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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Die Vihuela de mano im Spanien des 16. Jahrhunderts /

Schöner, Oliver, January 1999 (has links)
Diss.--Berlin--Techn. Univ., 1999. / Comporte des exemples musicaux. Bibliogr. p. 239-261.
2

Performing the music of Alonso Mudarra: An investigation into performance practice in the music of the vihuelistas.

Hearn, William Bernard. January 1995 (has links)
This paper re-examines and attempts to expand current scholarly knowledge concerning correct performance practices for sixteenth-century Spanish vihuela music, with a focus on the Tres Libros de Musica en Cifras para Vihuela by the vihuelista Alonso Mudarra. The study is organized into five areas: fretting and temperament, stringing, technique, rhythm and tempo, and ornamentation. The study on fretting, based on an analysis of Mudarra's music for signs of either meantone or Pythagorean temperament, presents evidence pointing towards the Tres Libros' use of a meantone temperament, as well as a practical approach to the use of a meantone fretting in performances of Mudarra's music. The results of this analysis are compared to conclusions reached in similar studies of Luis Milan's El Maestro. Evidence of use of meantone temperament in Enriquez de Valderrabano's Silva de sirenas is also quoted. The study on stringing challenges the current scholarly assumption that all vihuelists used unison-strung basses. A case for some use of octave-stringing by vihuelists is presented via re-interpretation of literary evidence in Diego Pisador's Libro de Musica and Juan Bermudo's Declaracion; comparisons to stringing on the viola da mano, Renaissance guitar, and Renaissance lute; and an examination of fingerings in Mudarra's Tres Libros and Miguel de Fuenllana's Orphenica lyra. The study on technique attempts to determine the probable use of thumb-out or thumb-under technique by each of the vihuelistas and discusses the technical and musical implications of Mudarra and Milan's use of dedillo. The study on rhythm and tempo focuses primarily on the suitability of extempore rhythmic liberties described in Thomas Sancta Maria's Libro llamado Arte de taner Fantasia in performances of music by Mudarra. Similarly, the study on ornamentation describes and examines the suitability of ornaments given by sixteenth-century Spanish theoreticians, such as Luys Venegas de Henestrosa and Juan Bermudo, for use in the performance of music from Mudarra's Tres Libros.
3

A transcription and style analysis of the fantasias of Esteban Daza's Libro de musica en cifras para Vihuela intitulado el Parnasso

Pate, Estella Mame, 1945- January 1976 (has links)
No description available.
4

Borrowing in the Music and Culture of the Vihuela:A Case Study on the Intabulation

Willits, William 28 October 2014 (has links)
No description available.
5

The players and performance practice of the vihuela and its related instruments, the lute and the guitar, from 1450 to c.1650, as revealed by a study of musical, theoretical, and archival sources /

Corona Alcalde, Antonio Benigno Felipe. January 1900 (has links)
Thesis--Philosophy--London--King's College, 1999. / Bibliogr. f. 365-402.
6

Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day

Fang, Ming-Jian January 1988 (has links)
Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion. / School of Music
7

Teoría y praxis de un paradigma de la interpretación musical: La técnica guitarrística (1500-1900)

Rodes Biosca, Juan Ignacio 23 December 2020 (has links)
La presente Tesis, con el título Teoría y praxis de un paradigma de la interpretación musical: la técnica guitarrística (1500-1900), es una investigación con tres partes diferenciadas: en primer lugar, establece los orígenes y evolución de los procedimientos técnicos inherentes a los instrumentos de cuerda pulsada precursores a la guitarra de seis cuerdas, que se consolida a principios del siglo XIX; la segunda parte comienza con las primeras sistematizaciones de los recursos técnicos propios de ese instrumento y su desarrollo, que llega hasta la figura de Francisco Tárrega, para finalizar con un análisis y cronología de las primeras grabaciones guitarrísticas que se llevan a cabo a finales del siglo XIX y los primeros años de la siguiente centuria. Esta investigación no solo se ha desarrollado a partir del estudio y aplicación de los recursos técnicos consustanciales a cada uno de los instrumentos que se han tratado, sino que también se ha establecido una relación contextual con los diferentes períodos históricos en los que cada uno de ellos estuvo presente. De la misma manera, se ha examinado la correlación de los numerosos cambios organológicos con la implementación de nuevas posibilidades instrumentales.

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