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Relevant bibliographies by topics / Opera Reform

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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"

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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 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 of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.

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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 specific creation of its characters. Set on the island of Circe, Coltellini's libretto echoes the timeless, liminal status of the corresponding islands (Circe’s and Calypso’s) found in Homer and Fénelon. The characters reflect and blend features of their literary counterparts. They fall into two groups: those who fight their captive condition through impetuous behavior (Circe and Telemachus) and those who attempt to circumvent their predicament by clinging to a golden past (Asteria) or yearning for a hopeful future (Ulysses’s desire to return home). Gluck’s expression of the characters’ longing and identity, achieved through a manipulation of form and textual re-composition, thus implies multiple temporal directions, suggesting a series of synchronic, revolving points of view that challenge the diachronic unfolding of events typically associated with opera reform in the eighteenth century. This method of analysis therefore offers insight into the creative process and helps refine our understanding of reformist opera, both in Gluck’s output and broader eighteenth-century operatic practice.

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Militello, Matthew, and Christopher Janson. "The Urban School Reform Opera." Education and Urban Society 46, no. 7 (December 5, 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 (September 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 hired from neighbouring Bologna. Perhaps in response to logistical and financial difficulties in engaging skilled personnel for Traetta’s choruses, Parma established a singing school to provide choristers for theatre. Gluck’s choruses employed a combination of students from this school and professionals. The evidence from Parma shows that the wide-ranging circuit within which Italy’s opera theatres functioned embraced not only leading soloists and other personnel, but choral singers as well. It demonstrates the impact of practical circumstances surrounding the production of Parma’s operatic choruses on the success of operatic reform in Parma.

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Lockhart, Ellen. "Pimmalione: Rousseau and the Melodramatisation of Italian Opera." Cambridge Opera Journal 26, no. 1 (February 19, 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 to preserve and transmit the spoken word. This article suggests (contra most recent historians of melodrama) that such projects were inflected by a kind of twilight classicism, in which the revived object was made to show signs of decay. The revivalist strain in the first melodrama was particularly important for its Italian reception. Rousseau’s ideal of an ancient, onomatopoeic language collapsing meaning and medium was naturalised into the rhetoric of Italian opera reform during the 1770s and 1780s by the Jesuit theorists Antonio Eximeno and Stefano Arteaga. By way of a coda, this article traces the emergence of a ‘melodramatic’ style of Italian opera, first in all-sung adaptations ofPygmalion, thence into Venetian opera of the 1790s more broadly, and finally into Donizetti’s techniques of gestural mirroring and what was called the ‘canto filosofico’ of Bellini’s early operas.

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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 (October 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 (June 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 (October 16, 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 music is based on the prototype ofthe opera music, with the development of the music itself and the combination of the opera art produced by external conditions of thedual effects.

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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 (March 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. Because the royal patent promised for Leicester Square was blocked, the scheme had to be dropped, and the sponsors wound up establishing the ill-fated and short-lived Pantheon Opera instead – but that is another story. Our concern here is with the Leicester Square project which, though never realised, did set in motion many of the changes desired by its backers and helped to return London to the mainstream of opera.

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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; the third, is the 'actual state', the culmination of the process of history. It is argued that relativism is at work between the second and third sectorsa nd Rousseaua ssignsa rigorous systemo f value to the processo f history and all points alongi t, the processi tself, taken as a whole, is seena s a degeneratives lide awayf rom nearperfection to imperfection. 7111sce condh alf of the thesis explores the ramifications of the trinary model and the effect the degenerativep rocessh as upon the voice, music and opera. The voice is consideredt he unique phenomenon that connects all sectors of the trinary structure: though objectified and endowed with an ontology, it is not immune to the degenerativep rocess. At the fall-state,t he voice begins to rupture and two entities - melody and language - gradually emerge. Over time, melody and speech are forced further apart until neither bears much resemblance to the other. With the invention of harmony, melody degeneratesh: armony begins to overshadowm elody, until in the eighteenthc entury- consummatedin the music and theoreticalp ostulationso f Rameau- melody is subjugated and subsumed entirely within the harmonic domain of musical production. The impact upon opera is more complex and the concluding chapters explore the radical and largely reform-driven aesthetico f opera. Roussea&sf inal dramaticw ork Py gmalion(1 762)i s considered not simply as an outcome of this aesthetic, but as an embodiment of the philosophy of music itself; the animateds tatuee nunciatesR ousseau'sv ision of the origin of human expression.

