Artykuły w czasopismach: „Paganini”

1

Anderson, Robert, Maria Rosa Moretti i Anna Sorrento. "Paganini Catalogued". Musical Times 128, nr 1733 (lipiec 1987): 386. http://dx.doi.org/10.2307/964533.

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Dillon-Malone, Aubrey, Gerry McAvoy i Pete Chrisp. "Like Paganini?" Books Ireland, nr 286 (2006): 148. http://dx.doi.org/10.2307/20632928.

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Nitschkova-Goleminova, Lilia. "Schumann - Moscheles - Paganini". Die Musikforschung 31, nr 1 (22.09.2021): 16–28. http://dx.doi.org/10.52412/mf.1978.h1.1766.

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Rybicki, Marie-Hélène. "Balzac et Paganini". L'Année balzacienne 8, nr 1 (2007): 431. http://dx.doi.org/10.3917/balz.008.0431.

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Yuan, He Si, He Si Xian i Gao Xin. "A review on the Performance Interpretation and Emotional Expression of Rachmaninoff Rhapsody on A Theme of Paganini Op 43". International Journal of Music Studies 4, nr 1 (15.01.2022): 1–15. http://dx.doi.org/10.37745/ijms.16/vol4n1115.

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Throughout history, music has played a vital role in influencing people's moods and eliciting complex emotions. Examining music's emotional side helps us investigate and reveal the neurological mechanisms underlying music's emotional influence. This article discusses the results of previous studies that explore the performance and emotional expression of Sergei Rachmaninoff's Rhapsodies on a Theme of Paganini, a piece for piano composed by the Russian-American composer-pianist (1873-1943). The themes are investigated from both a historical and a musical standpoint. The inclusion of background information on the composer, including a brief biography, is intended to aid in the learning and performance of this piece. Fully comprehending the performance and emotional aspects of Paganini's Rhapsodies on a Theme of Paganini, Op 43, may enable performers to adjust phrasing and the physical execution of required skills. Furthermore, the research results can be used to build a narrative that the performer can use to analyse how they choose to physically perform the work to produce an engaging performance.

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Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy". Nineteenth-Century Music Review 1, nr 1 (czerwiec 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

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It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition written to show off a unique talent like [Paganini's]’. Berlioz's programmatic symphony with solo viola – the concerto that wasn't – would appear on the surface to be utterly devoid of the established codes of the virtuoso concerto.

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Cavalera, David. "ANALISIS TEKNIK PERMAINAN BIOLA PADA LAGU INTRODUZIONE E VARIAZIONI SUL TEMA NEL COR PIU NON MI SENTO PER VIOLIN SOLO KARYA NICCOLO PAGANINI". Repertoar Journal 2, nr 1 (2.07.2021): 13–20. http://dx.doi.org/10.26740/rj.v2n1.p13-20.

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Abstrak Nel Cor Piu Non Mi Sento merupakan sebuah komposisi karya Giovani Paisiello, seorang komposer berpengaruh dan populer pada akhir 1700an di Italia. Lagu tersebut kemudian digubah lagi oleh Paganini menjadi bentuk komposisi yang berjudul Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo. Karya tersebut memiliki keunikan yang menjadi ciri khas Paganini yang digubah menjadi 7 Variasi Melodi Penelitian ini bertujuan (1) Mendeskripsikan teknik gesekan biola; (2) dan penjarian pada lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.Penelitian ini termasuk dalam jenis penelitian kualitatif. Objek penelitian yakni lagu Nel Cor Piu Non Mi Sento yang digubah oleh Paganini dengan fokus pembahasan pada teknik permainan dan penjariannya. Teknik pengumpulan data menggunakan observasi dan wawancara. Teknik analisis data melalui tahapan pengumpulan, reduksi, penyajian data dan penarikan kesimpulan. Validitas data untuk menarik kesimpulan setelah data di tampilkan sesuai rumusan masalah dan pembahasan penelitian.Hasil penelitian ini serta pembahasan menunjukan bahwa teknik gesekan dari lagu œIntroduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo Karya Niccolo Paganini memiliki keunikan terdendiri cenderung menggunakan teknik Flying Staccato yaitu Teknik gesekan yang dimainkan dengan cara sedikit memantul secara cepat merata. Penjarian dari lagu œIntroduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo Karya Niccolo Paganini memiliki keunikan yang tidak dimiliki oleh karya sebelumnya, Paganini menggabungkan dua teknik sekaligus seperti gesekan dan petikan teknik ini memiliki unsur permainan yang menyerupai gitar yaitu gesekan yang menjadi melodi dan petikan oleh tangan kiri menjadi acordnya. Kata Kunci: Teknik Permainan Biola, Niccolo Paganini, Lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.

