Rigorózní Práce

Total Page:16

File Type:pdf, Size:1020Kb

Rigorózní Práce Masarykova univerzita Filozofická fakulta Ústav jazykovědy a baltistiky Rigorózní práce 2019 Mgr. et Mgr. Monika Machalová Masarykova univerzita Filozofická fakulta Ústav jazykovědy a baltistiky Obecná jazykověda Mgr. et Mgr. Monika Machalová Názvy strunných hudebních nástrojů v češtině Rigorózní práce 2019 2 Prohlašuji, že jsem rigorózní práci zpracovala samostatně a s využitím uvedené literatury a pramenů. V Brně dne 19. srpna 2019 ………………………………………………… 3 OBSAH Úvod ...................................................................................................................... 7 Definice strunných nástrojů ............................................................................. 10 DRNKACÍ (TRSACÍ) NÁSTROJE ................................................................. 10 Angelika ........................................................................................................................... 11 Balalajka ........................................................................................................................... 12 Banjo ................................................................................................................................ 14 Cetera ............................................................................................................................... 16 Cistra (cistre) .................................................................................................................... 18 Citera ................................................................................................................................ 21 Chitarrone ......................................................................................................................... 25 Crwth ................................................................................................................................ 26 Desetistrun ........................................................................................................................ 28 Harfa ................................................................................................................................. 29 Kobza ............................................................................................................................... 39 Křídlo (ala) ....................................................................................................................... 43 Kvinterna .......................................................................................................................... 47 Kytara ............................................................................................................................... 49 Liuto tiorbato .................................................................................................................... 55 Loutna ............................................................................................................................... 56 Hudební luk ...................................................................................................................... 60 Lyra .................................................................................................................................. 62 Mandolína ......................................................................................................................... 66 Mandora ........................................................................................................................... 69 Monochord ....................................................................................................................... 70 Pandurina .......................................................................................................................... 72 Psalterium ......................................................................................................................... 72 Slavník .............................................................................................................................. 72 Rota .................................................................................................................................. 73 Ručnice ............................................................................................................................. 74 Sitár .................................................................................................................................. 75 4 Theorba ............................................................................................................................. 76 Varyto ............................................................................................................................... 77 Ukulele ............................................................................................................................. 79 Žaltář ................................................................................................................................ 81 SMYČCOVÉ NÁSTROJE ............................................................................... 84 Baset ................................................................................................................................. 84 Fidula ................................................................................................................................ 86 Housle ............................................................................................................................... 88 Kontrabas ......................................................................................................................... 95 Lira (da braccio) ............................................................................................................. 