Mária P. Franz Liszt,1811-1886: Hungarian and European. Budapest]: Commissioned by the Liszt Ferenc Memorial Museum and Research Centre, 2011.

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László, Csányi, red. Szekszárd és nagyvilág: Liszt Ferenc, 1811-1886-1986. [Szekszárd]: Szekszárd Város Tanácsa, 1987.

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1946-, Saffle Michael, red. Liszt and his world: Proceedings of the International Liszt Conference held at Virginia Polytechnic Institute and State University, 20-23 May 1993. Stuyvesant, N.Y: Pendragon Press, 1998.

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Gobbi, Gérald. Le comte de Falloux: 1811-1886 : entre église et monarchie. Rennes: Presses Universitaires de Rennes, 2010.

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Liszt, Franz. Complete etudes for solo piano. New York: Dover Publications, 1988.

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1866-1924, Busoni Ferruccio, red. Complete etudes for solo piano. New York: Dover Publications, 1988.

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Części książek na temat "1811-1886"

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Gobbi, Gérald. "Remerciements". W Le comte de Falloux (1811-1886), 7. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102557.

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Gobbi, Gérald. "Chapitre I. Une enfance angevine". W Le comte de Falloux (1811-1886), 11–19. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102563.

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Gobbi, Gérald. "Chapitre II. Les années parisiennes". W Le comte de Falloux (1811-1886), 21–31. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102566.

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Gobbi, Gérald. "Chapitre III. Le tour d’Europe". W Le comte de Falloux (1811-1886), 33–52. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102569.

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Gobbi, Gérald. "Chapitre IV. Le catholicisme social". W Le comte de Falloux (1811-1886), 53–65. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102572.

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Gobbi, Gérald. "Chapitre V. La gestation politique". W Le comte de Falloux (1811-1886), 69–75. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102578.

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Gobbi, Gérald. "Chapitre VI. Du député du segréen..." W Le comte de Falloux (1811-1886), 77–96. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102581.

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Gobbi, Gérald. "Chapitre VII. ... Au représentant du peuple". W Le comte de Falloux (1811-1886), 97–112. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102584.

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Gobbi, Gérald. "Chapitre VIII. Le ministère de l’Instruction publique et des Cultes : le « ministre de l’Église »". W Le comte de Falloux (1811-1886), 113–52. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102587.

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Gobbi, Gérald. "Chapitre IX. Le légitimiste au service de la restauration bourbonienne : la première tentative de fusion monarchique". W Le comte de Falloux (1811-1886), 153–71. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.102590.

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