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Relevant bibliographies by topics / Opera Reform

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Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Opera Reform'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Opera Reform"

1

Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages

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Cabrini, Michele. "Recalibrating Reform." Journal of Musicology 35, no. 2 (2018): 183–222. http://dx.doi.org/10.1525/jm.2018.35.2.183.

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The opera Telemaco, with a libretto by Marco Coltellini and music by Christoph Gluck, occupies a unique position as an opera seria that negotiates both tradition and reform. Scholars have long criticized the opera because of its ill-shaped libretto and uneven musical setting. This article contributes to the ongoing debate about operatic reform by reevaluating Telemaco based on its literary sources—Homer’s Odyssey and Fénelon’s novel Télémaque (1699). The absorption of Homer and Fénelon into the fabric of Telemaco goes well beyond adaptation, touching both its general dramaturgy and the specifi

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Militello, Matthew, and Christopher Janson. "The Urban School Reform Opera." Education and Urban Society 46, no. 7 (2012): 743–72. http://dx.doi.org/10.1177/0013124512468007.

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BUTLER, MARGARET R. "PRODUCING THE OPERATIC CHORUS AT PARMA’S TEATRO DUCALE, 1759–1769." Eighteenth Century Music 3, no. 2 (2006): 231–51. http://dx.doi.org/10.1017/s1478570606000595.

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Italian opera is increasingly receiving well deserved attention. Yet the process by which the chorus in opera seria was created remains largely unexplored. Between 1759 and 1769 Tommaso Traetta and Christoph Gluck composed path-breaking, reform-inspired opere serie for Parma’s Teatro Ducale which integrated chorus, dance and stage spectacle in the French manner. In an era when operatic choruses usually comprised amateurs and chapel singers, evidence from printed librettos and documents from Parma’s Archivio di Stato reveal that many of the Teatro Ducale’s choristers were professional singers h

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Lockhart, Ellen. "Pimmalione: Rousseau and the Melodramatisation of Italian Opera." Cambridge Opera Journal 26, no. 1 (2014): 1–39. http://dx.doi.org/10.1017/s0954586713000347.

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AbstractThis article traces the Italian reception of Jean-Jacques Rousseau and Horace Coignet’sPygmalion(1770), ultimately arguing that the influence of early melodrama (and not the better-remembered Viennese reform) was behind the emergence of a style of speech-like singing and gestural mirroring in Italian opera in the decades immediately around 1800. Rousseauian melodrama was one of a few related projects subsuming the spoken word within the domain of music during the 1770s and 1780s; another was Joshua Steele’sProsodia rationalis, which proposed a system of modified music notation in order

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Harwood, Gregory W. "Verdi's Reform of the Italian Opera Orchestra." 19th-Century Music 10, no. 2 (1986): 108–34. http://dx.doi.org/10.2307/746639.

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Harwood, Gregory W. "Verdi's Reform of the Italian Opera Orchestra." 19th-Century Music 10, no. 2 (1986): 108–34. http://dx.doi.org/10.1525/ncm.1986.10.2.02a00020.

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이경희. "The Process of Development in Gluck's Reform Opera." 이화음악논집 17, no. 1 (2013): 1–26. http://dx.doi.org/10.17254/jemri.2013.17.1.001.

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Shi, Zhixuan. "Discussion on the Rudiment, Transformation and Fusion of Opera Music." Journal of Educational Theory and Management 1, no. 1 (2017): 113. http://dx.doi.org/10.26549/jetm.v1i1.586.

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Music is the core power to promote the development of opera and to thoroughly understand its early form and development track in the domain of opera art. It plays an important role in the comprehensive understanding of the artistic nature of operamusic. Opera music originated from the inheritance of excellent music culture in history, the song and dance drama in Tang Dynasty,Zaju in the Song Dynasty and Jinyuanben (a kind of Chinese ancient traditional opera) had began to form the rudiment of opera music before forming into independent musical system. The reform of the development of the opera

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Price, Curtis, Judith Milhous, and Robert D. Hume. "A Royal Opera House in Leicester Square (1790)." Cambridge Opera Journal 2, no. 1 (1990): 1–28. http://dx.doi.org/10.1017/s0954586700003086.