100 Ozembouch ..................................................................................................................... 102 Pochette .......................................................................................................................... 104 Rebec (rebeka, rubeba, rybebka) .................................................................................... 105 Trumšajt (tromba marina) .............................................................................................. 108 Hudební tyč .................................................................................................................... 110 Viola ............................................................................................................................... 113 Violoncello ..................................................................................................................... 122 KOLOVÉ (MECHANIZOVANÉ) NÁSTROJE .......................................... 126 Niněra ............................................................................................................................. 126 ÚDERNÉ NÁSTROJE .................................................................................... 136 KLADÍVKOVÉ NÁSTROJE ............................................................................................ 136 Cembalo (klavicembalo, clavicembalo), spinet, virginal, clavecin ................................ 136 Klavichord (clavichord) ................................................................................................. 142 Klavír (piano) ................................................................................................................. 144 PALIČKOVÉ NÁSTROJE ................................................................................................ 151 Cimbál ............................................................................................................................ 151 Mezi chordofonem a membranofonem – bukač .................................................................... 157 Závěr ................................................................................................................. 161 Seznam literatury se zkratkami citovaných pramenů ................................. 163 Internetové zdroje ........................................................................................... 166 5 Seznam zkratek ................................................................................................ 168 Seznam vyobrazení .......................................................................................... 170 Rejstřík ………………………………………………………………………174 Anotace ............................................................................................................. 178 Anotation .......................................................................................................... 178 6 ÚVOD Problematice hudebních nástrojů, zejména pak jejich názvů, se věnuji již několik let – od doby počátků vzniku mé bakalářské diplomové práce. Základním důvodem volby těchto témat závěrečných prací byla možnost propojení dvou mých studijních oborů – bohemistiky a muzikologie. Předkládaná rigorózní práce Názvy strunných hudebních nástrojů v češtině tedy navazuje na mé diplomové práce – bakalářskou, Názvy bicích hudebních nástrojů v češtině, a magisterskou, Názvy dechových hudebních nástrojů v češtině. Přínosem těchto prací bylo zejména zpracování názvů hudebních nástrojů, které se v českých výkladových slovnících nevyskytují. Práce byly velmi kladně hodnoceny jejich oponentem prof. RNDr. Václavem Blažkem, CSc. Hudebním nástrojům a jejich termínům jsem se věnovala rovněž ve svých oborových pracích muzikologických. Tyto práce jsem
Recommended publications
  • Pengetős Hangszerekről Általában 8 1
    Kovács Emil (pengetős Hangszere^ Magánkiadvány 1976 Szerző: Kovács Emil hangszerkészítő mester Lektorálták: F. Gát Eszter Solymosi Ferenc Szabó Károly Moldoványi Gyula KERESKEDELMI FORGALOMBA NEM HOZHATÓ! ISBN 963-10-1219-0 TARTALOMJEGYZÉK BEVEZETÉS 7 A pengetős hangszerekről általában 8 1. A PENGETŐS HANGSZEREK TÖRTÉNETEI ÁTTEKINTÉSE 9 1.1 LantszerU hangszerek ..... 10 1.11 Lantok 10 1.12 Cisterek 13 1.13 Mandollnok l4 l.U Gitárok 16 1.2 Fsalterlumtől származó hangszerek 21 1.3 A.hárfa 22 2. NÉPI PENGETŐS HANGSZEREK 25 2.1 Magyar népi pengetős hangszerek 26 2.11 Magyar taniburák 26 2.12 Magyar citerák 28 2.13 Hárfák 33 2.2 Az Európa területén élő népek pengetős hangszerei . 33 2.21 LantszerU népi pengetős hangszerek 35 2.22 Népi citerák 42 2.23 Népi hárfák '. 46 2.3 Latin-amerikai pengetős hangszerek 46 2.31 Portugál eredetű gitárhangszerek ....... 46 2.32 A apanyolgitár latin-amerikai változatai ... 48 2.33 Hárfák 51 2.4 Keleti és távol-keleti pengetős hangszerek 51 2.41 Indiai pengetős hangszerek 51 2.42 Kinai pengetős hangszerek 55 2.43 Óceániai gitárhangszerek 59 HOCERN PENGETŐS HANGSZEREK 61 3.1 Hal lantBzezrU hangszerek 61 3.11 Gitárok 61 3^12 LeTélmandolln 71 3.13 Banjo 72 3.2 Eoncertcltera 74. 3.3 Mai modem hárfák 76 UJ HANGSZEREK KÉSZl'EÉSE 79 4.1 Alkalmazott hangszerakusztika, akusztikai tervezés . 79 4.11 Hangkeltés 79 4.12 Rezonancia 81 4.13 Csatolások 85 4.14 Reflexlök 85 4*15 A hangenergia átalakítása 87 4.16 Hangteljesitmény 88 4.2 Akusztikai tervezés 88 4.21 A rezonátorként felhasznált anyagok tulajdonsá­ gai 89 4.22 A faanyag önhangjáról 91 4.23 Az akusztikus tér formája 93 4.24 Az akusztikai tulajdonságok és a formatervezés kapcsolata 93 4.25 A hangszín 94 4.3 Gitárok készítése 94 4.31 Spanyol koncertgitár készítése 94 4.32 A torresgltár készítése 106 4.33 A spanyol modell (1910) készítése 109 4.34 Kis spanyol modell készítése 111 4.35 Kis bécsi modell készítése 113 4.36 Gitár csavaros nyakkal 114 4.37 Alsó hurrögzitésü gitár készítése ......
