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Journal articles on the topic 'Mythology, Classical, in opera'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Spies, B. "Representation and function of characters from Greek antiquity in Benjamin Britten’s Death in Venice." Literator 23, no. 1 (2002): 1–18. http://dx.doi.org/10.4102/lit.v23i1.316.

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Lack of insight into Greek antiquity, more specifically the nature of classical tragedy and mythology, could be one reason for the negative reception of Benjamin Britten’s last opera Death in Venice. In the first place, this article considers Britten’s opera based on Thomas Mann’s novella as a manifestation of classical tragedy. Secondly, it is shown how mythological characters in Mann’s novella represent abstract ideas2 in Britten’s opera, thereby enhancing the dramatic impact of the opera considerably. On the one hand it is shown how the artist’s inner conflict manifests itself in a dialectic relationship between discipline and inspirat ion in Plato’s Phaedrus dialogue that forms the basis of Aschenbach’s monologue at the end of the opera. The conflict between Aschenbach’s rational consciousness and his irrational subconscious, on the other hand, is depicted by means of mythological figures, Apollo and Dionysus. Two focal points in the opera, namely the Games of Apollo at the end of Act 1 and the nightmare scene which forms the climax of the opera in Act 2, are used to illustrate the musical manifestation of this conflict.

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2

Burgess, Geoffrey. "Enlightening Harmonies: Rameau's corps sonore and the Representation of the Divine in the tragédie en musique." Journal of the American Musicological Society 65, no. 2 (2012): 383–462. http://dx.doi.org/10.1525/jams.2012.65.2.383.

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Abstract In his late writings, Jean-Philippe Rameau attributed mystical, almost divine qualities to the corps sonore, a fundamental element in his theory of harmonic generation. This article traces the use that Rameau made of the corps sonore in his stage works as part of a tradition of the oracular pronouncements in the French opera. In addition to using it to symbolize enlightenment, starting from the late 1740s Rameau used it to accompany the spells of the benevolent magicians who take the place of the deities of Classical mythology. The fact that the librettist of these works, Louis de Cahusac, was closely associated with Freemasonry substantiates a case for the influence of progressive philosophy over Rameau. This impacted not only the thematics of his stage works, but the symbolic use of the corps sonore in his musical philosophy and the political message conveyed through his operas.

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3

Чупова, А. Г. "Denatured Mythology and Artistic “Ambigu”: “Cailles en Sarcophage” by Salvatore Sciarrino." OPERA MUSICOLOGICA, no. 2023 (March 27, 2023): 32–65. http://dx.doi.org/10.26156/om.2023.15.1.003.