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Iandoli, Gerardo. "Gloria Paganini, Walter Zidari". Narrativa, nr 44 (30.11.2022): 265–67. http://dx.doi.org/10.4000/narrativa.2348.

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Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s". Studia Musicologica 54, nr 2 (1.06.2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental compositions from the 1830s, particularly the “Clochette” Fantasy and the first version of the “Paganini” Etudes. Not only technically and performatively brilliant, these pieces also help establish the medium of mimesis as artistically valid. Liszt argued that this type of orientation was indispensable for the “artist of the future,” in which “virtuosity is a means, not an end.” Somewhat paradoxically then, after his death Paganini becomes the benchmark by which the transcendent artistry of composer-pianists is measured, and a baseline for further artistic experimentation. Thus Liszt’s return to Paganini in the 1840s and 1850s constitutes an ongoing effort to refine virtuosity in order to bring about artistic unification among musicians, regardless of instrumental specialty.

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Stetsenko, Nikita. "Performance Features of Variations on a Theme by Paganini, op. 35 (first book) by I. Brahms". Eurasian music science journal, nr 2 (29.09.2021): 13–20. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/64.

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The article examines the unambiguous of the iconic works of romantic music Variations on the theme of Paganini by I. Brahms from the point of view of performance characteristics. This is one of the most difficult pieces in all piano literature. "Variations on a Theme of Paganini" is also called the "encyclopedia" of Brahms' pianism. It is a powerful cycle of diverse content, in which dynamic and frantic pieces alternate with elegiac, scherzo and waltz-like episodes. In the well-known theme of Paganini, Brahms discovered new sides and discovered unexpected subtexts. This cycle presents the most difficult artistic and technical tasks for the performer.

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Perry, 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.

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Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is an aesthetic of distance; the questive voice is a means of traversing the immensity that is the one essential feature of early Romanticism in its incarnations. This immensity manifests itself in the wide registral space opened and explored in the Caprices; in the motivically driven, asymmetrical construction of many passages found therein; and in the extensive harmonic reach of many of the Caprices. This article presents close readings of Caprices nos. 1, 2, 4, 9, and 10, drawing on Schenkerian methodologies and work by Ratner, Caplin, and Burnham to articulate the lyrical/questive dichotomy and interplay between technique and expression in these singular works by a singular composer.

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12

O'Shea, J. G. "Was Paganini Poisoned with Mercury?" Journal of the Royal Society of Medicine 81, nr 10 (październik 1988): 594–97. http://dx.doi.org/10.1177/014107688808101015.

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Reitz, M. "Die Leiden des Niccolo Paganini". Aktuelle Dermatologie 35, nr 10 (16.03.2009): 411–14. http://dx.doi.org/10.1055/s-0028-1119679.

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O'Shea, J. G. "Was Paganini poisoned with Mercury?" British Homoeopathic journal 78, nr 2 (kwiecień 1989): 116–17. http://dx.doi.org/10.1016/s0007-0785(89)80077-8.

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Palmarini, Luca. "Breslavia nelle lettere di Niccolò Paganini / Wrocław in music and letters of Niccolò Paganini". Italica Wratislaviensia 1, nr 5 (26.04.2015): 177. http://dx.doi.org/10.15804/iw.2014.05.07.

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Debbag, Roberto. "Dr. Hugo René Paganini (1959 - 2010)". Revista chilena de infectología 28 (marzec 2011): 7–8. http://dx.doi.org/10.4067/s0716-10182011000400001.

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Juette, R. "Paganini as a patient of Hahnemann". British Homoeopathic journal 82, nr 1 (styczeń 1993): 62. http://dx.doi.org/10.1016/s0007-0785(05)80961-5.

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Harvey, Gabrielle. "Mai Kawabata,Paganini: The “Demonic” Virtuoso". Journal of Musicological Research 34, nr 2 (3.04.2015): 167–70. http://dx.doi.org/10.1080/01411896.2015.1020255.

