Gotowe bibliografie tematyczne / Gabba (Music)

Gotowa bibliografia na temat „Gabba (Music)”

Autor: Grafiati
Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Gabba (Music)"

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Sulastri, Sulastri, Ida Samidah i Murwati Murwati. "Pengaruh Terapi Musik Terhadap Penurunan Intensitas Nyeri Pada Pasien Post Operasi Di Rs. Ummi Kota Bengkulu". Jurnal Riset Media Keperawatan 4, nr 2 (30.12.2021): 88–93. http://dx.doi.org/10.51851/jrmk.v4i2.332.

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Seksio sesarea adalah sebuah bentuk proses melahirkan anak dengan melakukan sebuah irisan pembedahan yang menembus dinding abdomen. Nyeri adalah suatu gangguan yang tidak menyenangkan dan terlokalisasi yang disebabkan oleh luka insisi. Terapi music merupakan salah satu teknik distraksi yang digunakan untuk mengalihkan sensasi yang tidak menyenangkan oleh seseorang misalnya nyeri. Tujuan dari penelitian ini untuk mengetahui pengaruh terapi music terhadap penurunan tingkat nyeri pada pasien posto perasi di RS. Ummi Kota Bengkulu. Desain penelitian ini menggunakan metode Pre-Eksperimental dengan pendekatan One Group pre-post test design, Sampel dalam penelitian ini berjumlah 16 pasien, Dengan menggunakan teknik sampling purposive sampling dan alat ukur yang digunakan adalah NRS (Numeric Rating Scale). Analisa data menggunakan Uji Paired t test dengan derajat signifikansi α 0,05. Hasil penelitian menunjukkan bahwa musik dipercaya dapat meningkatkan pengeluaran hormon endorphin. Endorfin merupakan ejektor dari rasa rileks dan ketenangan yang timbul, midbrain mengeluarakan Gama AminoButyric Acid (GABA) yang berfungsi menghambat hantaran implus listrik dari satu neuron ke nueron lainnya oleh neurontransmiter didalam sinaps. Midbrain mengeluarkan enkepalin dan beta endorfin dan zat tersebut dapat menimbulkan efek analgesik yang akhirnya mengeliminasi neurotransmitter rasa nyeri pada pusat persepsi dan interpretasi sensorik somatic di otak sehingga efek yang bisa muncul adalah nyeri berkurang. Sebelum dilakukan terapi musik rata-rata tingkat nyeri 6,25. Setelah dilakukan terapi music tingkat nyeri menjadi 4,68. Hasil analisa dari penelitian ini didapatkan bahwa nilai P value= 0,001 (p < α 0,05) yang mempunyai makna terdapat pengaruh pemberian terapi music terhadap penurunan tingkat nyeri pada pasien post operasi di RS. Ummi Kota Bengkulu. Dengan demikian diharapkan untuk dapat menerapkan terapi music untuk mengurangi tingkat nyeri di Instansi Rumah Sakit
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Shaffer, Ann. "Music for Viola da Gamba from Edition Guntersberg". Notes 69, nr 4 (2013): 806–14. http://dx.doi.org/10.1353/not.2013.0073.

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Ashbee, A. "Electronic journal for the Viola da Gamba Society". Early Music 36, nr 2 (1.05.2008): 349. http://dx.doi.org/10.1093/em/can041.

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POLLENS, STEWART. "A VIOLA DA GAMBA TEMPERAMENT PRESERVED BY ANTONIO STRADIVARI". Eighteenth Century Music 3, nr 1 (marzec 2006): 125–32. http://dx.doi.org/10.1017/s1478570606000522.

