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Journal articles on the topic 'Meyerbeer'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Murphy, Kerry. "Race and Identity: Appraisals in France of Meyerbeer on his 1891 Centenary." Nineteenth-Century Music Review 1, no. 2 (November 2004): 27–42. http://dx.doi.org/10.1017/s1479409800001348.

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This article examines the ways in which critics and music historians in the Third Republic wrote about Meyerbeer's national and racial identity focusing particularly on the period around the time of the centenary of his birth, the period just before the explosion of the Dreyfus affair. The centenary of Meyerbeer's birth was celebrated in November 1891, by a performance to a packed audience at the Paris Opéra. Critics marked the centenary by writing substantial articles about Meyerbeer.Although many of Meyerbeer's contemporary critics conferred honorary French citizenship on him, by 1891 a significant number saw him as lacking any national identity. This should be seen in the context of a period in which French composers were intensely debating the issue of their own national identity, and clearly since the Franco-Prussian war, they were no longer so complacent about welcoming a German as a Frenchman. Yet the perceptions of Meyerbeer's lack of national identity were also often motivated by negative associations of Meyerbeer as Jew.Derogatory stereotypes of the Jewish composer are present in Meyerbeer criticism from the July Monarchy onwards, but in the early days of the Third Republic they change slightly in focus and also, as might be expected, become more overtly stated. This article presents a brief overview of this change in focus and concentrates on a number of discrete topics: eclecticism, nationhood, originality and artistic capitulation. The examination of this last topic leads to a short discussion of the impact of Wagner on the musical world at this time, and the effect that this had on Meyerbeer reception. The centenary celebrations occurred only two months after the success ofLohengrinat the Opéra (16 September 1891) and the proximity of the two events caused many critics to ponder whether the celebrations marked the end of Meyerbeer's reign at the Opéra and the beginning of the reign of Wagner. The centenary event forced critics to take a position on Meyerbeer's current standing in the operatic world.

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2

Rowden, Clair. "Meyerbeer." Nineteenth-Century Music Review 1, no. 2 (November 2004): 139–41. http://dx.doi.org/10.1017/s1479409800001506.

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3

Roccatagliati, Alessandro. "Margherita d'Anjou oder Die Italianisierung Pixérécourts." Die Musikforschung 64, no. 2 (September 22, 2021): 109–22. http://dx.doi.org/10.52412/mf.2011.h2.191.

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Die Verarbeitung des Librettos von Felice Romani in Giacomo Meyerbeers Oper "Margarete von Anjou" (Mailand, 1820) wird analysiert und aus mehreren Blickwinkeln betrachtet: (a) die Grundsätze der stilistischen Einheitlichkeit,von denen sich der Dichter inspirieren ließ (b) die sich daraus ergebende "Italianisierung / Regularisierung" nach den Regeln des semiseriösen Operngenre im gleichnamigen Drama des Guillaume Pixérécourt (c) die wahrscheinlich vom Komponisten verlangte besondere Fülle /Weite einiger musikalischer Nummern mit Blick auf die dichterische Vorformung / Präfiguration (d) die dramatisch-musikalischen Entscheidungen bezüglich der Umsetzung oder Abweichung von der sogenannten Präfiguration, die Meyerbeer bei der Vertonung angewandt hat.

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4

Popov, Denis Aleksandrovich. "The Ratio of Content and Entertainment in the Operas of Giacomo Meyerbeer." Культура и искусство, no. 10 (October 2022): 13–21. http://dx.doi.org/10.7256/2454-0625.2022.10.39004.

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The object of the study is the work of the French composer of the XIX century Giacomo Meyerbeer, the subject of the study is the informative and entertaining components of his work. The most famous works of the famous maestro are used for analysis: "Robert the Devil", "Huguenots", "The Prophet", "Dinora". The author examines the ratio of "meaningful" and "entertaining" components in the dramatic and musical construction of the opera from the viewpoint of the traditional art of the XIX century installation "Entertaining - to teach!". The aim of the study is to correct the thesis about entertainment as the main drawback of Meyerbeer's operas, since all works of stage art, including his contemporaries, cannot do without an entertainment component. The main conclusion of the study is that the meaningful, instructive side in Meyerbeer's works is formally preserved, which, at first glance, makes the reproaches of his critics meaningless. However, upon closer examination, it turns out that the content of the operas is emasculated, reduced to the level of platitudes and cliches, becomes contradictory and even ridiculous, while the entertainment side is strengthened and becomes the leading one. Thus, the reproach of entertainment against Meyerbeer should be corrected: their defect is not that they entertain, but that they lose a meaningful component. This model of the ratio of entertainment and content will later be used by modern mass art.

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5

Dean, Winton, Heinz Becker, Gudrun Becker, and Mark Violette. "Multifarious Meyerbeer." Musical Times 131, no. 1766 (April 1990): 201. http://dx.doi.org/10.2307/966262.

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6

Wittmann, Michael. "Meyerbeer and Mercadante? The reception of Meyerbeer in Italy." Cambridge Opera Journal 5, no. 2 (July 1993): 115–32. http://dx.doi.org/10.1017/s0954586700003943.

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‘First performed in 1840 and praised by Liszt for its orchestration and workman-ship, the score does not deny Meyerbeerian influence. The present recording, which sounds as if it has been taken from a live performance in the theatre, has a first-class cast and is altogether fascinating.’ The object of this encomium is La vestale by the Italian composer Saverio Mercadante (1795–1870), the first commercial recording of which was issued on CD in 1989. The quotation, taken from a leading record magazine, seems representative of the response that recordings of Mercadante's works can currently expect: scarcely a single review fails to mention Meyerbeer's positive influence on Mercadante. But how far is one in fact justified in linking these two composers?

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7

Tusa, Michael C. "Mime, Meyerbeer and the Genesis ofDer junge Siegfried: New Light on the ‘Jewish Question’ in Richard Wagner’s Work." Cambridge Opera Journal 26, no. 2 (July 2014): 113–46. http://dx.doi.org/10.1017/s0954586714000019.

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AbstractBetween the initial conception in 1848 of a project on the Siegfried legend comprising a single work,Siegfried’s Tod, and its subsequent expansion in 1851 with the addition ofDer junge Siegfriedas a ‘prequel’ about the hero’s early life, Richard Wagner turned against Giacomo Meyerbeer in public denunciations in ‘Das Judentum in der Musik’ (1850) andOper und Drama(1850–1). Changes in the treatment of the Mime–Siegfried relationship between 1848 and 1851 as well as similarities between Wagner’s characterisations of Meyerbeer and his portrayal of Mime in the 1851 sources suggest that Wagner’s animosity towards his former mentor informed a new conception of the dwarf. The troubled Mime–Siegfried relationship that crystallised in 1851 allowed Wagner to give symbolic, aesthetic form not only to his criticisms of Meyerbeer as man and artist but also to his own new creative path. That Meyerbeer by 1851 had come to represent to Wagner the personal and artistic deficiencies of all Jews necessarily also means that Wagner’s projection of Meyerbeer into Mime inDer junge Siegfriedcarried with it a more generally anti-Jewish message, as is frequently asserted in the literature.

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8

LETELLIER, R. I. "Bellini and Meyerbeer." Opera Quarterly 17, no. 3 (January 1, 2001): 361–79. http://dx.doi.org/10.1093/oq/17.3.361.

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9

Kaufman, T. "Wagner vs. Meyerbeer." Opera Quarterly 19, no. 4 (October 1, 2003): 644–69. http://dx.doi.org/10.1093/oq/kbg091.

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10

Newark, Cormac. "Metaphors for Meyerbeer." Journal of the Royal Musical Association 127, no. 1 (2002): 23–43. http://dx.doi.org/10.1093/jrma/127.1.23.

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The avowed inability of nineteenth-century Parisian critics to express in words their impressions of music (whether instrumental or lyric) doubtless has something to do with a more or less general lack of training, but in the case of the works of Meyerbeer it also points to a particular idea of opera. An intense interest in orchestration (outlined here in reviews of Robert le diable, Les Huguenots, Le prophète and L'Africaine; also in Berlioz's Grand traité d'instrumentation et d'orchestration modernes) is articulated in enthusiastic examination of the instruments themselves, and in striking metaphors of science, technology and manufacture. The presence of this gloss on Meyerbeer in otherwise Romantic appreciations (for example Balzac's Gambara) suggests a way of reading opera reception in tune with the urban culture of the period.