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«Перепела в саркофаге» (1979) — одна из ранних театральных работ Сальваторе Шаррино, написанная по заказу Венецианского музыкального биеннале. Предметом статьи является поэтика оперы, а также механизмы деформирования образа реальности, лежащие в основе мифов массовой культуры ХХ века и ставшие одной из композиторских стратегий, позволяющих выявить основную тему «Перепелов» — непрочность и переменчивость восприятия. Мифология, изъеденная потреблением, или, как ее называет Шаррино, «денатурированная мифология» нашла отражение в сложной интертекстуальной структуре либретто, которое включает в себя фрагменты литературных произведений и пьес, мемуаров и документальной хроники, философско-эстетических и научных эссе, поэзии и текстов эстрадных шлягеров 1920–40-х годов. Контаминация несовместимых компонентов («художественное „амбигю“») становится руководящим драматургическим принципом, проникающим на вербальный, визуальный и музыкально-стилевой уровни сценического синтеза оперы. В фокусе внимания автора также оказываются: воплощение трех сквозных образов-архетипов (Сирены, Идеальные Голоса и Платье), определяющих шарриновскую концепцию денатурированной мифологии; рассмотрение музыкально-драматургических и композиционных закономерностей «Перепелов», в основе которых лежат повторяющиеся «мифические схемы»; характеристика принципов структурирования и взаимодействия семантических слоев оперы, пения и разговорного диалога; изучение механизмов включения и стратегий искажения заимствованного материала из классической музыки, американских джазовых стандартов и европейских шлягеров первой половины ХХ века. Cailles en sarcophage (1979) is one of Salvatore Sciarrino’s early theatrical works, commissioned by the Venice Music Biennale. The subject of the article is the poetics of the opera, as well as the mechanisms of deformation of the image of reality, which underlie the myths of mass culture of the 20th century and have become one of the composer’s strategies that make it possible to identify the main theme of Cailles — fragility and variability of perception. Mythology distorted by consumption, or, as Sciarrino calls it, “denatured mythology” reveals itself in the complex intertextual structure of the libretto, which includes fragments of literary works and plays, memoirs and documentary chronicles, philosophical, aesthetic and scientific essays, poetry and texts of pop hits of the 1920–1940s. Contamination of incompatible components (the “artistic ambigu”) becomes a guiding dramaturgical principle that penetrates the verbal, visual and musical-stylistic levels of the stage synthesis of the opera. The author’s attention is also focused on: the embodiment of three end-to-end archetype images (Sirens, Ideal Voices and Dress), defining Sciarrino’s concept of denatured mythology; consideration of the musical, dramatic and compositional features of Cailles, which are based on repetitive “mythical schemes”; characteristics of the principles of structuring and interaction of semantic layers of opera, singing and conversational dialogue; study of the inclusion mechanisms and strategies for distorting citations from classical music, American jazz standards and European hits of the first half of the 20th century.

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4

MANTOROVA, ANNA. "THE PERM INTELLIGENT VIEWER AT THE MEETING WITH HIGH MUSICAL ART (BASED ON THE MATERIALS OF THE ANTHROPOLOGICAL RESEARCH IN PERM)." Культурный код, no. 2024-1 (2024): 47–58. http://dx.doi.org/10.36945/2658-3852-2024-1-47-58.

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The article examines the image of the Perm musical theatrе's viewer, formed in the theatrical environment of the regional center in 2011-2019. It was established that the myth designed by the artistic director of The Perm Tchaikovsky Opera and Ballet Theatre allows the neophyte to enter the traditionally closed world of classical music by building a specific plot (the logic of the fairy tale). The methodology is based on the concept of V. Ya. Propp. Using its language, the author indicates the stages of the intelligent viewer’s entry into the world of musical theatre. The process of becoming the viewer is based on the concept’s key elements (rite of passage - the madness of the neophyte - mastering the “cunning science”), which exist in the form of the plot’s “embryos” in the personal mythology of T. Currentzis. The main mythological motifs and images read by viewers influence the formation of their own practices of self-presentation. Focused interviews with viewers in Perm, which were conducted by the author in 2016-2019, are used as a source.

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5

Savenko, S. I. "The Vitality of Music: From the Origins to the Realities of Non-Classics." Art & Culture Studies, no. 2 (June 2022): 10–55. http://dx.doi.org/10.51678/2226-0072-2022-2-10-55.