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The problem of tempering keyboard and fretted instruments has occupied the attention of musicians and theorists for hundreds of years. Since the sixteenth century most fretted instruments such as the lute and viola da gamba have employed equal temperament (or an approximation of it based upon the 18:17 rule) or an adaptation of mean-tone tuning, but these systems suffered from ‘tempered’, or ‘impure’, intervals. In 1705 the music theorist Thomas Salmon (born London, 1648; died Mepsal [now Meppershall], Bedfordshire, 1706) proposed a system of intonation for the viola da gamba that employed divided frets (that is, the frets were not tied across the fingerboard in a straight line but were in effect cut apart and glued or inset beneath each string as required) as well as interchangeable fingerboards for different keys (much like the set of crooks for the later Inventionshorn). It was Salmon’s intention to overcome the lack of purity associated with fretting systems that ‘falsify the proportions’ and thus ‘deprive us of that satisfactory pleasure which arises from the exactness of sonorous numbers’. In his system the C major scale was constructed of large and small whole tones having ratios of 9:8 for the intervals C–D, F–G and A–B, 10:9 for the intervals D–E and G–A, and 16:15 for the semitones E–F and B–C. The two sizes of whole tones were divided 18:17:16 and 20:19:18, resulting in the following scale:
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Rabin, Ronald J., i Steven Zohn. "Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits". Journal of the Royal Musical Association 120, nr 1 (1995): 112–45. http://dx.doi.org/10.1080/02690403.1995.11828226.

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In 1773 Johann Christian Bach filed a bill of complaint in Chancery for breach of musical copyright, initiating what was to become a landmark case in British copyright law. Bach claimed that the publishing firm of Longman, Lukey & Co. had brought out unauthorized editions of two of his compositions: a ‘new lesson for the Harpsichord or Piano Forte’ and a ‘new Sonata’ for keyboard and viola da gamba.
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Polk, Keith. "Vedel and Geige-Fiddle and Viol: German String Traditions in the Fifteenth Century". Journal of the American Musicological Society 42, nr 3 (1989): 504–46. http://dx.doi.org/10.2307/831504.

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German musicians, according to contemporary documents, played a variety of bowed instruments throughout the late middle ages. The vedel was the most favored instrument c. 1400. The terminology was not precise, but in most cases this was probably a kind of fiddle. By about 1500 scribes most often recorded the presence of the geige, a general term which could indicate several bowed instruments. One of the most characteristic and important of these was a large instrument, with frets, played in gamba position-an instrument which appears to have developed independent of any foreign influence and which might be termed a "German viol." Archival and musical evidence suggests that this instrument could have developed as early as c. 1475. Furthermore, German players of geigen were known to have traveled to Italy, and to have been prominent in such important centers as Florence, Ferrara, and Mantua. We know that the Italian viol da gamba developed about 1500, and the shape of the instrument, as has been demonstrated by the recent work of Ian Woodfield, was strongly influenced by Spanish concepts. It now appears, however, that the Italian viol was the result of a more complex interaction than has previously been proposed, one with contributions not only from Spain and Italy, but from Germany as well.
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Pinto, David. "Review: The Italian Viola da Gamba. Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April–1 May 2000". Music and Letters 84, nr 4 (1.11.2003): 656–58. http://dx.doi.org/10.1093/ml/84.4.656.

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Graus, Andrea. "The Child Conductor". Journal of Musicology 40, nr 4 (2023): 423–55. http://dx.doi.org/10.1525/jm.2023.40.4.423.

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To have a child lead an orchestra is an anomaly, yet this situation was encouraged, celebrated, or simply tolerated hundreds of times throughout the twentieth century. This article reconstructs the Western cultural phenomenon of the child conductor from its emergence in music halls in the 1910s to the consolidation of this figure within classical music and beyond in the late 1940s. Issues such as the professionalization of child maestros and their rise to international stardom are addressed. Profiles of child conductors are presented from the earliest child conductors, such as Willy Ferrero and Rio Gebhardt, to celebrity child maestros such as Pierino Gamba, Roberto Benzi and Giannella de Marco. While child virtuosos have been subject to scholarly study, child conductors have been largely overlooked. This article addresses this lacuna by surveying the general phenomenon.
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O'LOGHLIN, MICHAEL. "FRANZ XAVER HAMMER (1741–1817) THE LAST GAMBIST: SONATAS FOR VIOLA DA GAMBA Simone Eckert (viola da gamba) / Hamburger Ratsmusik Christophorus CHR 77303, 2008; one disc, 76 minutes". Eighteenth Century Music 7, nr 1 (21.01.2010): 148–50. http://dx.doi.org/10.1017/s1478570609990650.

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Pinto, David. "Review: The Viola da Gamba Society Index of Manuscripts Containing Consort Music, i". Music and Letters 84, nr 1 (1.02.2003): 84–87. http://dx.doi.org/10.1093/ml/84.1.84.

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Rozprawy doktorskie na temat "Gabba (Music)"

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O'Loghlin, Michael. "The Viola da gamba music of the Berlin School, 1732-1772 /". [St. Lucia, Qld.], 2002. http://adt.library.uq.edu.au/public/adt-QU20021223.153129/index.html.

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Cheney, Stuart. "Dubuisson: A Study of His Music for Solo Bass Viol". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500315/.

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Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.
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Ng, Shaun Kam Fook. "Le Sieur de Machy and the French solo viol tradition". University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0060.

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During the late seventeenth century in France, the viol was beginning to emerge as one of the most important musical instruments of the day. French luthiers had created the quintessential French viol, which allowed violists in France to make their mark on viol playing, both as performers and teachers. So fervent was this enterprise that players soon formed cliques, creating two opposing schools of viol playing. One of the main protagonists who is the focus of this thesis, De Machy, led one of these schools. Although we are fully aware of this historical dichotomy, it is widely assumed that De Machy's rivals were the eventual victors of this conflict, and thus have become the model for modern violists to emulate. This has, however, encouraged modern violists to completely disregard the efforts of De Machy, which, as this thesis shall demonstrate, are as important as those of his contemporaries. Chapter 1 discusses De Machy's place in modern scholarship, giving readers an overall view of the kinds of biases and prejudices that currently exist. It also serves to act as a brief collation and analysis of modern writings that discuss De Machy. Chapter 2 provides us with a historical account of the viol in France, giving special emphasis to solo viol playing. It also traces the evolution of musical style and playing technique as well as the development of the instrument within its social role. Chapter 3 discusses French ornamentation on plucked instruments, keyboard instruments and the viol, giving special emphasis to De Machy's own ideas on ornamentation. Possible explanations for the proper execution of these ornaments are also provided. Chapter 4 revaluates Rousseau and the Traité de la Viole (1687), and seeks to determine its reliability as a credible source of information. Chapter 5 describes and analyses the quarrel between De Machy and Rousseau as described by Rousseau in the Réponce de Monsieur Rousseau (1688). In addition to providing a more complete picture of the social interactions of the viol community of the late seventeenth century, this chapter seeks to better explain the issues that De Machy and Rousseau argued about. Chapter 6 examines historical and modern writings and attempts to explain one of the main issues of aforementioned quarrel, the left hand position otherwise known as the ports de main as advocated by De Machy. Appendix A reproduces the avertissement from De Machy's Pièces de Violle. The facsimile of the original publication is presented alongside the English translation. This document is central to many of the issues discussed in this thesis. Appendix B is an English translation of the Réponce de Monsieur Rousseau. One of the aims of this thesis is to re-examine the history of the viol in France, and more specifically, its use as a solo instrument. It is through De Machy's Pièces de Violle and Rousseau's Réponce that most of this information is centred.
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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.
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Tatar, Säde. "Blås östanvind / Stilanalysarbete om spilåpiparen Sväs Anders Ersson". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4222.

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Tatar, Säde. "Säde Tatar examensarbete BLÅS ÖSTANVIND : Spilåpipare Sväs Anders Ersson". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4196.

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Konserten ägde plats 4 juni kl 19 i Lilla salen, KMH. Blev livestreamad via KMHs Youtubekanal.