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Suwahyono, Agus. "CAPRICE NO. 24 KARYA PAGANINI PADA SOLO GITAR ARANSEMEN JOHN WILLIAMS (ANALISIS BENTUK MUSIK)". Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 1, nr 1 (30.06.2018): 24. http://dx.doi.org/10.26740/vt.v1n1.p24-29.

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Caprice no. 24 merupakan salah satu dari 24 caprice yang diciptakan oleh Paganini, Caprice (capricio) adalah musik ringan yang pendek dan lincah, khusus bagi alat musik klaviatur, dikenal dalam abad ke-17. Capricio disusun dalam bentuk fuga. Selain itu ada yang menyebut Capricio sebagai sebuah komposisi yang tidak menuruti peraturan tertentu. Caprice no. 24 karya Paganini aransemen solo gitar oleh John Williams termasuk salah satu karya komposisi dengan bentuk variasi, dari tema yang kemudian dikembangkan dengan berbagai macam variasi baik irama, harmoni, melodi, dan seterusnya. Tema dalam Caprice no. 24 terdiri dari 12 birama, kemudian dikembangkan mulai dari variasi 1 sampai dengan variasi 13 (Finale), yang secara keseluruhan mencapai 158 birama. Analisis bentuk variasi karya Paganini “Caprice no. 24” adalah sebagai berikut: Variasi ke: (1) Variasi dengan harmoni tetap, (2) Variasi Melodi, (3) Variasi harmoni, (4) Variasi Melodi, (5) Variasi Melodi, (6) Variasi Harmoni, (7) Variasi Harmoni dan Irama, (8) Variasi bebas, (9) Variasi Melodi, (10) Variasi melodi dan ritme, (11) Variasi bebas, (12) Variasi Karakter, (13) Finale; Variasi bebas.Kata kunci: Caprice, Bentuk variasi

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Serong, Julia. "Claudia Paganini: Werte für die Medien(ethik)". Communicatio Socialis 54, nr 4 (2021): 553–55. http://dx.doi.org/10.5771/0010-3497-2021-4-553.

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Cormac, J. "Paganini: The 'Demonic' Virtuoso. By Mai Kawabata". Music and Letters 95, nr 4 (1.11.2014): 655–57. http://dx.doi.org/10.1093/ml/gcu084.

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Muller, Riana Ricci. "Violin Recital Programming From Paganini to Today". American String Teacher 69, nr 3 (sierpień 2019): 45–50. http://dx.doi.org/10.1177/0003131319854707.

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Mantero, R. "Les mains de Marfan de Niccolò Paganini". Annales de Chirurgie de la Main 7, nr 4 (styczeń 1988): 335–40. http://dx.doi.org/10.1016/s0753-9053(88)80032-2.

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Suvini-Hand, Vivienne. "‘It isn’t he!’: Ingres’s Paganini and Delacroix’s parody". Journal of Romance Studies 11, nr 2 (czerwiec 2011): 35–59. http://dx.doi.org/10.3828/jrs.11.2.35.

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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.

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Diz, María Luisa. "Tornay, Lizel; Álvarez, Victoria; Laino Sanchis, Fabricio y Paganini, Mariana (comps.) (2021). Arte y Memoria. Abordajes múltiples en la elaboración de experiencias difíciles. Buenos Aires: Editorial de la Facultad de Filosofía y Letras, Universidad de Buenos Aires, 300 pp." Aletheia 12, nr 24 (1.06.2022): e130. http://dx.doi.org/10.24215/18533701e130.

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Reseña de Tornay, Lizel; Álvarez, Victoria; Laino Sanchis, Fabricio y Paganini, Mariana (comps.) (2021). Arte y Memoria. Abordajes múltiples en la elaboración de experiencias difíciles. Buenos Aires: Editorial de la Facultad de Filosofía y Letras, Universidad de Buenos Aires, 300 pp.

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Di Saia, J. "Adolescents and their music: Paganini, Satanists, and insider trading". JAMA: The Journal of the American Medical Association 263, nr 6 (9.02.1990): 812–13. http://dx.doi.org/10.1001/jama.263.6.812.

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Diamond, Jared M. "Quaternary megafaunal extinctions: Variations on a theme by paganini". Journal of Archaeological Science 16, nr 2 (marzec 1989): 167–75. http://dx.doi.org/10.1016/0305-4403(89)90064-2.