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The subject of the article is the phenomenon of vitality in music. It is considered as a generic feature of music dating back to its origins and early forms. The historical evolution of musical vitality is briefly described, presented on individual examples, starting from the late Baroque, the works by I. Haydn, L. Beethoven, R. Wagner, A. Scriabin up to D. Shostakovich and the composers of the second half of the 20th — first third of the 21st centuries, to whom the main attention is paid. The purpose of the article is to identify specific, relatively stable forms of vitality’s manifestation which materialize both in individual elements of the musical language (such, for example, is the new monody that arose with the birth of opera at the beginning of the 17th century), and in integral phenomena of a systematic order. Among the stylistic events of the second kind, the article is specifically examined the concept of creation, the gesture of birth. Gradually, it crystallizes in music as thematic constant (based on biblical mythology, as in Haydn’s Creation of the World oratorio), but eventually emancipates from the plot basis, acquiring the universal significance. The result of the research is the identification of the mythological origins of the concept of creation; in some cases they come to the forefront (Introduction to the opera The Rhinegold by Wagner; Stimmung for six vocalists and electronics by K. Stockhausen). Another version of the concept of creation is formed in line with the romantic tradition. Then the birth of the world is associated with the lonely voice of the hero — the initial monologue of the solo instrument dramatically opposed to the orchestral mass (works of the concert genre by A. Schnittke, S. Gubaidulina, W. Lutosławski, B. Tishchenko, E. Denisov). In all such cases, the heightened sense of vitality is enhanced by special performing techniques. In the new music, the concept of creation is further developed and logically completed. The gesture of creation is no longer answered by the final statement of existence but by the gesture of destruction, annihilation of sound material — attenuation, acoustic extinction. The feeling of vitality in such compositions is specific, since musical material lives in them according to its own laws as if it doesn’t need a mirror of the subject (large orchestral compositions by Ch. Ives, Ya. Ksenakis, V. Tarnopolsky). The new music “brings to play” other non-classical aspects of vitality associated with threshold states on the verse of life and death. Starting with I. Stravinsky’s ballet The Rite of Spring the vitality of transgression becomes a noticeable phenomenon of contemporary music.

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6

PHILLIPS, C. ROBERT. "MISCONCEPTUALIZING CLASSICAL MYTHOLOGY." Bulletin of the Institute of Classical Studies 37, Supplement_58 (1991): 143–51. http://dx.doi.org/10.1111/j.2041-5370.1991.tb02209.x.

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7

Pérez López, Héctor Julio. "Opera Narratives: From Mythology to Audiovisual Aesthetics." International Journal of Technology, Knowledge, and Society 1, no. 1 (2006): 62–69. http://dx.doi.org/10.18848/1832-3669/cgp/v01i01/55587.

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8

Segal, Robert A., and William Hansen. "Handbook of Classical Mythology." Journal of American Folklore 121, no. 481 (2008): 366. http://dx.doi.org/10.2307/20487617.

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9

Frauenfelder, David. "Popular Culture and Classical Mythology." Classical World 98, no. 2 (2005): 210. http://dx.doi.org/10.2307/4352933.

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10

Mayer, Roland. "CLASSICAL HEROINES IN OPERA." Classical Review 53, no. 1 (2003): 234–35. http://dx.doi.org/10.1093/cr/53.1.234.

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11

Kyyanovska, Luba. "Operas by Mykola Lysenko in the Context of Romantic Slavic Schools of the 19th Century." Edukacja Muzyczna 18 (2023): 137–53. http://dx.doi.org/10.16926/em.2023.18.08.

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For the dissemination of historical memory or the portrayal of national myth, opera was the most appropriate instrument. Romanticism was a period during which many of Europe’s national identities were formed. The primary function of the opera at the time was to return to national mythology and history. The focus of this contribution are the operas by Mykola Lysenko (Миколa Лисенкo, 1842–1912), the founder of the Ukrainian school of composition. These works, which are largely unknown in Poland, represent an interesting interpretation of the principles of the genre of the Romantic opera. They are based on folk mythology and historical themes, typical of many Slavic schools of composition. The article discusses Mykola Lysenko’s role among the representatives of the Slavic opera. Emphasis is placed on the importance of his work seen as a symbol of the ‘national spirit’, reflected in the content of the opera through the incorporation of historic traditions and myths, customs, folk rituals, etc. The article also compares Lysenko’s operatic oeuvre with the national opera genre in the legacy of artists belonging to other Slavic national schools: in Poland (Stanisław Moniuszko), the Czech Republic (Bedřich Smetana, Antonín Dvořák) and Russia (representatives of ‘The Five’, mainly Modest Mussorgsky, Alexander Borodin and Nikolai Rimsky-Korsakov). Attention is drawn to several common features common to most composers of the Slavic schools of opera, such as: — synthesis of the ‘general European technique’ of composition with national tradition; — remarkable range of themes and genres related to national themes (often with a folkloric flavour expressing these themes in a multitude of ways, using the widest range of varieties and genre models of the opera); — fusion of folk themes with generally accepted forms and means of expression in professional music of the period, prevalent in the Romantic style and post-Romantic influences.