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The King's Theatre, Haymarket, was destroyed by fire in June 1789. Shortly thereafter some wealthy and powerful patrons – notably the Prince of Wales (the future George IV), the Duke of Bedford and the Marquis of Salisbury – launched an ambitious scheme to build a fabulously expensive Royal Opera House in Leicester Square. The venture was designed to re-establish London as a major centre for Italian opera and ballet, to reform the wayward financial and artistic management of the King's Theatre and to give the capital city a grand opera house of modern design that would rival any in Europe. Bec

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Dissertations / Theses on the topic "Opera Reform"

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Jessup, Sarah Huntington. "Staging traditional Chinese opera in the reform era conflicting local identities in modernization /." online access from Digital Dissertation Consortium access full-text, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3016872.

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Baysted, Stephen John Xavier. "From 'Le cri de la nature' to 'Pygmalion' : a study of Jean-Jacques Rousseau's philosophy of music and aesthetic and reform of opera." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2742.

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The thesis sets Rousseau's philosophy of music and aesthetic of opera against the wider philosophical backcloth of eighteenth-centuryF rance and in contraposition to the more scopic music-theoredcabl ackdrop,o f which Rameau'sw ritings are takena s a paradigm. The first half of the thesis contends that the philosophy of music is fashioned upon a trinary model which mirrors the philosophy of nature and history. The first sector is an ideal, hypothetical state; the second (the 'fall) is the moment when the ideal state is ruptured, when societal and cultural institutions - and history - commence;

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Swanson, Barbara Dianne. "Speaking in Tones: Plainchant, Monody, and the Evocation of Antiquity in Early Modern Italy." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1365170679.

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Vaculík, Erlebachová Zdeňka. "Přínos operní reformy Richarda Wagnera pro následující generace." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253771.

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This thesis focuses on the personality of Richard Wagner, on his music and opera reform. After getting acquainted with biographical of the artist this thesis deals with the various stages of formation and development of the artist this thesis deals with the various stages of formation and development of the music festival and the Festspielhaus in Bayreuth.An integral part of this thesis is the inclusion of all sources of inspiration that led Wagner to the reform - from colleagues, composers, formal musical structures inspiration to drama and mythology. The main emphasis inthis thesis is given

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Wu, Guanda. "Negotiations of cultural aesthetics in the "reforms" of Mei Lanfang and the "Mei Party" members to jingju in China's early republican era (1912-1937)." Oxford, Ohio : Miami University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1271281752.

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Diniz, Emanuelle Pereira de Lima. "Processos cognitivos que operam na constru??o da refer?ncia: uma an?lise das produ??es textuais elaboradas na EaD - UFRN." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16228.

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Made available in DSpace on 2014-12-17T15:06:56Z (GMT). No. of bitstreams: 1 EmanuellePLD_DISSERT.pdf: 3484229 bytes, checksum: 75e89ccc4ee9d22171dc5c5bba2d5910 (MD5) Previous issue date: 2012-03-16<br>Beneath the theoretical assumptions of Cognitive Linguistics contemporary, we analyze the cognitive processes underlying the construction of the reference in the text. To do so, we choose as corpus the written textual productions of undergraduates at the Department of Distance Education/UFRN provided in sections of responses of presential evaluation activities and activities in the Moodle virt

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Youell, Amber Lynne. "Opera at the Crossroads of Tradition and Reform in Gluck's Vienna." Thesis, 2012. https://doi.org/10.7916/D8BC45N1.