1. Sövlåten efter Nygårds Karin Persson från Öje, Dalarna (Säde Tatar - svensk säckpipa)2. Suomela gånglåt Musik: Säde Tatar (Säde Tatar - svensk säckpipa, Vega Nordkvist – fiol, Coline Genet – fiol, Gabbi Dluzewski – låtmandola) F#-mollpolskan Musik: Säde Tatar Arr: Säde Tatar & Gabbi Dluzewski (Säde Tatar - Åspipa, Gabbi Dluzewski – låtmandola) 3. Tulvil Musik & arr: Säde Tatar & Gabbi Dluzewski (Säde Tatar - tvärflöjt, Gabbi Dluzewski – låtmandola 4. Jouhikkolåtar efter Feodor Pratsu från Impilahti, Karelen (Säde Tatar - sälgflöjt)5. Krångelpolska efter Ol ́Jansa och Andreas Lång, Haverö Komposition: Göran Månsson (Säde Tatar - tvärflöjt) 6. Halia soitto efter Natalia Vassili, Ingermanland (Säde Tatar - Åspipa)7. Tantsukollena efter Natalia Vassili, Ingermanland (Säde Tatar - Åspipa, Göran Månsson – spelpipa)8. Kratitöö Musik: Säde Tatar (Säde Tatar - Härjedalspipa, Vega Nordkvist – fiol, Coline Genet – fiol, Göran Månsson – härjedalspipa, Gabbi Dluzewski – låtmandola)9. Rabatud Musik: Säde TatarArr: FRÄNDER (Säde Tatar - altflöjt, Daniel Dluzewski – kontrabas, Alva Granstörm – fiol, Andreas Berglund – slagverk, Gabbi Dluzewski – låtmandola 10. Õhtu õrna Musik: Säde Tatar Text: estnisk trad. från Viru-Jaagupi Arr: FRÄNDER (Säde Tatar - sång, tvärflöjt, Daniel Dluzewski – kontrabas, Alva Granstörm – fiol, Andreas Berglund – slagverk, Gabbi Dluzewski – låtmandola)11. Kung Björns polska Musik: Gabbi Dluzewski Arr: FRÄNDER (Säde Tatar - mungiga, tvärflöjt, Daniel Dluzewski – kontrabas, Alva Granstörm – fiol, Andreas Berglund – slagverk, Gabbi Dluzewski – låtmandola)12. Evigt regn Musik: Gabbi Dluzewski Text: Natasja Dluzewska Arr: FRÄNDER (Säde Tatar -- tvärflöjt, Daniel Dluzewski – kontrabas, Alva Granstörm – fiol, Andreas Berglund – slagverk, Gabbi Dluzewski – låtmandola)

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Książki na temat "Gabba (Music)"

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Gallo, Tina. The Gabba Land Band. New York: Simon Spotlight, 2010.

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Chase, Barbara A. Who Gabby think he is?: The story of the Mighty Gabby. Christ Church, Barbados: Caribbean Chapters Publishing Inc., 2015.

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George, Houle, i Houle Glenna, red. The music for viola bastarda. Bloomington: Indiana University Press, 1986.

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Buso, Nicola. La musica nella gabbia della modernità: Profili di compositori italiani. Lucca: Libreria musicale italiana, 2020.

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Hoffmann, Bettina. Catalogo della musica solistica e cameristica per viola da gamba. Lucca, Italy: Antiqua, 2001.

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1952-, Thompson Robert, Wainwright Jonathan i Viola da Gamba Society (Great Britain), red. The Viola da Gamba Society index of manuscripts containing consort music. Aldershot, Hants, England: Ashgate, 2001.

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Vivaldi, Antonio. Opere per viola all'inglese (viola da gamba). Firenze: Studio per edizioni scelte, 2006.

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Holman, Peter. Life after death: The viola da gamba in Britain from Purcell to Dolmetsch. Woodbridge, Suffolk: Boydell Press, 2010.

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Ganassi, Silvestro. Opere: Per viola da gamba (Venezia, 1542-43). Bologna: UT Orpheus, 1998.

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Flassig, Fred. Die solistische Gambenmusik in Deutschland im 18. Jahrhundert. Göttingen: Cuvillier, 1998.

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Części książek na temat "Gabba (Music)"

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Macarthur, Sally. "Difference, Becoming and Event in Women’s Music: Anne Boyd’s Ganba". W Autorschaft - Genie - Geschlecht, 209–26. Köln: Böhlau Verlag, 2013. http://dx.doi.org/10.7788/boehlau.9783412211325.209.