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12

Kyyanovska, Luba. "Operas by Mykola Lysenko in the Context of Romantic Slavic Schools of the 19th Century." Edukacja Muzyczna 18 (2023): 155–71. http://dx.doi.org/10.16926/em.2023.18.09.

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For the dissemination of historical memory or the portrayal of national myth, opera was the most appropriate instrument. Romanticism was a period during which many of Europe’s national identities were formed. The primary function of the opera at the time was to return to national mythology and history. The focus of this contribution are the operas by Mykola Lysenko (Миколa Лисенкo, 1842–1912), the founder of the Ukrainian school of composition. These works, which are largely unknown in Poland, represent an interesting interpretation of the principles of the genre of the Romantic opera. They are based on folk mythology and historical themes, typical of many Slavic schools of composition. The article discusses Mykola Lysenko’s role among the representatives of the Slavic opera. Emphasis is placed on the importance of his work seen as a symbol of the ‘national spirit’, reflected in the content of the opera through the incorporation of historic traditions and myths, customs, folk rituals, etc. The article also compares Lysenko’s operatic oeuvre with the national opera genre in the legacy of artists belonging to other Slavic national schools: in Poland (Stanisław Moniuszko), the Czech Republic (Bedřich Smetana, Antonín Dvořák) and Russia (representatives of ‘The Five’, mainly Modest Mussorgsky, Alexander Borodin and Nikolai Rimsky-Korsakov). Attention is drawn to several common features common to most composers of the Slavic schools of opera, such as: — synthesis of the ‘general European technique’ of composition with national tradition; — remarkable range of themes and genres related to national themes (often with a folkloric flavour expressing these themes in a multitude of ways, using the widest range of varieties and genre models of the opera); — fusion of folk themes with generally accepted forms and means of expression in professional music of the period, prevalent in the Romantic style and post-Romantic influences.

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13

Bär, Silvio. "The Nature and Characteristics of the Gods in Classical Mythology." Symbolae Philologorum Posnaniensium Graecae et Latinae 30 (December 15, 2020): 7–46. http://dx.doi.org/10.14746/sppgl.2020.xxx.1.

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This article is intended for students and teachers of classical mythology. It gives an overview of the nature and the characteristics of the gods in Greek and Roman mythology, explaining what the Greek and Roman gods are and what they are not. Furthermore, the relationship between gods and humans in classical mythology is discussed.

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14

Retief, F. P., and J. F. G. Cilliers. "Eunuchs in classical mythology and society." Suid-Afrikaanse Tydskrif vir Natuurwetenskap en Tegnologie 21, no. 4 (2002): 121–28. http://dx.doi.org/10.4102/satnt.v21i4.237.

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The term eunuch is defined as referring to a castrated person (usually a male) and differentiated from the so-called “congenital eunuch” where hypogonadism is due to gonadal dysfunction from birth. The origins of human castration in creational mythology and castration for religious reasons as part of myths regarding goddesses of earth and fertility are reviewed. Ancient cults involving castrated priests serving goddesses like Cybele, Hecate, Atargatis-Dea, Astarte, Artemis and Innana-Ishtar are described and their later influence on Greece and Rome detailed. Human castration for non-religious socio-economic considerations arose in the Middle East during the 2nd millennium BC and probably reached Greece in the 5th century BC and Rome two centuries later. The role and influence of eunuchs in Classical times are reviewed.

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15

Biers, William R., and Robert E. Bell. "Place Names in Classical Mythology: Greece." Classical World 83, no. 4 (1990): 365. http://dx.doi.org/10.2307/4350647.