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Operatic history is riddled with reform. Although at the discursive level all operatic reforms share similar motivations, their execution in practice yields extremely different results, each indicative of the time and place in which they occur. Despite their claims to pan-historical aesthetic truth and timeless ideals, operatic reforms are highly specific indicators of their generation's individual needs, desires, and fears. My dissertation explores what the mid-eighteenth-century reform, pioneered most famously by Gluck and Calzabigi, can tell us about opera and its composers, audiences and p

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Smith, Annalise. "Gluck's "Armide" and the creation of supranational opera." Thesis, 2010. http://hdl.handle.net/1828/3136.

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Christoph Willibald Gluck’s opera Armide (1777) is an anomaly within the context of his eighteenth-century operatic reform. While all of Gluck’s other libretti had been written as an embodiment of the operatic reform, including his Italian works Orfeo ed Euridice (1762) and Alceste (1767) in addition to the French operas Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779), Armide was based upon the seventeenth-century libretto that Phillipe Quinault had written for Jean-Baptiste Lully, the founder of French tragédie lyrique. The use of Quinault’s libretto drew a direct comparison not on

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Liu, Liang-Yen, and 劉亮延. "“Nothing Is Greater Than the Show”, A Paradox in History: WU Zu-Guang and the Movement of Chinese Opera Reform (1951-1967)." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8qtd7r.

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博士<br>國立交通大學<br>社會與文化研究所<br>103<br>Developed from discourses on “national character”, “national style” and “folk character” in current Chinese Modernity issues of East Asia Studies, this dissertation expands the literature reviews of “the Movement of Chinese Opera Reform”(1951-1967). It relocates the plays and thinkings by Zu-Guang Wu (1917-2003), a Chinese playwright, regarded as the Chinese Tennessee Williams. Divided into three chapters, this dissertation analyses seven plays by Wu, <The Phoenix Town>(1937), <Return On A Snowy Night>(1942), <Cowherd and Girl Weaver>(1942), <The Journey of

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Mai, Chen-Chin, and 麥楨琴. "The Musical Features of Hakka Reformed Opera in Taiwan─The Evolution of the Tune Pattern of “Ping Ban”." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/51220325565858818012.

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碩士<br>國立台北師範學院<br>音樂研究所<br>92<br>The “Ping Ban” is one of the major tune patterns of the Hakka Reformed Opera in Taiwan, which is also called the “Reformed Tune” since it has evolved and has been improved during a rather long period. Most of previous researches about the evolution of this tune pattern focused on its historical aspects, whereas the detailed evolutionary progress of the musical contents itself was highly deficient. To compensate this deficiency, we extensively collected the audio materials starting from the beginning stage of the Hakka Reformed Opera until the present days, whic

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Books on the topic "Opera Reform"

1

Chr. W. Gluck (1714-1787): Die Reform Oper. Studio Edition, 2002.

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Operatic reform at Turin's Teatro Regio: Aspects of production and stylistic change in the 1760s. Libreria musicale italiana, 2001.

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Tommaso Traetta maestro di cappella napoletano (1727-1779). San Marco dei Giustiniani, 2006.

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Weill's musical theater: Stages of reform. University of California Press, 2012.

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Ng, Wing Chung. The Cultural Politics of Theater Reform. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039119.003.0005.

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This chapter seeks to place the cultural debates surrounding Cantonese opera in a broader context by examining the various impulses for reform and delineating their outcomes. Against the backdrop of the May Fourth Movement, as political leaders adopted modernist projects to remake the country and intellectuals sought progress via the transformative vehicles of literature and art, Cantonese opera was deemed ineffectual and its practitioners unworthy. The pressure was on for Cantonese opera to come to its own defense. With the troupes on the city circuits taking the lead, the Cantonese stage evo

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Hinton, Stephen. Weill's Musical Theater: Stages of Reform. University of California Press, 2012.

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Van Raalte, Theodore G. Between Gold and Bronze. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882181.003.0001.

