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Artykuły w czasopismach na temat "Paganini, Nicolò, 1782-1840"
Wolf, P. "Creativity and chronic disease Niccolo Paganini (1782-1840)". Western Journal of Medicine 175, nr 5 (1.11.2001): 345. http://dx.doi.org/10.1136/ewjm.175.5.345.
Pełny tekst źródłaPerry, Jeffrey. "Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1". 19th-Century Music 27, nr 3 (2004): 208–29. http://dx.doi.org/10.1525/ncm.2004.27.3.208.
Pełny tekst źródłaAngus, Bill. "Going down to the crossroads: popular music and transformative magic". Popular Music 39, nr 2 (maj 2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.
Pełny tekst źródłaSarras, Michael P., i Rainer Deutzmann. "Hydra and Niccolo Paganini (1782-1840)?two peas in a pod? The molecular basis of extracellular matrix structure in the invertebrate,Hydra". BioEssays 23, nr 8 (2001): 716–24. http://dx.doi.org/10.1002/bies.1101.
Pełny tekst źródłaRozprawy doktorskie na temat "Paganini, Nicolò, 1782-1840"
Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.
Pełny tekst źródłaIn the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors
Rybicki, Marie-Hélène. "Le mythe de Paganini dans la presse et la littérature". Paris 4, 2004. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2932-3.
Pełny tekst źródłaThis study is devoted to the presence of Paganini in the press and literature of his time. It explores how this exceptional musician became a character in fictional works in Italy, Germany, France and England, and what influence this "literary career" had on the representation of musicians in novels and short stories during the nineteenth century. The first part of this study begins with a review of the main events in Paganini's life then focuses on the way in which his actions are recounted in the press, revealing the controversies provoked by the violinist's technique. There follows an analysis of the images and stylistic methods adopted by the chroniclers and columnists to convey their impressions of the "Paganini phenomenon". The second part of this study looks at the image of Paganini as it appears in the various literary texts devoted to him. By attributing Paganini's features and his personality to fictional characters, the authors drew the profile of a "romantic virtuoso", which corresponded to the taste of the public of that time - the figure of an artist who surreptitiously distinguished himself from the musician encountered in the works of E. T. A. Hoffmann who served as his model. Moreover, the short stories reveal how the Genoese virtuoso gradually withdrew from the foreground of the narrative to be replaced by the figure of a failed musician. This tragic and ironic dimension, which overrides the idealised vision of the artist, marks the beginning of a trend that established itself in the second half of the nineteenth century. The presence of Paganini in the literature of his time also reveals the permeability of the press and literature at that time. The fact that it is impossible to distinguish clearly between the journalistic and literary treatment of the virtuoso had a major impact on the constitution of the "myth of Paganini"
Kim, Warren. "Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609093/.
Pełny tekst źródłaDavenport, Andrew Russell. "Paganini's 24 Caprices opus 1 : a transcription for electric guitar, and analysis and development of the techniques required to perform them : a thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand". 2008. http://hdl.handle.net/10179/713.
Pełny tekst źródłaKsiążki na temat "Paganini, Nicolò, 1782-1840"
Dark fiddler: The life and legend of Nicolò Paganini. Mankato, MN: Creative Editions, 2008.
Znajdź pełny tekst źródłaMusical life in Biedermeier Vienna. New York, NY: Cambridge University Press, 1988.
Znajdź pełny tekst źródłaFetis, Francois J. Biographical Notice of Nicolo Paganini. Ams Pr Inc, 1988.
Znajdź pełny tekst źródłaPaganini, Niccolo. La Campanella (Kalmus Edition). Alfred Publishing Company, 1985.
Znajdź pełny tekst źródłaPaganini: The 'demonic' virtuoso. Boydell Press, 2013.
Znajdź pełny tekst źródłaHanson, Alice M. Musical Life in Biedermeier Vienna. Cambridge University Press, 2009.
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