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16

Maxfield, Jennifer, Jennifer Connor, and Kevin Doll. "Increasing Personal Agency Through Classical Mythology." Journal of Feminist Family Therapy 21, no. 3 (2009): 216–23. http://dx.doi.org/10.1080/08952830903079086.

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17

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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18

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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19

Leighton, Alexander. "RE-DISCOVERING MYTHOLOGY: ADAPTATION AND APPROPRIATION IN THE PERCY JACKSON AND THE OLYMPIANS SAGA." Mousaion: South African Journal of Information Studies 32, no. 2 (2016): 60–73. http://dx.doi.org/10.25159/0027-2639/1690.

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Buchbinder (2011:128) writes that adaptations are often regarded as barely a step away from plagiarism; however, he notes that â€˜much of the literary output of classical Greek culture, for instance, consisted of reworkings of already familiar narrativesâ€™. His point is not only true of the classical Greek output, but of a contemporary adolescent fantasy saga, Riordanâ€™s Percy Jackson and the Olympians (2006â€“2011), which retells many of the classical Greek mythological narratives in a contemporary setting. Given that many adolescent audiences may be unfamiliar with the root narratives, the Percy Jackson and the Olympians saga serves the function of re-introducing an audience to classical mythology, thereby helping them to rediscover their value. This article argues that by skilfully adapting and appropriating the monomythic hero-journeys of Greek mythology, and by retelling them within a contemporary narrative, Riordan is creating a space where readers, possibly unfamiliar with the root classical narratives, can re-discover classical mythology.

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20

Zhang, Yu. "Cultural Roots and Artistic Growth: Traditional Elements and Innovation in Modern Yue Opera Productions." Studies in Art and Architecture 3, no. 1 (2024): 21–25. http://dx.doi.org/10.56397/saa.2024.03.03.

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This paper delves into the intricate interplay between tradition and innovation in Yue Opera, a traditional Chinese performing art form with roots tracing back to the early 20th century in the Zhejiang province. By exploring the historical development and key features of traditional Yue Opera, including its distinctive performance style, musical elements, and visual aesthetics, the study establishes a comprehensive foundation. The cultural roots of Yue Opera, deeply embedded in Chinese folklore and mythology, are unveiled, revealing its role as a living repository of timeless tales and profound symbolism. Beyond narrative content, the art form is intricately connected to regional Chinese culture, playing a vital role in local traditions and celebrations. The paper also examines the challenges and criticisms faced by Yue Opera as it navigates the delicate balance between preserving traditional elements and embracing contemporary innovation. In exploring case studies and noteworthy productions, the research sheds light on successful instances of blending tradition and innovation, providing valuable insights into the dynamic evolution of Yue Opera. The conclusion emphasizes the significance of this delicate equilibrium, calling for continued exploration and development to ensure the enduring vitality of Yue Opera in the ever-changing landscape of Chinese performing arts.

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21

Atashkadeh, Ruslana, Maryna Honcharenko, and Yuliia Sierova. "THE ESSENCE AND PECULIARITIES OF THE SOCIA MYTHOLOGY`S STRUCTURAL ELEMENTS IN THE MODERN SOCIETY." Politology bulletin, no. 86 (2021): 59–71. http://dx.doi.org/10.17721/2415-881x.2021.86.59-71.

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The article attempts to consider social myth-making as an integral mechanism of modern society. The essence and specifics of structural elements of social mythology are analyzed, its role in the construction of social reality is outlined. A comparative analysis of classical and social mythology. Based on this, we were able to identify the essential characteristics of social myth and show that social myth is, on the one hand, an effective mechanism for emotional consolidation of society, and on the other hand, an effective means of influencing human consciousness. It is emphasized that modern social mythology is narrowly specialized and focused on the specific relationship between the individual and society. It is proved that in modern society not only the view of the problem of social mythology changes, but also the very nature of social mythology. Mythology is becoming more artificial, man-made. It increasingly serves the needs of the authorities and elites, is deliberately produced, and therefore acquires a target audience and specific purpose, and is less and less reminiscent of classical mythology. However, the danger is not in itself social mythology, or even the manipulative design of its creators, and the inability of public and individual consciousness to resist its influence. Only by increasing the reflectivity, maturity of consciousness, the individual can resist the influence of social mythology and help to overcome its negative consequences.