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This chapter contrasts the perspective of Antoine de Chandieu’s contemporaries regarding his importance with the perspective of scholarship since that time. Whereas at Theodore Beza’s death, poets represented Chandieu with silver, John Calvin with gold, and Beza with bronze, since then Chandieu has been forgotten. Yet Chandieu wrote six “theological and scholastic” treatises in the 1580s that were highly influential in Reformed theology and were responded to by opponents repeatedly. His Opera Theologica went through five editions after his death. He was also highly instrumental in the formatio

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Cuillé, Tili Boon. Divining Nature. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613362.001.0001.

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The Enlightenment remains widely associated with the rise of scientific progress and the loss of religious faith, a dual tendency that is thought to have contributed to the disenchantment of the world. In her wide-ranging and richly illustrated book, Tili Boon Cuillé questions the accuracy of this narrative by investigating the fate of the marvelous in the age of reason. Exploring the affinities between the natural sciences and the fine arts, Cuillé examines the representation of natural phenomena—whether harmonious or discordant—in natural history, painting, opera, and the novel from Buffon a

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Lütteken, Laurenz. The Depoliticized Drama. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.34.

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This chapter examines how Wolfgang Amadé Mozart’s comic opera Le Nozze di Figaro was affected by the practice of censorship during the Josephine Enlightenment. It first discusses three aspects of Le Nozze di Figaro’s genesis as mentioned by Lorenzo Da Ponte: Mozart’s choice of the stage play La folle journée by Pierre Augustin Caron de Beaumarchais; the remarkably quick working out of the score; and permission for performance. It then analyzes the circumstances surrounding the censoring of Beaumarchais’s performance of La folle journée and the opera’s release. It also evaluates freedom of the

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Van Raalte, Theodore. Antoine de Chandieu. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882181.001.0001.

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The first study in any language dedicated to the influential theological publications of Antoine de Chandieu begins by introducing us to the memory of Chandieu as it was at Theodore Beza’s death. Poets in Geneva mourned the end of an era of star theologians by reminiscing about Geneva’s Reformed triumvirate of gold, silver, and bronze: gold represented Calvin (d. 1564); silver Chandieu (d. 1591); and bronze Beza (d. 1605). The present work sets Chandieu within the context of Reformed theology in Geneva, the wider history of scholastic method in the Swiss cantons, and the gripping social and po

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Book chapters on the topic "Opera Reform"

1

Ashbrook, William. "Boito and the 1868 Mefistofele Libretto as a Reform Text." In Reading Opera, edited by Arthur Groos and Roger Parker. Princeton University Press, 1988. http://dx.doi.org/10.1515/9781400859597.268.

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Liu, Ke. "Study on Reform of Traditional Chinese Opera." In Lecture Notes in Electrical Engineering. Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-4805-0_101.

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Thorpe, Ashley. "Opening the Stage Door: Opera, Reform and International Economic Policy, 1979–2008." In Performing China on the London Stage. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59786-1_9.

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"Appendix: Bühnenreform (Theatre Reform)." In Believing in Opera. Princeton University Press, 1997. http://dx.doi.org/10.1515/9781400864508.427.

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Stock, Jonathan P. J. "Huju and The Politics of Revolution, POST-1949." In Huju. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262733.003.0005.

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This chapter examines how music becomes inscribed with social power. Topics considered include the reorganization of huju troupes in the new People's Republic of China, post-1949; the impact of the specialist composer since the 1950s; the changing role of the performer; and the expression of political content in dramatic situations, words, actions, and music. Regional opera styles, such as Shanghai opera, it turns out, led the way in the reform of traditional opera in mainland China, with adaptations applied in these styles later transplanted to more established historical forms such as Beijing opera. It is argued that music in huju makes a special contribution to the ‘envoicing’ of the weak, a tendency that becomes problematic at times when the ordinary folk who people these operas must be portrayed as dauntless revolutionaries. Ironically, perhaps, the operas produced at the most publicly politicized periods of China's recent history are those that now appear the least eloquent in terms of their political argument.

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Hall-Witt, Jennifer L. "Reforming the aristocracy: opera and elite culture, 1780–1860." In Rethinking the Age of Reform. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511550409.010.