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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 to the reform itself. This reform is closely related to the theoretical works of Richard Wagner, and is subsequently applied in his operas, which are in this thesis analyzed in detail. Furthemore, the focuses on the number of composers, who were influenced and ispired by the reform of Richard Wagner and who applied this reform in their operas and instrumental works. The conclusion of the thesis is a summary of contribution of the Wagner´s opera reform.

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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
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 virtual ambience. These activities and texts were produced in the discipline of Reading, Interpretation and Textual Production taught in the courses of Chemistry, Physics, Mathematics, Biology and Geography we monitor during the period of 2008.1 to 2010.1. Through the analysis of discursive productions, it was evident that the construction of the reference is made by means of the activation and manipulation of information acquired through our perceptual and social experiences. Thus, we confirm the cognitive assumption that the linguistic clues available in the texts of the activities serve as guides towards cognitive domains that activate the process of building reference
Sob os pressupostos te?ricos da Lingu?stica Cognitiva contempor?nea, analisamos os processos cognitivos subjacentes ? constru??o da refer?ncia no texto. Para tanto, escolhemos como corpus as produ??es textuais escritas de graduandos da Secretaria de Educa??o a Dist?ncia/UFRN dispostas nas se??es de respostas das atividades avaliativas presenciais e em atividades desenvolvidas no ambiente virtual moodle. Essas atividades e textos foram produzidos na disciplina de Leitura, Interpreta??o e Produ??o Textual, ministrada nos cursos de Qu?mica, F?sica, Matem?tica, Biologia e Geografia, que monitoramos durante o per?odo de 2008.1 a 2010.1. Atrav?s da an?lise das produ??es discursivas, ficou evidente que a constru??o da refer?ncia se d? por meio da ativa??o e manipula??o de informa??es adquiridas atrav?s de nossas viv?ncias perceptuais e sociais. Desse modo, ratificamos o pressuposto cognitivista de que as pistas lingu?sticas dispon?veis nos textos das atividades funcionam como guias de sentido que ativam dom?nios cognitivos no processo da constru??o da refer?ncia

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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 performers in Habsburg Vienna. I interpret both reformed and unreformed Italian opera seria in 1760s Vienna through four different but intersecting conceptual lenses: luxury and economics, political representation, theories of body and communication, and a performer's voice. Opera played an important role in a widespread debate over luxury that pervaded Western Europe, an issue that comprised not only changing economics but paradigmatic shifts in social behavior. In the field of medicine, new scientific observation began to transform the ways that people viewed emotion and communication, and the ways these were expressed in opera. The nature of sovereignty itself was slowly shifting from absolutist models, requiring both new modes of government and new operatic representation. Yet individual singer's voices, such as that of Gaetano Guadagni, still played a vital role in shaping composition and aesthetics. Vienna in the 1760s experienced a flowering of diverse approaches to the problem of opera by a network of performers and composers who blurred the lines between tradition and progress and make us rethink the meanings of reform.

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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 only between Gluck and Lully, but also between Gluck and traditional French opera. Setting Armide also required Gluck to incorporate many traditional elements of tragédie lyrique absent in the operatic reform, such as divertissement and ballet. Armide’s departure from the tenets of the reform were so significant that they were criticized by Gluck’s French librettist François-Louis Gand LeBland Du Roullet, who found particular fault with the opera’s lack of dramatic veracity. It is the very incongruity of Armide—its utilization of an antiquated libretto—that makes it key to understanding Gluck’s conception of eighteenth-century opera. Armide provides the best opportunity to explore how Gluck amalgamated the traditional forms and styles of French opera with the goals of Viennese operatic reform. Drawing out connections between tragédie lyrique and the precepts of his reform, Gluck demonstrated the composer’s role in strengthening and clarifying the reform qualities as expressed by the libretto. Through musical analysis, this thesis demonstrates that Armide maintains the musical characteristics and dramatic musical construction of Gluck’s earlier reform operas. It also illustrates that while Gluck honoured Lully’s conception of tragédie lyrique, he did not hesitate to improve what he saw as the faults of the earlier operatic style. Gluck’s juxtaposition of the Italian and French operatic traditions in Armide elucidates his creation of supranational opera. Superseding and encompassing both the French and Italian national styles, Gluck enlivened the operatic traditions of both countries while remaining true to his own dramatic and musical conception of opera.