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22

Gnezdilova, Elena. "MYTHOLOGY OF ORPHEUS IN CLASSICAL CULTURAL TRADITION." Проблемы исторической поэтики 19, no. 3 (2021): 35–52. http://dx.doi.org/10.15393/j9.art.2021.9542.

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The article examines the peculiarities in the formation of the Orpheus mythologeme in the ancient cultural tradition. An analysis of the works of ancient authors, including Pindar, Aeschylus, Euripides, Apollonius of Rhodes, Virgil and Ovid allows to single out the specifics of creating the image of Orpheus. The latter is seen by the above-mentioned authors not only as a poet and musician who had lost his beloved Eurydice, but also as the founder of cult rites known as Orphic mysteries. “Orphism” as a system of religious and philosophical views became most widespread in the era of Peisistratus in the 6th century BC in Attica. Dionysus, revered by the Orphic, was important for farmers as a deity of eternal rebirth and powerful natural forces. In the ancient cultural tradition, the image of Orpheus develops under a double sign: both Apollo and Dionysus. The ideas of Orphic philosophy can be found in the religious and philosophical teachings of the Pythagorean school and in the writings of Plato. The original transformation of the Orphic-Pythagorean ideas and the mythologeme of Orpheus occurs in Virgil’s Georgics and Ovid’s Metamorphoses, which are also the subject of this article. The comparative historical analysis of artworks and philosophical treatises of antiquity carried out in the course of this study indicates that the mythologeme of Orpheus in the ancient cultural tradition is an example of the embodiment of the syncretic unity of art and religion in the archaic consciousness.

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23

Robert A. Segal. "Handbook of Classical Mythology (review)." Journal of American Folklore 121, no. 481 (2008): 366–67. http://dx.doi.org/10.1353/jaf.0.0026.

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24

Preti, A., and P. Miotto. "Suicide in classical mythology: cues for prevention." Acta Psychiatrica Scandinavica 111, no. 5 (2005): 384–91. http://dx.doi.org/10.1111/j.1600-0447.2004.00488.x.

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25

Sham, Michael. "Dictionary of Classical Mythology by Jenny March." Classical World 108, no. 4 (2015): 576–77. http://dx.doi.org/10.1353/clw.2015.0061.

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26

Fowler, Robert L., and Wolfgang G. Haase. "Classical mythology and Nineteenth-Century English Literature." International Journal of the Classical Tradition 5, no. 3 (1999): 335. http://dx.doi.org/10.1007/bf02687691.

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27

Hall, Edith. "Classical mythology in the Victorian popular theatre." International Journal of the Classical Tradition 5, no. 3 (1999): 336–66. http://dx.doi.org/10.1007/bf02687692.

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선정규. "Comparative Research on Chinese Classical Mythology and Greek Mythology - The Sinilarities and Uniqueness -." JOURNAL OF CHINESE STUDIES ll, no. 40 (2013): 213–46. http://dx.doi.org/10.26585/chlab.2013..40.009.

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29

Miller, James D., and Debbie Felton. "Using Greek Mythology to Teach Game Theory." American Economist 46, no. 2 (2002): 69–79. http://dx.doi.org/10.1177/056943450204600207.

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This paper presents eight stories from classical Greek mythology which illustrate economic theories of truth inducement and separating equilibria. Since many students already have some familiarity with Greek mythology, these stories make ideal classroom examples.

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30

Watson, Peter J., and Thomas J. Hixon. "Respiratory Kinematics in Classical (Opera) Singers." Journal of Speech, Language, and Hearing Research 28, no. 1 (1985): 104–22. http://dx.doi.org/10.1044/jshr.2801.104.