    [Show full text]
  • Wanted-A Slogaf ~ ( Sl'c P:IJ.:L"•J)
    Vol. XXI OCTOBER,1928 No. 4 :\. S. B \ Ri...1, , · ( Dirwtur) l .\1111, .\ ! " · 1101 1, (ha · 111,;;TR, Sau Pnlro . l "ali 10111::1 Wanted-A Slogaf ~ ( Sl'c p:IJ.:l"•J) / 20 Centa Per Copy PUILUH!O IT ff . P. ODELL COMPANY ! 2.00 Per Yea r COPYf.lCHT 19:zl- ALL RICUTS IU!Sf.11.\'EO INTE UD Al IECOND Cl.AU MATTH JUNE 9, 1909, AT nt .l POST OFF1C! AT BOITOS. •u suc 11u11rr n. c suu AC1 nF . , ,u c 11 }, 1 87 0 Th, CRESCF.NDO TH E 1:-.GF.XUF.s, for mcrl)' with Zie gfe ld Folli es, Mu sic Renn .· (Co urt rsy <1{ r1 •9fl Co,} SOUTI-IERXM ELODYB o \ 'S (Co urlrs,, of Gihso11 Co.) L A:-.DF.:-.'IIERGERS RA:""J n BAxn, 1\·rl.:asic, Pa. J OH N AASON , Nonvc gian Giant JERR Y RI CHARDS L EON W ARREN fe:itur ed with Harold Lloyd National Broadcastin g-Co. Popular banjoist at Yale U niversity (Co urltS}' Sou th tr11 Calif. A1usir C o.) (Co urt uy of U 'urli tr.rr Co.) PL!A S! MllN T ION Tl, , CRESCENDO WHEW WRITIN G TO AOVEIITISl!lS October , 1928 Th, CRESCENDO ( 1 J The tunes you have been waiting for "FEIST" Popular Hits No. 8 for FRETTED INSTRUMENTS .,) MANDOLIN HAWAilAN GUITAR TENOR-BANJO SOLO Solo and arcomflani,ru nt So1;,,a::,~!~f°'o with r19ular 9uilar acc. in ont bool PRICE $1.00 PRICE $1.00 PRICE $ 1.00 [> Playable as Solos, Duets or any combination of the abov e part s <I CONTENTS My Ohio Home Ramona Chiquita A II parts art in the You 're a Real Sweetheart Th u e books art for same ity, so they can Baby Your Mother sale only i n U .
    [Show full text]
  • The Early Mandolin: the Mandolino and the Neapolitan Mandoline
    Performance Practice Review Volume 4 Article 6 Number 2 Fall "The aE rly Mandolin: The aM ndolino and the Neapolitan Mandoline." By James Tyler and Paul Sparks Donald Gill Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Gill, Donald (1991) ""The Early Mandolin: The aM ndolino and the Neapolitan Mandoline." By James Tyler and Paul Sparks," Performance Practice Review: Vol. 4: No. 2, Article 6. DOI: 10.5642/perfpr.199104.02.06 Available at: http://scholarship.claremont.edu/ppr/vol4/iss2/6 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 202 Reviews of Books James Tyler and Paul Sparks. The Early Mandolin: the Mandolino and the Neapolitan mandoline. Early Music Series, 9. Oxford: Oxford University Press, 1989. x. 186p. When I acquired a 1734 mandolino in the nineteen-thirties, having somehow raised fifteen shillings (about $1.85) for it, I was thrilled to have my first historical instrument, but had no idea that such a tiny, frail thing could have been used for real music making. Nor did I suspect that I would eventually develop such an interst in, and enjoyment of, the whole family of "little lutes," of which the mandolino is such a prominent member. Consideration of these instruments is bedevilled by names, as is so often the case: mandore, mandora, mandola, bandurria, bandola, pandurina, Milanese mandolin, mandolino, mandoline, even soprano lute — how can some semblance of order and reason be brought to the subject.