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"viol da gamba, viol de gamboys". W Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.09728.

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Neely, Patricia Ann. "Inclusion and Diversity in the Early Music Scene in the US". W Voices for Change in the Classical Music Profession, 195–202. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197601211.003.0018.

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Abstract This chapter is an interview with the internationally acclaimed viola da gamba/vielle player Patricia Ann Neely and discusses a range of issues relating to her career in the early and classical music field in the US and internationally, as well as her work as an activist advocating for more inclusivity and diversity in these spaces. Patricia discusses how she got into working on diversity in early music, as well as a wide range of initiatives she was involved in setting up. The chapter covers the potentials and pitfalls of advocating for change in the fields of early and classical music, how the pandemic and Black Lives Matter have affected this activism, and what message Patricia would give to activists and musicians who want to make change in classical music.
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"The Forms and Genres Used in the Berlin Gamba Music". W Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School, 71–105. Routledge, 2017. http://dx.doi.org/10.4324/9781315093925-4.

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"Alternative Instrumentation for the Viola da Gamba Parts". W Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School, 107–20. Routledge, 2017. http://dx.doi.org/10.4324/9781315093925-5.

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"Solo Compositions for Violin and Viola da gamba with Basso continuo". W Recent Researches in the Music of the Baroque Era, 82. A-R Editions, 1997. http://dx.doi.org/10.31022/b082.

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"Manuscripts: descriptions and contents". W The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 31–306. Routledge, 2017. http://dx.doi.org/10.4324/9781351144841-10.

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"Notes on owners and copyists". W The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 17–30. Routledge, 2017. http://dx.doi.org/10.4324/9781351144841-9.

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Steinberg, Michael. "Bach". W The Concerto, 11–20. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0002.

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Abstract Bach wrote these works about 1720, and presumably led and took part in their first performances at the court of Cothen soon after their composition. They were almost certainly introduced singly, not as a set. Bach played the harpsichord in the Concerto No. 5, and probably played violin in the first four concertos and viola in No. 6. The scoring is discussed in the notes on the individual works. When Bach assumed the post of Capellmeister to His Most Serene Highness Leopold, Prince of Anhalt-Cothen, in 1717, he made that move in the hope of spending the rest of his life there. The court was Calvinist and thus required no church music, and Bach enjoyed the change of not being primarily an organist and the challenge of providing great quantities of solo, chamber, and orchestral music. His new patron, just twenty-three, loved music and played the violin, the viola da gamba, and keyboards skillfully. But the idyll was spoiled when Bach’s wife died suddenly in the summer of 1720, and the next year the professional scene darkened when the prince married. His musical interests, Bach recalled later, became “somewhat lukewarm, the more so since the new Princess seemed to be alien to the muses.” In fact the Amusa, as Bach called her, soon died, and Leopold’s second wife was a sympathetic and sensitive patron, but by then Bach was restless and determined to leave.
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Troost, Linda, i Sayre Greenfield. "Filming Highbury: Reducing the Community in Emma to the Screen". W Jane Austen’s Emma, 239–47. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195175301.003.0012.

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Abstract Sir walter scot t, in his review of Austen’s Emma, observes that the “author’s knowledge of the world .. . reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand; but they are finished up to nature, and with a precision which delights the reader” (Scott, 197). To explain the different positions of the community of Highbury in the two 1996 films of Emma, let us start with a comparison to two Flemish painters that spring to mind. The Miramax film of Emma, written and directed by Douglas McGrath and starring Gwyneth Paltrow, is like the work of Vermeer. In his pictures, we see the artist’s gaze focus on the details of genteel life and on subjects that project calm self-possession. The Music Lesson, for example, focuses contemplatively on two people surrounded by the trappings of tasteful gentry life—a viola da gamba, a virginal, and a Turkish carpet—complementing the calm, confient, and independent subjects in the portrait, the woman’s face reflected in a mirror. The Meridian telefilm of Emma with Kate Beckinsale (screenplay by Andrew Davies and directed by Diarmuid Lawrence), by contrast, has something of Bruegel to it, perhaps his Wedding Feast.
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