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Anteroposterior diameter changes of the rib cage and abdomen were recorded during respiratory, speaking, and singing activities in six adult male subjects, all baritones with extensive classical singing training and performance experience. Data were charted to solve for lung volume, volume displacements of the rib cage and abdomen, and inferred muscular mechanisms. Separate major roles were inferred for different parts of the respiratory apparatus in the singing process. The abdomen served as a posturing element that mechanically tuned the diaphragm and rib cage to optimal configurations for performance. The rib cage operated as a pressure-flow generating element that regulated expiratory drive. And, the diaphragm functioned as an inspiratory element devoted to reinflating the lungs. Subjects' descriptions of how they thought they breathed during singing bore little correspondence to how they actually breathed. Implications for the training of singers are offered.

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Lepelley, Claude. "THE USE OF SECULARISED LATIN PAGAN CULTURE BY CHRISTIANS." Late Antique Archaeology 6, no. 1 (2010): 475–92. http://dx.doi.org/10.1163/22134522-90000142.

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The attitudes of educated Christians to the pagan literary culture of Late Antiquity have long attracted scholarly debate. Jerome and Augustine express the unease that many Christian men of letters felt, and Christian apologists repeatedly attacked the absurdity and immorality of pagan mythology. Yet both Jerome and Augustine nevertheless believed that classical culture could contribute to the Christian life, and mythology remained a source of inspiration for certain Christian authors. This is demonstrated vividly by the writings of two important late antique figures, Sidonius Apollinaris in 5th c. Gaul and the 6th c. African poet Corippus. In their works we can trace an evolving acceptance of classical mythology as a cultural rather than religious inheritance, moving towards the later Christian Humanism of the Renaissance.

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32

Masyandjinova, Alexandra Vadimovna. "Dynamics of Opera Screen Forms: Theoretical Aspects." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 51–60. http://dx.doi.org/10.17816/vgik6351-60.

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The article investigates the development of screen opera, touching upon the incompleteness of the evolution of opera screen forms, the convergence of screen culture and classical opera as well as the growing influence of screen art-forms on the opera which cannot exist without video technologies today.

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Neils, Jenifer, and Frances van Keuren. "Guide to Research in Classical Art and Mythology." American Journal of Archaeology 98, no. 4 (1994): 783. http://dx.doi.org/10.2307/506562.

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34

Nugent, S. Georgia, and Martha A. Malamud. "A Poetics of Transformation: Prudentius and Classical Mythology." Classical World 84, no. 4 (1991): 325. http://dx.doi.org/10.2307/4350837.

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Steiner, Ann, and Frances Van Keuren. "Guide to Research in Classical Art and Mythology." Classical World 87, no. 3 (1994): 247. http://dx.doi.org/10.2307/4351479.

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36

Van den Kerchove, Anna. "Helen Morales, Classical Mythology. A Very Short Introduction." Archives de sciences sociales des religions, no. 142 (June 1, 2008): 191–321. http://dx.doi.org/10.4000/assr.15773.

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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.

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Ferguson, Daniel, Joel Beaudemont, and Pierre Bois. "The Peony Pavilion: Chinese Classical Opera Kunqu." Yearbook for Traditional Music 30 (1998): 198. http://dx.doi.org/10.2307/768603.

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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical Study of Classical Peking Opera Singing." Journal of Voice 26, no. 2 (2012): 137–43. http://dx.doi.org/10.1016/j.jvoice.2011.01.001.

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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical study of classical Peking opera singing." Journal of the Acoustical Society of America 131, no. 4 (2012): 3376. http://dx.doi.org/10.1121/1.4708730.

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Gorlée, Dinda L. "Intersemioticity and intertextuality: Picaresque and romance in opera." Sign Systems Studies 44, no. 4 (2016): 587–622. http://dx.doi.org/10.12697/sss.2016.44.4.06.

