The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

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The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can prepare the guitarist for challenges found in playing music that is not written for the guitar or even by guitarists which consists of a substantial portion of the modern concert guitarist's repertoire. His music pushes what is possible on the guitar and borderlines what many would call idiomatic. This paper establishes a small number of techniques that will allow players to solve any challenge presented in the etudes from multiple technical viewpoints.

陳麗媚. / "2004年6月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 176-182). / 附中英文摘要. / "2004 nian 6 yue". / Chen Limei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 176-182). / Fu Zhong Ying wen zhai yao. / Chapter 第一章´Ø --- 緒論 --- p.1-11 / Chapter 第二章´Ø --- 十七世紀中葉的福建 --- p.12-43 / Chapter (一) --- 天主教的發展 --- p.12 / Chapter (二) --- 政治、經濟及社會狀況 --- p.17 / Chapter (三) --- 福建的信徒群體 --- p.22 / Chapter (四) --- 小結 --- p.42 / Chapter 第三章´Ø --- 《口鐸日抄》的內容分析 --- p.44-100 / Chapter (一) --- 基督徒身份：〈凡例〉與翁允鑑之例 --- p.44 / Chapter (二) --- 儀式和紀念日 --- p.48 / Chapter (三) --- 對話的性質 --- p.56 / Chapter (1) --- 教友的問題 --- p.56 / Chapter (i) --- 異能 --- p.59 / Chapter (ii) --- 科學 --- p.60 / Chapter (iii) --- 西學 --- p.62 / Chapter (iv) --- 信徒群體 --- p.62 / Chapter (v) --- 教義 --- p.64 / Chapter (vi) --- 修練 --- p.65 / Chapter (vii) --- 社會問題/現象 --- p.66 / Chapter (viii) --- 天堂/地獄/靈魂 --- p.68 / Chapter (ix) --- 其他宗教 --- p.70 / Chapter (2) --- 非教徒的問題 --- p.72 / Chapter (3) --- 傳教士對教友的訓言 --- p.78 / Chapter (i) --- 修練 --- p.80 / Chapter (ii) --- 教義 --- p.85 / Chapter (iii) --- 信徒群體 --- p.88 / Chapter (4) --- 修練的難題 --- p.91 / Chapter (四) --- 小結 --- p.97 / Chapter 第四章´Ø --- 《西海艾先生語錄》對《口鐸日抄》的特別修改 --- p.101-123 / Chapter (一) --- 貧窮 --- p.102 / Chapter (二) --- 佛教 --- p.108 / Chapter (三) --- 中國其他官方/民間信仰 --- p.113 / Chapter (四) --- 小結 --- p.122 / Chapter 第五章´Ø --- 《西海艾先生語錄》對《三山論學記》的特別修改 --- p.124-150 / Chapter (一) --- 善 惡 --- p.127 / Chapter (二) --- 佛 教 --- p.137 / Chapter (三) --- 創 造 --- p.141 / Chapter (四) --- 天主降生 --- p.143 / Chapter (五) --- 小結 --- p.149 / Chapter 第六章´Ø --- 結論 --- p.151-159 / 附錄 --- p.160-175 / 附表：福建信徒群體史源表 --- p.160 / 附圖一：福建傳教事業的發展(1621-1650) --- p.168 / 附圖二：明萬歷至崇禎年間泉州出土的十字架樣式 --- p.171 / 附圖三：聖神降臨 --- p.172 / 附圖四：貧善富惡生時異景 --- p.173 / 附圖五：貧善富惡死後殊報 --- p.174 / 附圖六：天主末曰的審判 --- p.175 / 參考書目 --- p.176-182

Extrait de: Tesi di laurea--Architettura--Firenze--Università degli studi, 1988. / Bibliogr. p. 189-191. Notes bibliogr. Index.

Il lavoro è un’indagine sulla genesi e lo sviluppo della rivista «il menabò» (1959-1967), diretta da Elio Vittorini e Italo Calvino e pubblicata da Einaudi, a partire dai materiali epistolari inediti, conservati nel Fondo Giulio Einaudi Editore presso l’Archivio di Stato di Torino e nel Fondo Elio Vittorini presso il Centro Apice dell’Università degli Studi di Milano. L’analisi approfondita dei carteggi ha permesso di ricostruire la storia di una rivista, la quale ha ricoperto un ruolo centrale all’interno del panorama letterario e culturale italiano, ha contribuito a portare notorietà a giovani scrittori esordienti e ha promosso un dibattito critico che ancora oggi può dirsi attuale. / The thesis is an analysis of the genesis and the development of the magazine «il menabò» (1959-1967), directed by Elio Vittorini and Italo Calvino and published by Einaudi, starting from unedited epistolary materials, preserved in the Fondo Giulio Einaudi Editore in the Archivio di Stato in Turin and in the Fondo Elio Vittorini in the Centro Apice of Università degli Studi of Milan. The deep analysis of this correspondence allowed us to reconstruct the history of a magazine which played a key role in the Italian literary and cultural scene, contributed to give fame to newcomer young writers and promoted a critical debate still present nowadays.