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11

Yun, Shang. "«Huguenots» by J. Meyerbeer in the context of spiritual-Christian quests of the era of romanticism." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 292–98. http://dx.doi.org/10.32461/2226-3209.2.2021.240097.

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The purpose of the article is to identify the poetical and intonational features of J. Meyerbeer’s «Huguenots» in the context of the spiritual quest of romanticism, the evolution of French musical theater in the first half of the 19th century and its mystery component. The methodology of the work is the intonation concept of music from the perspective of intonation-stylistic analysis inherited from B. Asafiev and his followers. The analytical-musicological, genre-style, interdisciplinary, historical and cultural approaches are also essential for this work, revealing the spiritual and moral specifics of the poetics of the French «grand opera» and its mystery primary sources using the example of J. Meyerbeer's «Huguenots». The scientific novelty of the work is determined by its analytical perspective, focused on the consideration of the «Huguenots» by J. Meyerbeer in the context of the spiritual-Christian quests of the romantic era. Conclusions. The poetics of J. Meyerbeer’s opera «Huguenots», which is one of the exemplary examples of «grand» French opera, was formed at the intersection, on the one hand, of creative discoveries in the field of French musical theater of the first half of the 19th century and its vocal and performing stage practice. On the other hand, the named work demonstrates a deep connection with the mysterious traditions of the French spiritual theater, dating back to the Middle Ages, to the spiritual, religious and stylistic attitudes of the musical theater of French classicism («lyric tragedy» by J. B. Lully) and at the same time consonant with the religious quests of romanticism and the moral and ethical positions of French historicism. The essential role of religious confrontation in the Huguenots, which determinesthe intonational and dramatic specificity of the work, right down to the quotations of the Lutheran chant, ultimately focuses on the «collegiality of the highest order», which overcomes confessional barriers, defining the spiritual and moral pathos of the French «grand opera» and its spiritual attitudes.

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12

PLEASANTS, HENRY. "The Tragedy of Meyerbeer." Opera Quarterly 8, no. 1 (1991): 28–38. http://dx.doi.org/10.1093/oq/8.1.28.

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13

Ashbrook, W. "Margherita d'Anjou. Giacomo Meyerbeer." Opera Quarterly 20, no. 4 (October 1, 2004): 755–56. http://dx.doi.org/10.1093/oq/kbh093.

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14

Otten, Jürgen. "Mehr Meyerbeer! Mehr Licht!" Opernwelt 63, no. 9-10 (2022): 81. http://dx.doi.org/10.5771/0030-3690-2022-9-10-081.

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15

Struck-Schloen, Michael. "DISKUSSIONSWÜRDIG." Opernwelt 63, no. 6 (2022): 61–62. http://dx.doi.org/10.5771/0030-3690-2022-6-061.

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16

Protano-Biggs, Laura. "An Earnest Meyerbeer: Le Prophète at London’s Royal Italian Opera, 1849." Cambridge Opera Journal 29, no. 1 (March 2017): 53–73. http://dx.doi.org/10.1017/s0954586717000040.

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AbstractWhen the grands opéras of Giacomo Meyerbeer were introduced to London audiences as a cluster in the mid-1800s, critics identified moments of understated musical and dramatic expression, and made little mention of more sensational dimensions, such as their impressive staging. With a focus on the 1849 staging of Le Prophète at the brand-new Royal Italian Opera in London, this article demonstrates that numerous critics were keen to endorse this new opera house, where most of the composer’s works were mounted, and that, to this end, they zeroed in on the most bare and restrained elements in his works so as to invest them with moral and intellectual relevance for Victorian audiences. Approaching Le Prophète as various London critics did is to see it anew and to consider alternatives to recent narratives which have taken material excess as a starting point for understanding the success of Meyerbeer’s grands opéras on the continent.