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Jakobson introduced the concept of intersemioticity as transmutation of verbal signs by nonverbal sign systems (1959). Intersemioticity generates the linguistic-and- cultural elements of intersemiosis (from without), crystallizing mythology and archetypal symbolism, and intertextuality (from within), analyzing the human emotions in the cultural situation of language-and-music aspects. The operatic example of Ibsen’s Peer Gynt (1867) intertextualized the cultural trends of Scandinavia. This literary script was set to music by Grieg to make an operatic expression. After the “picaresque” adventures, Peer Gynt ends in a “romantic” revelation. Grieg’s music reworded and rephrased the script in musical verse and rhythm, following the intertextuality of Nordic folk music and Wagner’s fashionable operas. Ibsen’s Peer Gynt text has since been translated in Jakobson’s “translation proper” to other languages. After 150 years, the vocal translation of the operatic text needs the “intersemiotic translation or transmutation” to modernize the translated text and attract present-day audiences.

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Holman, Anna. "Interlingual = Intercultural in Kayoi Komachi/Komachi Visited: A Noh Chamber Opera." TDR/The Drama Review 63, no. 3 (2019): 164–71. http://dx.doi.org/10.1162/dram_a_00863.

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In their intercultural production Kayoi Komachi/Komachi Visited, creators Colleen Lanki and Farshid Samandari experimented with mixing Japanese noh and Western chamber opera, blending noh and opera music, classical Japanese and English. For this noh opera, which hybridized theatrical styles through language, interlingualism was key to its interculturality.

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HUEBNER, STEVEN. "‘O patria mia’: Patriotism, dream, death." Cambridge Opera Journal 14, no. 1-2 (2002): 161–75. http://dx.doi.org/10.1017/s0954586702000113.

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Idealized mother figure, great protectress, unsurpassed magician, devoted wife of Osiris: the goddess Isis assumed multiple roles in ancient Egyptian mythology. Verdi's Aida reflects this polysemy. Concordant with its general attention to Egyptological detail (though not without inaccuracies even by the standards of the day), Auguste Mariette's early synopsis for the opera refers to Isis only once, at the beginning of Act III when Aida awaits Radames: ‘May Isis, protectress of love, guide him to her who wants to belong only to him’.

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Khamidova, Marfua. "Vocal Art: Development Factors (From The History Of The Formation Of Fundamental Values)." Eurasian music science journal, no. 1 (May 25, 2021): 23–44. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/49.

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This article deals with the factors that played an essential role in the development of European Opera art and academic singing, which was formed by taking all the best that was developed over the centuries, forming criteria for the ideal sound image, starting with classical, romantic Opera and Opera verism and modernist concepts of the early twentieth century.

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Parker, Lois J., and Robert Eisner. "The Road to Daulis: Psychoanalysis, Psychology, and Classical Mythology." Classical World 82, no. 3 (1989): 215. http://dx.doi.org/10.2307/4350373.

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Mench, Fred, and Jane Davidson Reid. "The Oxford Guide to Classical Mythology in the Arts." Classical World 89, no. 3 (1996): 235. http://dx.doi.org/10.2307/4351802.

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Wasserstein, David. "Classical mythology in an eleventh-century Hispano-Muslim geographer." Peritia 5 (January 1986): 404–8. http://dx.doi.org/10.1484/j.peri.3.145.

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Peyré, Yves. "Deciphering Classical Mythology in Renaissance Drama: Questions of Methodology." Cahiers Élisabéthains: A Journal of English Renaissance Studies 51, no. 1 (1997): 15–27. http://dx.doi.org/10.1177/018476789705100106.

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Lee, Nick, and Graham Hooley. "The evolution of “classical mythology” within marketing measure development." European Journal of Marketing 39, no. 3/4 (2005): 365–85. http://dx.doi.org/10.1108/03090560510581827.

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Catty, Jocelyn. "Suicide in classical mythology: not just a case-series?" Acta Psychiatrica Scandinavica 112, no. 5 (2005): 402. http://dx.doi.org/10.1111/j.1600-0447.2005.00635.x.

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