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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
國立交通大學
社會與文化研究所
103
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, (1937), (1942), (1942), (1944), (1947), (1962), (1979); and shapes into three perspectives, (1) the relations between urban romance and student movement, (2) the effects of troupe reformation onto the value-form of actor’s career identity, (3) the psyche of Wu’s “Fans-ism” behind new chronicle plays and historical narrations. It explains, as a playwright, how did Wu response to the struggle of Chinese modernization, and how did he encounter certain intensity and paradox under the triangular structure of “nation”, “prose drama” and “Chinese opera”. And it argues that the scream of “Nothing Is Greater Than the Show” from the folk artists presented by three perspectives as above in Wu’s participation, is not only an epistemic turn, but also a psychic form. It concludes as a retreat on “the Movement of Chinese Opera Reform”, that during the Korean War, along with the beginning of Opera Reform Movement, the underclass in Chinese society suffered certain sense of dismiss of the Other, as well as Japan; and there was once upon a flash of Fascistic fanaticism appeared; these aspects are inherited by contemporary Chinese cultural governance and the collective consciousness.

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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
國立台北師範學院
音樂研究所
92
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, which include the Celluloid phonograph records of 78 rpm and the LP phonograph records of 33 plus 1/3 rpm made during the era around 1910 to 1960, and the field recordings of the existing Hakka opera performers. By transcribing the aforementioned audio materials into musical notes, and then analyzing and comparing the musical contents of various time periods, systematic and comprehensive information about the evolution progress of the tune pattern of “Ping Ban” was obtained. The chapter arrangement of this thesis is as follows. The First Chapter introduces the development of the Hakka Reformed Opera and its tune patterns. The Second Chapter describes the evolution of the tune pattern of “Ping Ban”, and explains the transition of tune patterns when Hakka plays were developed from the form of “Xia Xi” to the form of “Da Xi”. The Third Chapter gives the musical notes transcribed from the collected audio materials and the written records for visiting Hakka Opera performers. The Fourth Chapter discuss the analysis of the musical contents of the “Ping Ban”, including its musical structure, lyrics and theatric articulations. The final Fifth Chapter makes concluding remarks about the evolutionary progress of the musical contents of the tune pattern “Ping Ban”. Our research results showed that, during the beginning stage (around 1910) of the Hakka Reformed Opera, the common used musical structure was the “Lao Qiang Ping Ban” adapted from the tune pattern “Cai Cha” of the Hakka play “San Jiao Cai Cha”. Our analysis and comparison about the formation of the musical structure and the central tone provided strong evidence for the inference that the tune pattern of “Ping Ban” was originated from the tune pattern of “Lao Qiang Ping Ban”. In the following several decades, the facts that many Hakka opera performers made extensive experiments and adopted some features from other types of theater plays induced the development of the tune pattern of “Ping Ban”. It was then after the recovery of Taiwan Province (1945), the tune pattern of “Ping Ban” appeared in the Hakka Reformed Opera developed to a relatively mature stage. At that time, the tune pattern of “Ping Ban” has already adopted the features with “Qian Yun” (modulating and sustaining the ending tones) and “Zuo Yun” (adding decorative tones), thus can provide plenty rooms for each of the Hakka opera performers to show his/her own distinct theatric articulation style.