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Saia, John Di. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading". JAMA: The Journal of the American Medical Association 263, nr 6 (9.02.1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052020.

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Dardik, Alan. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading". JAMA: The Journal of the American Medical Association 263, nr 6 (9.02.1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052021.

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Carey, Ross G. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading". JAMA: The Journal of the American Medical Association 263, nr 6 (9.02.1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052022.

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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, nr 52 (3.10.2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.

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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.

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Athanassoglou-Kallmyer, Nina. "Blemished Physiologies: Delacroix, Paganini, and the Cholera Epidemic of 1832". Art Bulletin 83, nr 4 (grudzień 2001): 686. http://dx.doi.org/10.2307/3177228.

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Brown, Elizabeth. "Adolescents and Their Music: Paganini, Satanists, and Insider Trading-Reply". JAMA: The Journal of the American Medical Association 263, nr 6 (9.02.1990): 812. http://dx.doi.org/10.1001/jama.1990.03440060052023.

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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV". Arts education and science 1, nr 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.

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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.

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Parr, Sean M. "Caroline Carvalho and nineteenth-century coloratura". Cambridge Opera Journal 23, nr 1-2 (lipiec 2011): 83–117. http://dx.doi.org/10.1017/s0954586712000031.

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AbstractThis essay explores how the soprano Caroline Carvalho (née Marie Félix-Miolan, 1827–95) perpetuated and extended the art of coloratura singing in the mid-nineteenth century. Creator of roles in sixteen operas, including five by Gounod, Carvalho achieved ‘superdiva’ status (Rutherford) by cultivating her voice – her ‘mécanisme prodigieux’ – to handle coloratura on a scale that explicitly invoked and rivalled the instrumental virtuosity of Paganini. In premièring the title role of Victor Massé's La Reine Topaze (1856), the soprano sang a variations aria based on the Carnival of Venice folk song and took one of the violinist's variations as a springboard to her own dazzling pyrotechnics. By allying her voice with the musical inventiveness of Paganini, who had achieved deific renown and artistic authority, Carvalho thereby acquired enough authority to catalyse a new genre, the valse-ariette. The popularity of a little-known aria that Gounod arranged for Carvalho, ‘Ah! Valse légère’ (based on the waltz chorus, ‘Ainsi que la brise légère’, from Act II of Faust, 1859), spurred a vogue for vertiginous waltz ariettes. Carvalho's association with this genre suggests even greater creative agency and indicates a shift in coloratura's signification from instrumentality to dance and the expressive body.

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Zavialova, Olha, Oleksandr Stakhevуch, Mariya Kalashnyk, Hanna Savchenko i Halyna Stakhevуch. "Formation of romantic instrumental performance and violin art of Niccolo Paganini". Revista Amazonia Investiga 11, nr 50 (10.03.2022): 180–87. http://dx.doi.org/10.34069/ai/2022.50.02.18.

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The article analyzes the features of formation of instrumental performance of the romantic period and the main factors of this process revealed on the example of Niccolo Paganini’s violin work. The methodological basis of the article is a comprehensive review based on historical-theoretical and music-performing approaches to the research of the stated problems. The main methods of work are historical-comparative, structural-functional and theoretical generalization. The main principles of performance and repertoire of the Italian violinist are determined. The influence of the Italian maestro on the performing arts of prominent representatives of musical romanticism – H. Berlioz, K. Lipinsky, F. Liszt, F. Chopin, R. Schumann and others – is defined.

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Yücel, D. "Was Paganini born with Ehlers-Danlos syndrome phenotype 4 or 3?" Clinical Chemistry 41, nr 1 (1.01.1995): 124–25. http://dx.doi.org/10.1093/clinchem/41.1.124.

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Campisi, Maria Grazia Aurora. "Andreina e Giuseppina Paganini: allieve e concertiste ed. by Pinuccia Carrer". Fontes Artis Musicae 67, nr 3 (2020): 273–75. http://dx.doi.org/10.1353/fam.2020.0031.

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Franzen, C. "Syphilis in composers and musicians—Mozart, Beethoven, Paganini, Schubert, Schumann, Smetana". European Journal of Clinical Microbiology & Infectious Diseases 27, nr 12 (1.07.2008): 1151–57. http://dx.doi.org/10.1007/s10096-008-0571-x.