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17

WILLIER, S. A. "L'etoile du nord. Giacomo Meyerbeer." Opera Quarterly 16, no. 1 (January 1, 2000): 137–38. http://dx.doi.org/10.1093/oq/16.1.137.

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18

Henson, K. "Robert le diable. Giacomo Meyerbeer." Opera Quarterly 19, no. 3 (July 1, 2003): 560–63. http://dx.doi.org/10.1093/oq/19.3.560.

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19

Parker, R. "Roberto il diavolo. Giacomo Meyerbeer." Opera Quarterly 19, no. 3 (July 1, 2003): 563–65. http://dx.doi.org/10.1093/oq/19.3.563.

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20

Gooley, Dana. "Meyerbeer, Eclecticism, and Operatic Cosmopolitanism." Musical Quarterly 99, no. 2 (2016): 166–200. http://dx.doi.org/10.1093/musqtl/gdx004.

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21

Dorris, George. "The Legacy of Giacomo Meyerbeer." Dance Chronicle 31, no. 3 (October 20, 2008): 460–65. http://dx.doi.org/10.1080/01472520802402762.

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22

Everist, Mark. "Meyerbeer'sIl crociato in Egitto: mélodrame, opera, orientalism." Cambridge Opera Journal 8, no. 3 (November 1996): 215–50. http://dx.doi.org/10.1017/s0954586700004730.

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Il crociato in Egittowas the last in a series of Italian operas written by Giacomo Meyerbeer between 1817 and 1824. Although hisEmma di ResburgoandMargherita d'Anjouhad been successful in Venice and Milan, it wasIl crociatothat put Meyerbeer in the first rank of internationally renowned composers of Italian opera. The work's contemporary popularity makes it an important element in the history of early nineteenth-century Italian opera, and the abundant source material that survives for the opera permits a reconstruction of its early history. Furthermore, the publication in facsimile of a copyist's score from the première at La Fenice and the recording of the work by Opera Rara have encouraged a modern revaluation.

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23

Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (March 1, 2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. Together with his friend Alexander von Humboldt, who had very close ties to the Prussian royal house, in particular to the young King Friedrich Wilhelm IV, Meyerbeer sought and found a diplomatic solution which made it possible for him to fulfil his commission without too great an artistic compromise. He asked the skilled Parisian librettist Eugène Scribe to write a prose text in French, but to remain anonymous while the official librettist was advertized as Ludwig Rellstab, who translated the French into German, and put the words of the sung items into verse. Since Scribe here also worked strictly to the dramaturgical prescriptions of the composer, the resulting “Lebensbilder aus der Zeit Friedrichs des Großen” (“Pictures from the time of Frederick the Great”, the subtitle of the work) pays homage to the king of Prussia as the patron of peace and the arts. Given this interpretation, which was inspired by contemporary literary and pictorial portraits of Frederick II (by Franz Kugler and Adolph von Menzel), the confrontation with authority found in Meyerbeer’s grand historical operas was here given new life in an unusual context, one which made the concept of the nation relative to a generalized ideal of humanity.

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24

Saint-Viatre, Pierre-Marie. "On a oublié le F∴ Meyerbeer !" La chaîne d'union N° 46, no. 4 (January 4, 2008): 14–15. http://dx.doi.org/10.3917/cdu.046.0014.

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25

Cochran, Keith, Reiner Zimmermann, and Eva Zimmermann. "Giacomo Meyerbeer: Eine Biographie nach Dokumenten." Notes 50, no. 3 (March 1994): 965. http://dx.doi.org/10.2307/898560.

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26

Ashbrook, William. "Il crociato in Egitto. Giacomo Meyerbeer." Opera Quarterly 10, no. 1 (1993): 134–37. http://dx.doi.org/10.1093/oq/10.1.134.

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27

Kupets, L. A. "«ГЕРОЙ НЕ НАШЕГО ВРЕМЕНИ»: ДЖАКОМО МЕЙЕРБЕР В РОССИЙСКИХ ЭНЦИКЛОПЕДИЧЕСКИХ НАРРАТИВАХ КОНЦА XIX – НАЧАЛА XXI ВЕКА." Music Journal of Northern Europe, no. 4(28) (April 8, 2024): 120–32. http://dx.doi.org/10.61908/2413-0486.2021.28.4.120-132.