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Books on the topic "Opera Reform"

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

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

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

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Weill's musical theater: Stages of reform. Berkeley: 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 evolved through trial and adaptation. In the eyes of many, this seemingly inexhaustible capacity to incorporate novelties proved the genre's vitality in the urban arena. However, critics decried the same as mere symptoms of the immaturity of the art form, the shallowness of its performers, and the underlying vulgarity of a commercialized entertainment catering to the lowest tastes of the masses.

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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 formation of the French Reformed Churches as a federation with a unique church order, one later copied by many other Reformed churches. Besides, as a French baron, he played a noteworthy role in the politics of France. The argument, plan, and outline of the book are found at the close of this chapter.

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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 and Rameau to Ossian and Staël. She demonstrates that philosophical, artistic, and emotional responses to the "spectacle of nature" in eighteenth-century France included wonder, enthusiasm, melancholy, and the "sentiment of divinity." These "passions of the soul," traditionally associated with religion and considered antithetical to enlightenment, were linked to the faculties of reason, imagination, and memory that structured Diderot's Encyclopédie and to contemporary theorizations of the sublime. As Cuillé reveals, the marvelous was not eradicated but instead preserved through the establishment and reform of major French cultural institutions dedicated to science, art, religion, and folklore that were designed to inform, enchant, and persuade.

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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 press and censorship in Austria under Joseph II, who accelerated and radicalized the implementation of reforms in the spirit of a controlled enlightenment. Finally, the chapter considers Beaumarchais’s theory of comedy in which he emphasized the social function of theater, albeit not in the political sense that was claimed in the subsequent reception of Figaro.

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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 political milieus. The book shows why Chandieu developed a very elaborate form of the medieval quaestio disputata and made liberal use of hypothetical syllogisms. Chandieu was far from a mere ivory-tower theologian: as a member of French nobility in possession of many estates in France, he and his family acutely experienced the misery and triumph of the French Huguenots during the Wars of Religion. Connected to royalty from at least the beginning of his career, Chandieu later served the future Henry IV as personal military chaplain and cryptographer. His writings range from religious poetry (put to music by others in his own lifetime) to carefully crafted disputations that saw publication in his posthumous Opera Theologica in five editions between 1592 and 1620. The book argues that Chandieu utilized scholastic method in theology for the sake of clarity of argument, rootedness in Scripture, and certainty of faith.

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Book chapters on the topic "Opera Reform"

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Ashbrook, William. "Boito and the 1868 Mefistofele Libretto as a Reform Text." In Reading Opera, edited by Arthur Groos and Roger Parker, 268–87. Princeton: 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, 801–6. London: 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, 181–206. London: 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, 427–32. 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, 220–37. 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, 23–65. 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, 209–36. 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, 401–17. 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), 100–103. 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). Paris, France: 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). Paris, France: 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). Paris, France: 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 mostram que o tempo de decis˜ao do m´etodo proposto pode ser na grande maioria dos casos a metade da fun¸c˜ao tradicional, baseada em correntes, considerando inclusive diferentes instante de falta, resistˆencias de falta e tipos de falta. Tamb´em, pode ser constatado que o algoritmo oferece confiabilidade para atuar corretamente diante de faltas evolutivas. Na pr´atica, a rapidez de decis˜ao da t´ecnica apresentada permite reduzir eventuais danos por propaga¸c˜ao de curtos-circuitos, representa uma maior margem de seguran¸ca para os transformadores de corrente quando saturados e se encaixa com os requerimentos de rel´es comerciais para garantir atua¸c˜oes corretas.

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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, professores e pesquisadores que direta ou indiretamente interajam neste. Para isso, primeiramente, realizou-se uma pesquisa exploratória para expor os aspectos legais que permitem a aplicação da referida norma ao laboratório analisado. Em seguida, através da realização de entrevistas, visitas técnicas e aplicação de questionários foram identificados os pontos que apresentaram não-conformidades em relação à norma e que foram alvo de sugestões de melhorias e adequações de caráter gerencial ou procedimental. Por fim, a partir dos resultados encontrados, foram elaboradas as Diretrizes de Segurança, isto é, um conjunto de métodos e procedimentos com caráter normativo a ser seguido pelo laboratório, ou por outros que atuem da mesma forma.

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