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Johnston, Blair. "Off-Tonic Culmination in Rachmaninoff's Rhapsody on a Theme of Paganini". Music Analysis 33, nr 3 (18.07.2014): 291–340. http://dx.doi.org/10.1111/musa.12035.

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Laursen, John Christian. "Skepsis: Le débat des modernes sur le scepticisme. By Gianni Paganini." International Journal for the Study of Skepticism 3, nr 1 (2013): 68–71. http://dx.doi.org/10.1163/221057012x627230.

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Fu, Yingjia, i Ruth J. Williams. "Stability of a Subcritical Fluid Model for Fair Bandwidth Sharing with General File Size Distributions". Stochastic Systems 10, nr 3 (wrzesień 2020): 251–73. http://dx.doi.org/10.1287/stsy.2019.0058.

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This work concerns the asymptotic behavior of solutions to a (strictly) subcritical fluid model for a data communication network, where file sizes are generally distributed and the network operates under a fair bandwidth-sharing policy. Here we consider fair bandwidth-sharing policies that are a slight generalization of the [Formula: see text]-fair policies introduced by Mo and Walrand [Mo J, Walrand J (2000) Fair end-to-end window-based congestion control. IEEE/ACM Trans. Networks 8(5):556–567.]. Since the year 2000, it has been a standing problem to prove stability of the data communications network model of Massoulié and Roberts [Massoulié L, Roberts J (2000) Bandwidth sharing and admission control for elastic traffic. Telecommunication Systems 15(1):185–201.], with general file sizes and operating under fair bandwidth sharing policies, when the offered load is less than capacity (subcritical conditions). A crucial step in an approach to this problem is to prove stability of subcritical fluid model solutions. In 2012, Paganini et al. [Paganini F, Tang A, Ferragut A, Andrew LLH (2012) Network stability under alpha fair bandwidth allocation with general file size distribution. IEEE Trans. Automatic Control 57(3):579–591.] introduced a Lyapunov function for this purpose and gave an argument, assuming that fluid model solutions are sufficiently smooth in time and space that they are strong solutions of a partial differential equation and assuming that no fluid level on any route touches zero before all route levels reach zero. The aim of the current paper is to prove stability of the subcritical fluid model without these strong assumptions. Starting with a slight generalization of the Lyapunov function proposed by Paganini et al., assuming that each component of the initial state of a measure-valued fluid model solution, as well as the file size distributions, have no atoms and have finite first moments, we prove absolute continuity in time of the composition of the Lyapunov function with any subcritical fluid model solution and describe the associated density. We use this to prove that the Lyapunov function composed with such a subcritical fluid model solution converges to zero as time goes to infinity. This implies that each component of the measure-valued fluid model solution converges vaguely on [Formula: see text] to the zero measure as time goes to infinity. Under the further assumption that the file size distributions have finite pth moments for some p > 1 and that each component of the initial state of the fluid model solution has finite pth moment, it is proved that the fluid model solution reaches the measure with all components equal to the zero measure in finite time and that the time to reach this zero state has a uniform bound for all fluid model solutions having a uniform bound on the initial total mass and the pth moment of each component of the initial state. In contrast to the analysis of Paganini et al., we do not need their strong smoothness assumptions on fluid model solutions and we rigorously treat the realistic, but singular situation, where the fluid level on some routes becomes zero, whereas other route levels remain positive.

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Stadlen, Shoël. "Recent Michael Finnissy". Tempo 57, nr 226 (październik 2003): 51–52. http://dx.doi.org/10.1017/s0040298203260356.

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MICHAEL FINNISSY: ‘Lost Lands’. Dilok; Delal; Kulamen Dilan; Moon's gain' down; Runnin' wild; Keroiylu; Lost Lands. Topologies: Christopher Redgate (ob), Julian Warburton (perc), Philip Gibbon (bsn), Guy Cowley (E-flat cl), Andrew McNeil (soprano sax), Darragh Morgan (vln), Ian Pace (piano). Metier MSVCD92050.FINNISSY: ‘Etched Bright with Sunlight’. Snowdrift; O, schöner Mai; Free Setting; Verdi Transcription No.10; Stanley Stokes, East Street 1836; Wenn wir in höchsten Nöthen sind; Alkan-Paganini; Etched Bright with Sunlight. Nicolas Hodges (pno). Metronome MET CD 1058.

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Gribaudo, Greta. "Gloria Paganini e Walter Zidarič (a cura di), Città italiane al cinema". Italies, nr 25 (2.12.2021): 434–36. http://dx.doi.org/10.4000/italies.9753.

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Ortega Arjonilla, Emilio. "LEOPOLD AUER. OBRAS MAESTRAS PARA VIOLÍN: CONSEJOS DE INTERPRETACIÓN". Entreculturas. Revista de traducción y comunicación intercultural, nr 4 (29.01.2012): 117–18. http://dx.doi.org/10.24310/entreculturasertci.vi4.11600.

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Esta monografía es el resultado de la traducción al español de un clásico de la literatura violinística, la obra escrita en 1925 por Leopold Auer, Violin Master Works and Their Interpretation y editada por Carl Fisher (Nueva York, 1925). En este libro, inédito hasta entonces en castellano, se ofrecen consejos de interpretación para las más importantes obras de la literatura violinística: desde la Sonata del trino del diablo de Tartini hasta las obras de Sarasate y Hubay, pasando por supuesto por Bach, Mozart, Haendel, Beethoven, Paganini, Tchaikovsky, Rimsky-Korsakoff, etc.

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Berger, Robert W. "The Devil, the Violin, and Paganini: The Myth of the Violin as Satan’s Instrument". Religion and the Arts 16, nr 4 (2012): 305–27. http://dx.doi.org/10.1163/156852912x651045.

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Abstract Stringed instruments are included in Psalm 150 among those appropriate for music-making in praise of the Lord. For that reason, angels frequently appear in medieval and Renaissance art playing bowed and plucked instruments. The later association of the violin and the Devil is therefore a departure from the religious tradition. This paper traces the appearance of this notion in eastern European folklore, Shakespeare and his contemporaries, reactions to instrumental virtuosity in the Baroque period, Tartini’s dream, and the career of Paganini, in whom the myth reached its apogee.

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Kim, Hyun Joo. "Reassessing Rachmaninoff’s Rhapsody on a Theme of Paganini as an Homage to Liszt". Journal of the Musicological Society of Korea 24, nr 1 (31.05.2021): 105–46. http://dx.doi.org/10.16939/jmsk.2021.24.1.105.

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Schilling, F. "Die Instabilität der Hand- und Fingergelenke bei der konstitutionellen Hypermobilität: Ein „Paganini-Syndrom”". Aktuelle Rheumatologie 32, nr 6 (grudzień 2007): 355–57. http://dx.doi.org/10.1055/s-2007-963662.

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Manfriani, Chiara, Giovanni Gualdani, Giacomo Goli, Bruce Carlson, Anna Rita Certo, Paola Mazzanti i Marco Fioravanti. "The Contribution of IoT to the Implementation of Preventive Conservation According to European Standards: The Case Study of the “Cannone” Violin and Its Historical Copy". Sustainability 13, nr 4 (10.02.2021): 1900. http://dx.doi.org/10.3390/su13041900.

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One of the main goals of preventive conservation (PC) is to reduce the risk of possible damage produced by the interaction between tangible heritage objects and their conservation environments. This work aims to introduce the European standard EN 15757:2010 as a potential tool for implementing effective museum PC, and it details the potential contributions of both active environmental control and Internet of Things (IoT) technologies in this regard. An application of this strategy is proposed by means of a case study of the conservation of two historical violins, part of a small but significant museum collection in the City of Genoa dedicated to Paganini, whose value is inestimable. According to the standard, monitoring of environmental parameters was carried out for more than four years in the Paganini Hall of Palazzo Doria-Tursi Museum. A remote-control system was implemented, installing digital sensors in the room and in the two showcases. The data were continuously collected through an integrated platform for supervision, monitoring and shared management, based on web-cloud-IoT technology. The analysis of climate data and the assessment of the “historic climate” led to the installation of an active control system on the display cases of the “Cannone” violin and its historical copy. The intervention resulted in a cost-effective improvement in the conservation conditions of the two objects, with an efficient system of warning and safety alarms and a protocol of resolution actions still active and ongoing. The application of IoT systems in monitoring and controlling the indoor climate of heritage collections facilitated the care of the objects at a cost reduction for the institution.

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