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The article analyzes the receptions of Giacomo Meyerbeer in Russia using the example of a corpus of encyclopedic publications ranging from the Brockhaus and Efron Encyclopedic Dictionary to Wikipedia. The longitudinal analysis demonstrates both the normative perception of the composer's figure in a certain era, and the transformation of his image in a various historical and cultural context. During this period of time, the Russian image of Meyerbeer changes dramatically: from the genius whose operas everyone knew and loved, to a forgotten minor character, whose music is absent for the modern Russian public. В статье анализируются рецепции Джакомо Мейербера в России на примере корпуса энциклопедических изданий начиная с «Энциклопедического словаря Брокгауза и Эфрона» и до Википедии. Лонгитюдный анализ демонстрирует как нормативное восприятие фигуры композитора в определённую эпоху, так и трансформацию его образа в разном историко-культурном контексте. За этот промежуток времени русский образ Мейербера резко меняется: от гения, чьи оперы знали и любили все, – до забытого второстепенного персонажа, музыка которого отсутствует для современной российской публики.

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28

Bara, Olivier. "L’opéra idéal selon la Lettre à Meyerbeer." Recherches & travaux, no. 70 (April 15, 2007): 141–54. http://dx.doi.org/10.4000/recherchestravaux.234.

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29

Kaufman, T. "The Diaries of Giacomo Meyerbeer: 1791-1839." Opera Quarterly 19, no. 3 (July 1, 2003): 514–20. http://dx.doi.org/10.1093/oq/19.3.514.

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30

Everist, Mark. "Meyerbeer Studies: A Series of Lectures, Essays, and Articles on the Life and Work of Giacomo Meyerbeer (review)." Notes 64, no. 1 (2007): 78–79. http://dx.doi.org/10.1353/not.2007.0106.

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31

Sponheuer, Bernd. "„Warum schreibt Hr. Schumann nichts Ergründendes über Meyerbeer?“." Archiv für Musikwissenschaft 79, no. 04 (2022): 248–73. http://dx.doi.org/10.25162/afmw-2022-0013.

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32

Everist, M. "The Diaries of Giacomo Meyerbeer, iv: 1857-1864." Music and Letters 88, no. 1 (October 25, 2006): 148–51. http://dx.doi.org/10.1093/ml/gcl060.

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33

Pencak, William. "Jewish Elements in the Operas of Giacomo Meyerbeer." Shofar: An Interdisciplinary Journal of Jewish Studies 32, no. 1 (2013): 43–59. http://dx.doi.org/10.1353/sho.2013.0113.

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34

Letellier, R. I. "Hector Berlioz and Giacomo Meyerbeer: A Complex Friendship Revisited." Opera Quarterly 19, no. 3 (July 1, 2003): 357–92. http://dx.doi.org/10.1093/oq/19.3.357.

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35

Everist, Mark. "Review: The Diaries of Giacomo Meyerbeer, ii: 1840–1849." Music and Letters 83, no. 2 (May 1, 2002): 294–300. http://dx.doi.org/10.1093/ml/83.2.294.

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36

Everist, Mark. "Review: The Diaries of Giacomo Meyerbeer iii: 1850–1856." Music and Letters 84, no. 3 (August 1, 2003): 496–99. http://dx.doi.org/10.1093/ml/84.3.496.

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37

Cruz, Gabriela. "Laughing at History: the third act of Meyerbeer' L'Africaine." Cambridge Opera Journal 11, no. 1 (March 1999): 31–76. http://dx.doi.org/10.1017/s0954586700005516.

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A mythical giant, a Malagasy slave, a song, an accomplished baritone, an outraged critic; these seemingly incompatible figures are bound together in the Paris premiere of Giacomo Meyerbeer's L'Africaine in 1865. They are the fundamental elements of my story of the opera's third act, a narrative web binding together early modern nautical history, epic poetry, grand-opera dramaturgy, and the nineteenth-century politics of operatic performance and listening in an exploration of how the opera's rather fictionalised account of Vasco da Gama's first sea voyage to India five centuries ago bears witness to the strength of the historicist project in grand opera.

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38

Dolan, E. I., and J. Tresch. "A Sublime Invasion: Meyerbeer, Balzac, and the Opera Machine." Opera Quarterly 27, no. 1 (March 1, 2011): 4–31. http://dx.doi.org/10.1093/oq/kbr001.

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39

Armstrong, Alan. "The Diaries of Giacomo Meyerbeer, vol. 1, 1791-1839 (review)." Notes 57, no. 2 (2000): 393–94. http://dx.doi.org/10.1353/not.2000.0061.

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40

Ashbrook, William. "Early Romantic Opera: Bellini, Rossini, Meyerbeer, Donizetti, & Grand Opera in Paris . Vincenzo Bellini , Gioacchino Rossini , Giacomo Meyerbeer , Gaetano Donizetti , Philip Gossett , Charles Rosen ." Journal of the American Musicological Society 38, no. 3 (October 1985): 622–28. http://dx.doi.org/10.1525/jams.1985.38.3.03a00070.

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41

Kaufman, T. "The Diaries of Giacomo Meyerbeer: The Years of Celebrity, 1850-1856." Opera Quarterly 19, no. 3 (July 1, 2003): 514–20. http://dx.doi.org/10.1093/oq/19.3.514-b.

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42

Kaufman, T. "Review: The Diaries of Giacomo Meyerbeer: The Last Years 1857-1864." Opera Quarterly 21, no. 1 (January 1, 2005): 189–91. http://dx.doi.org/10.1093/oq/kbi007.

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43

Ashbrook, William. "Review: Early Romantic Opera: Bellini, Rossini, Meyerbeer, Donizetti, & Grand Opera in Paris by Vincenzo Bellini, Gioacchino Rossini, Giacomo Meyerbeer, Gaetano Donizetti, Philip Gossett, Charles Rosen." Journal of the American Musicological Society 38, no. 3 (1985): 622–28. http://dx.doi.org/10.2307/831481.

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44

TAUBERT, T. SOFIE. "How to Catch the Devil? Performance Materiality and Meyerbeer's Robert le Diable." Theatre Research International 45, no. 3 (October 2020): 315–20. http://dx.doi.org/10.1017/s0307883320000310.

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Stage machinery enters the historical narrative often enough through mishaps and interruptions. This article takes as its starting point a report of the Paris opera director Véron in order to think about the role of materiality in the analysis of past performances. The occasion, depicted in the report, is the opening night of Robert le Diable, written by Eugène Scribe and composed by Giacomo Meyerbeer. The article discusses two key questions on the historiographic value of the report as a source for performance analysis. (1) How can we unfold the performativity of a past performance through archival documents? (2) What is the impact of the materiality of machinery, bodies and space in the theatrical interplay?

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45

Wang, W. "“The North Star” by G. Meyerbeer - an Opera Anecdote about Peter the Great." Университетский научный журнал, no. 51 (2019): 124–33. http://dx.doi.org/10.25807/pbh.22225064.2019.51.124.133.

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46

Everist, Mark. "Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (1993): 124–48. http://dx.doi.org/10.2307/746330.

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47

Everist, Mark. "Giacomo Meyerbeer, the Theatre Royal de l'Odeon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (October 1993): 124–48. http://dx.doi.org/10.1525/ncm.1993.17.2.02a00020.

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48

Kaufman, T. "The Diaries of Giacomo Meyerbeer: The Prussian Years and "Le Prophete," 1840-1849." Opera Quarterly 19, no. 3 (July 1, 2003): 514–20. http://dx.doi.org/10.1093/oq/19.3.514-a.

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Everist, M. "Book review. The Diaries of Giacomo Meyerbeer, i: 1791-1839. RI Letellier [ed]." Music and Letters 82, no. 2 (May 1, 2001): 314–17. http://dx.doi.org/10.1093/ml/82.2.314.

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Yun, Shang. "«African» by J. Meyerbeer and the traditions of the 19th-century French musical theater." Almanac "Culture and Contemporaneity", no. 1 (November 23, 2018): 318–24. http://dx.doi.org/10.32461/2226-0285.1.2019.181116.

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