Bombningen av Dresden är en av andra världskriget mest kontroversiella nyttjanden av luftstridskrafterna från den allierade sidan. Vissa argumenterade för att Dresden var ett civilt mål utan militärt eller strategiskt värde. Syftet med den här uppsatsen är att analysera Dresden som mål för de allierade luftstridskrafterna ur Giulio Douhet och John A.Warden IIIs luftmaktsteorier. Undersökningen bär mot att analysera hur och om man kan motivera Dresden som ett militärt och strategiskt mål ur två olika luftmakteoriers perspektiv. Uppsatsen genomförs med en kvalitativ innehållsanalys och komparativ analys för att jämföra teorierna med fallet. Resultatet av undersökningen visar hur man kan motivera Dresden som militärt och strategiskt mål. Warden och Douhets teorier är användbara för att analysera bombningen av Dresden. / The bombing of Dresden is one of the most controversial actions carried out by the allied air forces during World War 2. Some argue that Dresden was a civilian target, without strategic or military value. The purpose of this essay is to analyse Dresden as a target for the allied air forces using Giulio Douhets and John A. Warden IIIs theories of the use of air forces. This essay aims to investigate if and how one can justify Dresden as a military and strategic target by using Douhets and Wardens theories. The essay is conducted through qualitative content analysis and comparative analysis to compare the theories with case. The result shows how one can justify the bombing of Dresden using Douhets and Wardens theories.

Zugl.: Kassel, Univ., Diss., 2004

Between 1911 and 1913, two Italian brothers named Anton Giulio Bragaglia and Arturo Bragaglia produced Futurist photography which they termed "photodynamism." These images, together with the theoretical manifesto Fotodinamismo futurista, represent a remarkable effort in avant-garde photography and theory in the early 20th century. The Bragaglias' intent in making these photographs was to produce deeply emotional images of modern dynamic motion which convey the spiritual essence of human beings that becomes exteriorized in the process of physical movement. Through a short, intense campaign in 1913, Umberto Boccioni succeeded in expelling the Bragaglias from the Futurist movement. Because of this, the importance of their photography has often been neglected, underrepresented or misrepresented in scholarship. This thesis offers an alternative reading of the photodynamic project based on its occult foundation and a better sense of how to understand photodynamism within the context of the movement and the broader history of photography.

Orientador: Eliana Ayoub / Acompanha 2 CD-ROM / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-14T22:12:27Z (GMT). No. of bitstreams: 1 Federici_ConradoAugustoGandara_D.pdf: 5206614 bytes, checksum: 46e64165f8b4d883c90774efbae2f593 (MD5) Previous issue date: 2009 / Resumo: Giulio Caccini (1561-1618) e suas Novas Músicas compõem o tema central desta pesquisa. A tradução de suas principais obras, Le Nuove Musiche (1601) e Nuove Musiche e Nuova Maniera di scriverle (1614), o estudo prático do canto e a observação cuidadosa de uma de suas árias fundamentam este trabalho sobre uma época em que imperava a todo artista de corte a habilidade em ser original. Giulio Caccini o fez encontrando em seu ofício de cantor e compositor as maneiras de viver coletivamente e eternizar seu legado pessoal. Chegar às reflexões imersas nas características da arte renascentista, sempre partindo do canto e do texto de origem, deixando-o ressoar, ou "recitar cantando", é o desejo maior deste estudo. Em 3 capítulos, 1. Elogio ao Canto, 2. Aspectos gerais sobre a música no Renascimento e 3. A Camerata Fiorentina, o artista de corte e a paideia, o trabalho aproxima a literatura especializada da musicologia, história e sociologia, integrando conhecimentos dispersos em prol de um melhor entendimento das publicações de Giulio Caccini. A fonte principal são os próprios textos e músicas do autor, colocados em diálogo com a experiência prática de seguir suas lições de canto e a contextualização das condições de seu surgimento. Encerram a pesquisa um apêndice de personalidades relacionadas ao autor e seu tempo, um breve glossário de termos referentes à música do período e, em anexo, as edições em fac-símile das referidas publicações e uma seleção em CDs de amostras musicais da obra de Giulio Caccini disponíveis no mercado. / Abstract: Giulio Caccini (1561-1618) and his New Music are the central subject of this research. The translation of his most important works, Le Nuove Musiche (1601) and Nuove Musiche e Nuova Maniera di scriverle (1614), the chant practical study and the carefully observation of one of his arias are the basis of this work about an age in which the skill of being original was a real high demand for every court artist. Giulio Cacini has done it finding in his job as a singer and composer, the manners of living collectively and leaving his personal legate to eternity. Get into the reflexions of the Renaissance art characteristics, always starting from the chant and original texts, trying to let them reverberate, or in armonia favellare, is the biggest desire of this study. To benefit from a better understanding of Giulio Caccini's publications, the work connect the specialized musicology literature, history and sociology in 3 chapters, in order to integrate the knowledge that uses to be separated: 1. A Praise of Chant, 2. General aspects of the music in Renaissance and 3. The Florentine Camerata, the court artist and the paideia. The author's texts and music are the principal sources, supported by the practical experience following his chant lessons and the context of the treatise's arise conditions. Ending the research, there are an appendix of personalities related to the author and his time, a short ancient music glossary, the copy of the facsimile original edition and a Giulio Caccini's musical selection from CDs that are available in trade market. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação