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Journal articles on the topic 'Music in theaters'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

Karzhaubayeva, Sangul, and Ainur Kopbasarova. "Innovative Strategies of the Turkestan Music and Drama Theater." Central Asian Journal of Art Studies 6, no. 4 (2021): 148–58. http://dx.doi.org/10.47940/cajas.v6i4.510.

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The general theme of the international round table “Innovative and multimedia research in modern theater art”, organized by the departments of theater studies and scenography of T. K. Zhurgenov Kazakh National Academy of Arts, the main topic of which was the resonant premiere of the play Borte by Dulat Issabekov, which raised a wide range of ideas and topical issues. The purpose of this event was to comprehend the problems of innovations in the Kazakh theater in the era of digital technologies. The discussion was attended by a director of the Turkestan Music and Drama Theater Ainur Kopbassarov

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2

Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.

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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the mus

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3

Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.

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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoi

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4

Laslavíková, Jana. "Between province and metropolis. The opera repertoire of the Pressburger Stadttheater in the late nineteenth century." Studia Musicologica 58, no. 3-4 (2017): 363–77. http://dx.doi.org/10.1556/6.2017.58.3-4.5.

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The establishment and development of the Municipal Theater in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theater was built by the rising stratum of Pressburg townsmen, based on a requirement of the Hungarian government. The theater was in the possession of the town that rented it to theater directors and their German and Hungarian companies. The theater had a primacy among provincial theaters in Hungary. This was mainly due to the vicinity of Vienna and the effo

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5

Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened hi

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6

Romey, John. "Songs That Run in the Streets." Journal of Musicology 37, no. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.

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In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorpo

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7

RAO, NANCY YUNHWA. "The Public Face of Chinatown: Actresses, Actors, Playwrights, and Audiences of Chinatown Theaters in San Francisco during the 1920s." Journal of the Society for American Music 5, no. 2 (2011): 235–70. http://dx.doi.org/10.1017/s1752196311000046.

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AbstractIn the twentieth century, elaborate and prosperous Chinatown theaters in New York and San Francisco (from the 1920s to the early 1930s) constituted a golden age of Cantonese opera in the United States, a vivid musical life that has been almost completely expunged from U.S. cultural memory. Seeking a historical narrative for this musical past—preserving those vivid sonorities and glamorous images that “threaten to disappear irretrievably”—entails an examination of the actresses, actors, musicians, and playwrights who enlivened the stages of these opera theaters, as well as the audiences

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8

Lorusso, Mick. "Microbioenergy Theaters." Leonardo 48, no. 5 (2015): 430–33. http://dx.doi.org/10.1162/leon_a_00923.

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The author describes two recent sculptural projects with bacteria that produce electricity while decomposing organic matter, in a technology known as a microbial fuel cell. These works encourage a ludic relationship to microbes, allowing us to acknowledge their aptitude for building ordered societies that sustain many life systems in the environment and within us. Relationships between humans, technology and microbes emerge in these theatrical scenarios.

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9

Suchowiejko, Renata. "The musical theater in Kraków and Lviv around 1900: Social functions and cultural meanings." Studia Musicologica 58, no. 3-4 (2017): 379–97. http://dx.doi.org/10.1556/6.2017.58.3-4.6.

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At the turn of the nineteenth and twentieth centuries, Kraków was a flourishing city, both economically and artistically. During the period of Galician autonomy, Kraków was granted significantly greater political freedom than other Polish cities located in the Prussian or Russian partitions. For this reason it became an important center for cultivating national tradition. Lviv, as the capital of the Crownland of Galicia and Lodomeria, was one of the most important centers of scholarship, education, and culture in this region. The city was a multi-ethnic, multi-cultural, and multilingual conglo

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10

de Lucca, Valeria. "L'Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome." Journal of Musicology 28, no. 2 (2011): 195–230. http://dx.doi.org/10.1525/jm.2011.28.2.195.

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This article sheds new light onto the process of transformation of the figure of the opera patron in Rome during the mid-seventeenth century. Following the travels of Giovanni Filippo Apolloni's libretto Amor per vendetta, ovvero L'Alcasta, I trace the dissolution of the ubiquitous individual court patron of the earlier part of the century into a network of agents behind opera production in commercial contexts. In every phase of the story of L'Alcasta—its commission, plans for production, staging, dedication, and subsequent revivals—we can detect diverse agencies shaping the libretto and score

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11

Hauptman, Fred, Victor Pelissier, and Karl Kroeger. "Pelissier's Columbian Melodies: Music for the New York and Philadelphia Theaters." American Music 5, no. 4 (1987): 448. http://dx.doi.org/10.2307/3051453.

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12

Glixon (book author), Jonathan E., and Roseen Giles (review author). "Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music." Renaissance and Reformation 41, no. 2 (2018): 184–87. http://dx.doi.org/10.33137/rr.v41i2.29862.

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13

Bowen, Jean, Victor Pelissier, and Karl Kroeger. "Pelissier's Columbian Melodies: Music for the New York and Philadelphia Theaters." Notes 42, no. 3 (1986): 639. http://dx.doi.org/10.2307/897351.

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14

Rao, Nancy Yunhwa. "Songs of the Exclusion Era: New York Chinatown's Opera Theaters in the 1920s." American Music 20, no. 4 (2002): 399. http://dx.doi.org/10.2307/1350152.

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15

Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.

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This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions &ndash; musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is

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16

Panova, E. V. "THE BALLET "THE LITTLE HUMPBACKED HORSE" BY CESARE PUGNI: BORROWINGS AND CITATIONS OF MUSIC MATERIAL." Arts education and science 1, no. 4 (2020): 139–48. http://dx.doi.org/10.36871/hon.202004018.

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The article is devoted to one of the central works of creative heritage of the composer Cesare Pugni — the ballet "The Little Humpbacked Horse", which premiered on the stage of the Saint Petersburg Imperial Bolshoi (Stone) Theater in 1864 with choreography by Arthur Saint-Leon. "The Little Humpbacked Horse" was one of the ballets that survived the October Revolution of 1917 and was firmly established in the repertoire of Soviet theaters. For more than one hundred years, this work was very popular with the public, but due to the appearance of the ballet of the same name by R. K. Shchedrin, it w

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17

Talbot, Michael. "Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and their Music. By Jonathan E. Glixon." Music and Letters 99, no. 1 (2018): 110–12. http://dx.doi.org/10.1093/ml/gcy023.

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18

Giger, Andreas. "Social control and the censorship of Giuseppe Verdi's operas in Rome (1844–1859)." Cambridge Opera Journal 11, no. 3 (1999): 233–65. http://dx.doi.org/10.1017/s0954586700005061.

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In the 1840s and 1850s, four operas by Giuseppe Verdi (I due Foscari, La battaglia di Legnano, Il trovatore, and Un ballo in maschera) premiered at the theaters Argentina and Apollo in Rome. Two of these works (I due Foscari and Un ballo in maschera) had been rejected at other theaters because the authorities did not consider them concordant with the censorial requirements, and none of the four would have been permitted in Rome had the authorities applied the usual criteria. That they accepted them anyway suggests the process of censorship did not follow strict rules but was handled arbitraril

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19

Rozin, Vadim Markovich. "Transformation of the theater: ancient and New European theater, director's theater of the XX century, theater of "social changes"." Культура и искусство, no. 7 (July 2022): 96–114. http://dx.doi.org/10.7256/2454-0625.2022.7.38420.

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The author connects the analysis of the formation of the ancient theater with the formation of art in ancient Greece, theatrical communication (including the positions of the author, artist and viewer), theater as a special space, awareness of the art and nature of ancient Greek drama in the "Poetics" of Aristotle. In the culture of modern times, the ancient canon of the theater is being established anew, since ancient Greek works are being reinterpreted from the point of view of the relationship to the medieval heritage and the social reality of the emerging new time. The new socio-cultural s

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20

Corey, Ryan M., and Andrew C. Singer. "Turn the music down! Repurposing assistive listening broadcast systems to remove nuisance sounds." Journal of the Acoustical Society of America 151, no. 4 (2022): A165. http://dx.doi.org/10.1121/10.0010991.

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Many public venues, such as theaters and houses of worship, use assistive listening systems that broadcast a copy of the sound being played over a public address system to the listening devices of patrons with hearing loss. While these wireless systems are generally intended to amplify sound for listening device users, they can also be used to cancel nuisance sounds, such as loud background music that makes conversation difficult. In this work, we demonstrate a binaural listening device that uses an assistive listening system transmitter and receiver to attenuate music played through loudspeak

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21

Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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22

Fedotova, Yulia V., and Alexandr S. Fedotov. "MUSIC FESTIVAL AS AN EXPERIENCE OF PRESERVING THE CULTURAL MEMORY OF THE PEOPLE (RECONSTRUCTION OF THE URAL MUSIC FESTIVALS OF THE 1930S – 1970S)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 155–65. http://dx.doi.org/10.17223/22220836/43/12.

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The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily inc

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23

Vorobiov, Serhii. "Director's Analysis of Evolutionary Modifications of Mykola Lysenko's Work “Drowned”." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 233–48. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251824.

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The process of evolutionary modifications of M. Lysenko's work "Drowned" based on M. Gogol's play "May Night, or Drowned" from its first premiere (1884) to the present is considered. The relevance of the chosen topic in the context of self-identification of the nation against the background of transnationalization of art is clarified. The research methodology with the choice of system-analytical, historical-typological, comparative, genre-stylistic and interpretive methods is outlined. The purpose of the research is to determine the specifics of musical and directorial versions of the work, pe

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24

Ma, Guancong, Xiying Fan, Ping Sheng, and Mathias Fink. "Shaping reverberating sound fields with an actively tunable metasurface." Proceedings of the National Academy of Sciences 115, no. 26 (2018): 6638–43. http://dx.doi.org/10.1073/pnas.1801175115.

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A reverberating environment is a common complex medium for airborne sound, with familiar examples such as music halls and lecture theaters. The complexity of reverberating sound fields has hindered their meaningful control. Here, by combining acoustic metasurface and adaptive wavefield shaping, we demonstrate the versatile control of reverberating sound fields in a room. This is achieved through the design and the realization of a binary phase-modulating spatial sound modulator that is based on an actively reconfigurable acoustic metasurface. We demonstrate useful functionalities including the

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Sacks, Howard L. "Cork and Community: Postwar Blackface Minstrelsy in the Rural Midwest." Theatre Survey 41, no. 2 (2000): 23–50. http://dx.doi.org/10.1017/s0040557400003811.

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Nearly a century-and-a-half after urban professional entertainers first attained instant popularity for music, dance, and humor performed in blackface, amateur minstrels in the rural Midwest continued to pack school auditoriums and smalltown theaters with their homespun variety. Blackening their hands and faces with storebought makeup (the modern equivalent of the burnt cork of the nineteenth century), farmers and schoolteachers sang spirited renditions of “There's Nothin Like a Minstrel Show” mechanics and school board members donned tutus in an exotic ballet burlesque; and a realtor with a r

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Taruskin, Richard. "Crowd, mob, and nation in Boris Godunov: What did musorgsky think, and does it matter?" Studia Musicologica 52, no. 1-4 (2011): 123–42. http://dx.doi.org/10.1556/smus.52.2011.1-4.9.

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When Musorgsky revised his opera Boris Godunov in 1871–1872 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd beg Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin’s eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote h

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27

Taruskin, Richard. "Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter?" Journal of Musicology 28, no. 2 (2011): 143–65. http://dx.doi.org/10.1525/jm.2011.28.2.143.

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When Musorgsky revised his opera Boris Godunov in 1871–72 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd begs Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin's eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote hi

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28

Postolenko, Iryna. "PRACTICAL IMPLEMENTATION OF EDUCATIONAL PROGRAMS IN MODERN SCHOOLS IN GREAT BRITAIN." Psychological and Pedagogical Problems of Modern School, no. 2(6) (December 21, 2021): 13–19. http://dx.doi.org/10.31499/2706-6258.2(6).2021.247507.

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The article considers the practical implementation of educational programs in modern schools in Great Britain. The main methodological approaches to the implementation of the content of educational subjects are studied. The peculiarities of the organization of the pedagogical process during the study of core and basic subjects in British schools are studied in detail, namely, English, mathematics, science, art and design, citizenship, technology and design, geography, history, ICT, modern foreign languages, music, physical education, personal, social, health education, religious education. The

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Turchak, Lesia. "The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 62–68. http://dx.doi.org/10.32461/2226-0285.1.2021.238543.

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The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ o

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Pessarrodona, Aurèlia. "Viva, viva la Tirana." Journal of Musicology 39, no. 4 (2022): 469–539. http://dx.doi.org/10.1525/jm.2022.39.4.469.

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While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the

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Chechyk, V. "Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (2021): 85–95. http://dx.doi.org/10.33625/visnik2021.02.085.

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The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the facul

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Lobanova, I. V. "“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)." Aspects of Historical Musicology 14, no. 14 (2018): 50–62. http://dx.doi.org/10.34064/khnum2-14.04.

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Background. When Kharkiv was the capital of Ukraine (1917–1934), many outstanding artistic events were happening there, which have not been studied properly up to this day. Among them – an experiment is, that started in 1925. In this time in Kharkiv the Ukrainian National Opera and Ballet Theater was founded. Strictly speaking, the new theater was not created completely anew: the art of opera and ballet had the established traditions in Kharkiv to that time. Yet, it had not been free from certain provincial features, trying to imitate the style of well-known theaters. The new theater was meant

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Platoff, John. "Sarti's Fra i due litiganti and Opera in Vienna." Journal of the American Musicological Society 73, no. 3 (2020): 535–81. http://dx.doi.org/10.1525/jams.2020.73.3.535.

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Abstract Giuseppe Sarti's opera Fra i due litiganti, premiered in Milan in 1782, was the first great success of the reconstituted Italian opera company in Vienna in 1783. The opera sustained its enormous Viennese popularity for years, while also being performed in over one hundred other European cities by 1800. Mozart's quotation of the work in Don Giovanni testifies to its continuing appeal. But the version of the opera that was so successful in many parts of Europe differed substantially from the Milanese original. The surviving manuscript scores and printed librettos reveal that a standardi

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Bullock, Philip Ross. "Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia." Journal of Musicology 36, no. 2 (2019): 195–227. http://dx.doi.org/10.1525/jm.2019.36.2.195.

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As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This

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Kupfer, Peter. "Volga-Volga." Journal of Musicology 30, no. 4 (2013): 530–76. http://dx.doi.org/10.1525/jm.2013.30.4.530.

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Volga-Volga (1938), the third musical comedy made by the Soviet director-composer team of Grigory Aleksandrov and Isaak Dunayevsky, is one of the most emblematic films of the Soviet 1930s. Indeed, it won its makers a Stalin Prize in 1941 and was supposedly Stalin’s favorite film. But Volga-Volga was also a success with Soviet viewers: they flocked by the millions to see the film, which was still playing in theaters at the outbreak of war in June 1941. As a combination of slapstick comedy and memorable musical numbers that addressed an appropriately Soviet theme, the film clearly spoke to both

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Edgar, Grace. "Queers of Steel: Camp in John Williams's Superman (1978) and Jerry Goldsmith's Supergirl (1984)." Journal of the Society for American Music 15, no. 3 (2021): 321–44. http://dx.doi.org/10.1017/s1752196321000201.

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AbstractWhen Richard Donner's blockbuster Superman arrived in theaters in 1978, critics praised the filmmakers for avoiding camp in their adaptation of the comic book, comparing the film positively to the Batman television series (1966–68) of the previous decade. Several sequels later, critics attributed the series’ diminishing financial returns to its growing investment in camp, an investment that peaked in Jeannot Szwarc's Supergirl spinoff (1984), a critical and commercial misfire. Drawing on the work of camp theorists Susan Sontag, Moe Meyer, and Andrew Ross, I argue that critics have misr

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Doiar, Larуsa. "Music and speech content of the Radio magazine (1935)." Вісник Книжкової палати, no. 10 (October 28, 2019): 36–40. http://dx.doi.org/10.36273/2076-9555.2020.10(291).36-40.

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The presented article continues a series of author's investigations devoted to the annual analysis of book prints and periodicals, which were published in Ukraine at different times. The problem of development of music radio broadcasting in the Ukrainian Socialist Soviet Republic (USSR) is raised in the work. Based on the annual notebook of the all-Ukrainian scientific and technical magazine "Radio" for 1935, the author examines its music and speech content and concludes that despite the curtailment of the Ukrainization campaign, the magazine remained a platform for discussing the problems of

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Romashchuk, I. M. ""THE FRONT": MUSIC FOR A FILM AS AN ARCHIVAL DOCUMENT." Arts education and science 1, no. 2 (2020): 88–94. http://dx.doi.org/10.36871/hon.202002011.

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"Music and cinema" is an important and popular topic in modern science. Correlation of visual and sound text, author’s music and various quotations, special artistic means and traditional academic writing — these and many other things provide an opportunity to explore a film as a three-dimensional and multi-component whole, to update the knowledge about the work of those artists who are involved in film production. In this regard, music in cinema is a special and yet still insufficiently explored area. It is well known that the music in a film and the cinematographic score, created by the comp

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Cruz (book author), Anne J., María Cristina Quintero (book author), and Hilaire Kallendorf (review author). "Beyond Spain’s Borders: Women Players in Early Modern National Theaters." Renaissance and Reformation 41, no. 1 (2018): 176–78. http://dx.doi.org/10.33137/rr.v41i1.29529.

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Ma, Jean. "Sleeping in the Cinema." October, no. 176 (2021): 31–52. http://dx.doi.org/10.1162/octo_a_00425.

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Abstract In the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic

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Frey, Bruno S., and Werner W. Pommerehne. "L'Art Pour L'Art? Behavioral Effects of Performing Arts Organizations." Empirical Studies of the Arts 5, no. 1 (1987): 59–78. http://dx.doi.org/10.2190/bwxe-5x8r-qkc8-4w7u.

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The institutional forms of cooperative, profit-oriented (private) and government subsidized non-profit performing arts companies affect the behavior of their management systematically. Thus, the managers of profit-oriented theaters, operas, and orchestras tend to let plays run longer, to have a smaller number of new productions and a more narrow repertoire than do public companies. The number of rehearsals will, ceteris paribus, be smaller, and more plays suiting the preferences of the general public will be offered. These propositions are derived using the economic model of behavior looking a

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Sikorska, Iryna. "Volodymyr Baltarovych’s Musical and theatrical heritage in the context of the formation of the Ukrainian operetta of the 1930s (from the funds of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 364–77. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-21.

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Introduction. In the early 1930s, the task of creating a new Ukrainian operetta arose on Ukrainian soil, however, the ways and conditions of its implementation in Eastern and Western Ukraine differed significantly (state system, ideology, professional and production opportunities, etc. played its role). In “UnderSoviet” Ukraine, composers were in a better financial position: there were stationary specialized theaters with professional performers, state support. However, they had to glorify the “happy Soviet life” (in the conditions of mass repressions and the Holodomor) — mainly due to mass so

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CORNICI, Antonella. "Music – main character in theatre productions." Theatrical Colloquia 12, no. 2 (2022): 103–9. http://dx.doi.org/10.35218/tco.2022.12.2.11.

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"What we hear in a theatre production is as important as what we see. The sound universe has always been present in theatre, starting from the renowned gong sound and ending with the roaring of the applause. Let’s not forget that the gong is one of the oldest and most authentic musical instruments of all times, used for thousands of years in the healing and meditation ceremonies and maybe healing is a part of theatre’s mission. Music has invariably been a vital entity in theatre productions. In fact, the music in the shows came at the same time with the birth of theatre. Music is a “crucial in

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Semenova, E. Yu. "Study of Cultural and Recreational Space and Practices of the Volga Region Citizens during the First World War: Resources of Regional Periodicals." Herald of an archivist, no. 2 (2020): 516–28. http://dx.doi.org/10.28995/2073-0101-2020-2-516-528.

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The article analyzes the newspaper materials published in the Volga region during the First World War as a source for studying culture and leisure. Emphasis is placed on the use of publications that were not official. It is noted that newspapers were the main type of regional periodicals. With their diversity, it has been revealed that publications on the topic were in promotional content (announcements of the institutions activities, their programs); in special columns on the topic bearing characteristic titles (“Sport,” “Theater and music”); in op-ed and critical articles, which were placed

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Lo, Kii-Ming. "Ferruccio Busonis Weg zum Musiktheater." Archiv für Musikwissenschaft 79, no. 04 (2022): 274–313. http://dx.doi.org/10.25162/afmw-2022-0014.

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Yao, Shu-Nung, and Chang-Wei Huang. "Autonomous Technology for 2.1 Channel Audio Systems." Electronics 11, no. 3 (2022): 339. http://dx.doi.org/10.3390/electronics11030339.

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During the COVID-19 pandemic, smart home requirements have shifted toward entertainment at home. The purpose of this research project was therefore to develop a robotic audio system for home automation. High-end audio systems normally refer to multichannel home theaters. Although multichannel audio systems enable people to enjoy surround sound as they do at the cinema, stereo audio systems have been popularly used since the 1980s. The major shortcoming of a stereo audio system is its narrow listening area. If listeners are out of the area, the system has difficulty providing a stable sound fie

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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

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Locke, Ralph P. "The Exotic in Nineteenth-Century French Opera, Part 1: Locales and Peoples." 19th-Century Music 45, no. 2 (2021): 93–118. http://dx.doi.org/10.1525/ncm.2021.45.2.93.

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Nineteenth-century French opera is renowned for its obsession with “the exotic”—that is, with lands and peoples either located far away from “us” Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and “Gypsies” in Bizet’s Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, including the Opéra, the Opéra-Comique, and Offenbach’s Bouff

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Fenlon, Iain. "Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music. Jonathan E. Glixon. Oxford: Oxford University Press, 2017. xviii + 452 pp. $55." Renaissance Quarterly 71, no. 4 (2018): 1549–50. http://dx.doi.org/10.1086/702116.

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Krylovskaya, Izabella I. "Amateur Musical Theatre of the Russian Far East (1940s – 1980s)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 34–64. http://dx.doi.org/10.35852/2588-0144-2022-2-34-64.

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This article undertakes the first systematic study of the amateur music and theatre art of the Soviet Far East. Based on a wide range of unknown sources, the author traces the development and creative activity of the amateur music and theatre groups in the Magadan Region, Khabarovsk and Primorsky territories. Such theatre activity is considered by the author as one of the non-stationary form of the Far Eastern music theatre. As a result of the study, the author identifies general trends in the development of amateur musical theatres in all regions of the Far East: the heyday of activity is con

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