    [Show full text]
  • Guitar in Oxford Music Online
    Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • 2016 Convention Update by Lyndon Laminack & Mark Linkins
    August 2016 • Volume XXXIII #3 2016 Convention Update by Lyndon Laminack & Mark Linkins Preparation continues for the 2016 convention at Valley members. Relatively few CMSA members perform as solo Forge. The members of the host committee, along with artists, but many do perform as members of orchestras the members of both host ensembles – the Munier and smaller ensembles. Ensemble performance offers Orchestra and the Philadelphia Mandolin Ensemble – its own challenges and rewards. Whether performing look forward to greeting attendees at the Welcome Party in a conducted or conductor-less ensemble, players on the evening of November 2. The party will include light must constantly be aware of issues related to blending, tapas-style fare and a cash bar. It is an opportunity to balance, and working together – both within and across connect with old friends and make new acquaintances. the sections of the ensemble – to interpret and give shape The host committee is very pleased to announce that to the music.” the Harrisburg Mandolin Ensemble (HMO) will provide musical entertainment for the Welcome Party. A Conference workshops will provide a rich opportunity “classico” configuration, HMO performs on only mandolin for attendees to hear and learn from the members of the family instruments (including mandobass). Drawing MMQ, composer-in-residence Neil Gladd, and various upon diverse musical backgrounds, the members of HMO CMSA presenters. Additionally, several workshops will perform a very eclectic repertoire. Within a single set, you offer opportunities to learn from Philadelphia-based are likely to hear pieces from artists as diverse as Django performing artists with unique musical backgrounds.
    [Show full text]
  • FOMRHI Quarterly
    No. 24 July 1981 FOMRHI Quarterly BULLETIN 24 and SUPPLEMENT 2 LIST OF MEMBERS SUPPLEMENT 37 BOOK AND MUSIC NEWS 11 BOUWBRIEF CONTENTS: XIX, XX and XXI 12 GUILD OF AMERICAN LUTHIERS: DATA SHEETS PELETE& - see- loaJc DATA AVAILABLE FROM MUSEUMS :- Ku.nsthistorisch.es Museum, Vienna. List of X-Ray Photographs. 21 Germanisch.es Nationalmuseum, Nurnberg. Drawings and X-Rays. 24 Smithsonian Institution. Drawings, Photographs and Slides. 33 COMMUNICATIONS 351 On Nomenclature A Rejoinder. J. Montagu. 14 352 The Lower-bout Back Fold on English Treble Viols. E.Segerman. 16 353 Restoration of a Recorder Edge. T. Miller. 18 354 Sinking Harpsichord Soundboards. D. J. Way. 19 355 Fingering on the Gaita Gallega. P. Gretton. 39 356 Bending Massive Bentsides. J. Kalsbeek. 43 357 The Business End (Sharp End) of the Cornetto. P. Gretton. 45 358 Valves and Mouthpieces for Bagpipes. P. Gretton. 49 359 The Inverted Mordent in Late 16th and 17th Century Music. E. Segerman. 53 360 An Inventory of the Charles van Raalte Collection of Instruments J. Downing. 57 REVIEWS 361 The Bassoon by W. Jansen. The Musician's PianoAtlas ed. S. K. -365 Taylor. Brass Musical Instruments in the Edinburgh University Collection by A. Myers. Ethnic Musical Instruments (same cullection) by K. Pratt. Michael Haydn by M. Nagy. Joseph Haydn by M. Nagy. Shrine to Music Museum, Catalogue Vol. 1, Keyed Brass Instruments by G. M. Stewart. J. M. 73 FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS c/o. Faculty of Music, St. Aldate's, Oxford OX 1 1DB. bull.24, P.2 FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS Bulletin no.24 July, 1981 MY LOCATION; It's a long and complicated story, but briefly, I went off at half-cock last quarter.
    [Show full text]
  • Gentile Cliente, Domus Musica Di Venezia Ha Il Piacere Di Sottoporle Questo Catalogo, Frutto Di Un'accurata Ricerca Di Mercato
    Gentile Cliente, Domus Musica di Venezia ha il piacere di sottoporLe questo Catalogo, frutto di un’accurata ricerca di mercato nell’ambito degli strumenti musicali e relativi accessori. In un momento in cui il Tempo è prezioso almeno quanto la Qualità, l’offrirLe strumenti già controllati dal ns. Laboratorio di Liuteria Le garantirà una vendita facile e sicura. Domus Musica sarà sempre con Lei, per farLe vendere meglio garantendoLe consegne in trentasei, quarantotto ore dall’ordine. Il Presidente Alfonso Lavelli CONDIZIONI DI VENDITA Prezzi I prezzi indicati nel presente catalogo si intendono al pubblico, sono comprensivi di IVA, non sono impegnativi e possono cambiare senza alcun preavviso. Orario Uffici I nostri Uffici sono aperti dal Lunedì al Venerdì dalle ore 9.00 alle ore 18.00 orario continuato. Sabato e Domenica chiuso. Spese trasporto ed imballo La merce viaggia a rischio totale del committente. Le spese di trasporto sono a carico del destinatario e verranno sempre addebitate al costo in fattura. Le spese di imballo sono calcolate a forfait nella somma di Euro 1,20 per ciascun collo. Piccoli ordini Il minimo spedibile ammonta ad Euro 100,00. Rimanenze inevase Le merci non disponibili al momento dell’ordine verranno spedite appena disponibili salvo specifiche diverse. Reclami Eventuali contestazioni su quantità e qualità della merce ricevuta dovranno essere inoltrati tramite raccomandata A.R. entro e non oltre sette giorni dal ricevimento. Resi di merce Le merci non possono essere ritornate per sostituzione o accredito se prima non si è ottenuto il “NUMERO DI RESO” dal nostro ufficio. Questo numero deve essere scritto sull’esterno del collo.
    [Show full text]
  • MIMO Digitisation Standard
    ECP 2008 DILI 538013 MIMO MIMO Definition Of Scanning Properties And Recommendations For Photographing Musical Instruments Version 3 Deliverable number D1.8 Dissemination level Restricted Delivery date 29 August 2011 Status Draft Authors Frank P. Bär, Franziska Pfefferkorn (GNM) eContent plus This project is funded under the eContent plus programme 1, a multiannual Community programme to make digital content in Europe more accessible, usable and exploitable. 1 OJ L 79, 24.3.2005, p. 1. Based on partners’ further practical work in digitising musical instruments and in application of version 2 of this paper (D1.5), feedback, MIMO-born images and practical hints were con- tinuously collected by WP1 lead (GNM) in order to prepare the final version 3 of the standard paper. An external evaluation conducted by WP5 among members of ICOM-CIMCIM led to im- provements in form and content. The attached document shall be made public as soon as the English wording will be checked by a native speaker and will be delivered as final version of Deliverable D1.8. Attached document: The MIMO digitization standard. Definition Of Scanning Properties And Recommendations For Photographing Musical Instruments - final Version 3 (draft) 2 The MIMO Digitisation Standard Definition of scanning properties and recommendations for photographing musical instruments final version 3 - draft - Frank P. Bär Franziska Pfefferkorn for Nürnberg, 2011 3 Content: 0. Introduction ......................................................................................................................
    [Show full text]
  • Franz Jahnel – "La Chitarra E Gli Strumenti a Pizzico"
    Franz Jahnel – "La chitarra e gli strumenti a pizzico" Sommario A - L'evoluzione di liuto, chitarra e cister dal punto di vista storico Bibliografia. I - Storia delle origini a) Liuti e loro tipologie; b) Il Liuto in Oriente: 1. I liuti col manico corto; 2. I liuti dal lungo manico; c) Chitarra e liuto in cammino nell’Occidente II - Evoluzione delle singole famiglie dei liuti a) I liuti classici; b) Il nome “liuto”; c) I tipi di liuto del 16°, 17° e 18° secolo: 1. Liuti soprano; 2. Liuti contralto; 3. Liuti tenore; 4. Liuti basso; 5. Liuti basso grande ottava; 6. Arciliuti: A) Tiorba; B) Chitarrone; A) La tiorba padovana; B) La tiorba romana (il chitarrone); d) Liuti particolari: 1. Anglica, angelique; 2. Bandura panskaja; 3. Bandurka; 4. Tiorbina; 5. Il liuto moderno; e) La famiglia delle mandore: 1. La mandora/mandola; 2. I mandolini: m. milanese (mandurina), bandurria, m. portoghese, m. napoletano, m. bresciano, m. fiorentino, piccolo mandolino fiorentino, m. genovese, m. padovano, m. romano, m. senese, m. siciliano; mandriola; 3. L'attuale orchestra mandolinistica e i suoi strumenti: la mandola, il mandoloncello, il mandolino basso/mandolone; 4. Mandolini moderni. III - Le chitarre a) Portogallo, Spagna e loro colonie: 1. Chitarre con casse armoniche a contorno piriforme della tavola: a) i tipi bandola (vandola); b) i tipi cavaco. 2. Le Chitarre portoghesi e spagnole dalla forma a otto: soprano (primo discanto), contralto (secondo discanto), tenore (terzo, quarto, quinto), basso; b) Italia, Germania, Inghilterra, Francia, Austria, Europa del nord e orientale: 1. Forme antiche; 2. Forme nuove; 3. Chitarre con regolazioni meccaniche; 4.