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Darlow, Mark. "Opera Reform on the Eve of Gluck's Arrival." In Dissonance in the Republic of Letters. Routledge, 2017. http://dx.doi.org/10.4324/9781351192071-2.

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Goldstein, Joshua. "The Limits of Reform." In Drama KingsPlayers and Publics in the Re-creation of Peking Opera, 1870-1937. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520247529.003.0007.

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Landon, H. C. Robbins. "Some Thoughts on Gluck and the Reform of the Opera." In Gluck. Routledge, 2017. http://dx.doi.org/10.4324/9781315093529-21.

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Stipčević, Ennio. "OPERATIC REFORM IN CROATIAN TRAGICOMEDY AND MUSIC." In The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century). Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctv11qdw8q.12.

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Conference papers on the topic "Opera Reform"

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Yue, Shengdong, and Yawen Mu. "Rating and Analysis of the Merits and Demerits for 'Chinese Opera Reform' in the History of Sichuan Opera Music Development and Reform." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.253.

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Zhao, Feng, Xiao Wang, and Xiao-fei Han. "Cultural Inheritance and Industrial Development of Liuqin Opera." In 2018 International Conference on Education Reform and Management Science (ERMS 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/erms-18.2018.102.

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Yue, Shengdong, and Yutong Xuan. "Commentary of Sichuan Opera Music Reform' Research Literature in the Latter Half of the 20th Century." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.113.

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"The Reference of Beijing Opera to the Teaching of Vocal Music in Colleges and Universities——On the Reform and Innovation of Vocal Music Teaching." In 2018 3rd International Social Sciences and Education Conference. Francis Academic Press, 2018. http://dx.doi.org/10.25236/issec.2018.036.

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Zenkin, Konstantin. "SOMETHING BEHIND OPERA REFORMS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.006.

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A. Moreno Vásquez, Francis, and Kleber Melo e Silva. "Proteção Diferencial de Barramentos Baseada na Potência Instantânea." In Simpósio Brasileiro de Sistemas Elétricos - SBSE2020. sbabra, 2020. http://dx.doi.org/10.48011/sbse.v1i1.2218.

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Este artigo apresenta um algoritmo de prote¸c˜ao diferencial de barramentos baseado no conceito da potˆencia instantˆanea. Esta grandeza ´e utilizada para determinar os sinais de opera¸c˜ao e restri¸c˜ao em uma formula¸c˜ao baseada nas l´ogicas 1-de-1 e 2-de-2, comumente utilizadas em rel´es comerciais. Ainda, esta t´ecnica contempla um refor¸co harmˆonico no seu sinal de restri¸c˜ao para faltas externas. A avalia¸c˜ao do algoritmo proposto ´e feita utilizando uma subesta¸c˜ao de barra dupla com disjuntor simples (230 kV), modelado no Alternative Transients Program (ATP). Os resultados obtidos

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S. Brasil, Alexandre, Fernando S. Brasil, Allan R. A. Manito, and Marcus V. A. Nunes. "Gestão de Segurança em Alta Tensão – Adequação à NR 10: Segurança em Instalações e Serviços em Eletricidade, do Laboratório de Ensaios em Alta Tensão da UFPA." In Simpósio Brasileiro de Sistemas Elétricos - SBSE2020. sbabra, 2020. http://dx.doi.org/10.48011/sbse.v1i1.2471.

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Este trabalho adequa as condições de operação do Laboratório de Ensaios em Alta Tensão da Universidade Federal do Pará aos padrões de segurança estabelecidos pela Norma Regulamentadora Nº 10 - Segurança em Instalações e Serviços em Eletricidade. Nesse sentido, em função da importância do laboratório para a Região Amazônica e dos níveis de tensão que o mesmo opera, o presente trabalho objetiva descrever a aplicação dos requisitos e medidas de controle e sistemas preventivos estabelecidos pela norma em questão, no que se refere à garantia da segurança e saúde dos trabalhadores, estudantes, profe

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