    [Show full text]
  • Liste „Musikalische Besetzung“
    Katalogisierungshandbuch Besetzung und Form/Gattung Kooperative Sacherschließung musikalischer Werke Liste „Musikalische Besetzung“ Die Schlagwörter dieser Liste sind für die Erschließung nach dem Regelwerk Besetzung und Form/Gattung – koope- rative Sacherschließung musikalischer Werke obligatorisch, ausschließlich und generell zu verwenden. Die in den Anhängen 1 – 9c aufgeführten Schlagwörter dürfen jedoch ausschließlich in den speziellen Fällen verwendet werden, die in dem betreffenden Kapitel des Regelwerks, auf das sie verweisen, geregelt sind. Schlagwörter Verweisung auf Quelle (Q), Definition (D), Literatur (L), (Ansetzungen in Fettdruck) Ansetzungsform weitere Schlagwortfolgen (a cappella) D: bei Chorwerken, vgl. Regelwerk Chormusik, 3.4.2.2. A cappella Accordeon Akkordeon Accordion Akkordeon (ad libitum) D: vgl. Regelwerk 3.6. Ad libitum-Besetzungen Äoline Harmonium Q: B 1996 Äolophon Effektinstrument D: vgl. Regelwerk 3.3.5.5. Effektinstrumente Ätherophon Theremin D: Elektron. Musikinstrument Affentrommel Klappertrommel Afochê Cabaza Q: Ruf African drums Q: Ruf Agogo Q: Ruf, B 1996; D: brasilian. Handschelle Aida-Trompete Trompete Q: Ruf, B 1996 Akkordbezifferung Akkordeon Akkordzither Zither Ala Zither D: ma. Bez. für das Psalterium Alarmglocken Q: Ruf; L: G.Verdi: Don Carlos Almglocke Cowbell Alphorn Alt Singstimme (tief) D: Singstimme mit Tonumfang etwa f – c'' Altgeige Viola Q: Ruf Althorn Q: Ruf Alto <Altsaxophon> Saxophon Alto <Streichinstrument> Viola Ansprechpartnerin im BSZ: Annabel Feuerstein E-Mail: [email protected] Stand: 17.07.2020 Liste „Musikalische Besetzung“ - 1 - Katalogisierungshandbuch Schlagwörter Verweisung auf Quelle (Q), Definition (D), Literatur (L), (Ansetzungen in Fettdruck) Ansetzungsform weitere Schlagwortfolgen Altus Singstimme (hoch) Amboss Effektinstrument Q: B 1996; D: vgl. Regelwerk 3.3.5.5. Effektinstrumente, Schlaginstrument mit bestimmter Tonhöhe Amboß Effektinstrument D: vgl.
    [Show full text]
  • Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Obor
    Masarykova univerzita Filozofická fakulta Ústav hudební vědy obor hudební věda Martin Krajíček Mandolína historie, organologie, repertoár Bakalářská diplomová práce Vedoucí práce: PhDr. Jana Perutková, Ph.D. 2008 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. VBrnědne7.11.2008 ……………………….. MartinKrajíček Děkuji PhDr. Janě Perutkové, Ph.D., za odborné vedení mé bakalářské práce aMgr.RastislavuKozoňovi,Ph.D.,zaspolupráci acennéradya připomínky. 1ÚVOD ........................................................................................................................5 2TERMINOLOGICKÁPROBLEMATIKA ...........................................................7 2.1Baroknímandolinoversusneapolskámandolína ...............................................7 2.2Stavbádánívčeskémorganologickém prostoru ................................................7 2.3Teoretické prameny(16.–20.století) ..............................................................11 3HISTORIEMANDOLÍNY ....................................................................................13 3.1Mandolino–mandolínamilánská .....................................................................13 3.2Neapolskámandolína ........................................................................................18 3.2.1Mandolína portugalská ..............................................................................25 3.2.2MandolínyfirmyGibson...........................................................................26 3.2.2.1Historie ..............................................................................................26
    [Show full text]