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Journal articles on the topic 'Opera Reform'
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1
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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Betzwieser, Thomas. "Exoticism and politics: Beaumarchais' and Salieri's Le Couronnement de Tarare (1790)." Cambridge Opera Journal 6, no. 2 (July 1994): 91–112. http://dx.doi.org/10.1017/s0954586700004195.
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Not least because of its librettist, Tarare (1787) ranks among the most interesting ‘reform’ operas of the eighteenth century. The work was by no means unique among such efforts at the Académie Royale de Musique, but it undoubtedly had the greatest impact after the Piccinni controversy at the end of the 1770s, in part because Beaumarchais was untiring in his efforts to promote the new opera – a task at which he was far superior to his librettistic colleagues. He presented his new operatic conception in a detailed preface to the libretto (‘Aux Abonnés de l'Opéra’), the central point of which was to emphasise the mixture of conventional genre traditions, in particular of serious and comic elements.
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Kim, Hyun Joo. "Grimani and Handel’s Responses to Arcadian Reform in the Opera Agrippina." Journal of the Science and Practice of Music 37 (April 30, 2017): 209–55. http://dx.doi.org/10.36944/jspm.2017.04.37.209.
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Feldman, Martha. "Magic Mirrors and the Seria Stage: Thoughts toward a Ritual View." Journal of the American Musicological Society 48, no. 3 (1995): 423–84. http://dx.doi.org/10.2307/3519834.
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This essay proposes a performative model of opera seria founded in ritual to argue that opera seria is better understood as a variety of spectacle than as drama in the modern sense. In this view, opera seria relies for its effectiveness on compositional, dramaturgical, and institutional forms that counteract representational congruities in plots, stage designs, and singers' genders. As both genre and institution, opera seria is rendered unintelligible in models of stageworks upheld by music critics like Tovey and Kerman or anthropologists of theater like Victor Turner. Extending instead the work of anthropologist Stanley Tambiah, the performative model of opera seria presented here sees the ritual mechanics of opera seria as both highly fixed and highly unfixed, ranging from the interactions of singers and audiences to the structuring and delivery of arias and norms of acting. At the base of this ritual process was the archetypal seria story, which delivered an unquestionable set of absolutist propositions that distanced viewers from states of continuous absorption. Attention to the stage was instead relegated mainly to the intersubjective play between viewer and singer in aria ritornello forms. Such interplay and many other seria practices were embedded in the larger rituals of Carnival, masking, and other forms of festivity. By replacing closed with open forms and raising the status of opera seria's authors above that of singers and audiences, efforts at reform attempted to eradicate the ritual and festive dimensions of opera seria.
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Chiara D’Errico, Maria. "Competition in the Italian electricity market: The unforeseen social welfare losses of reform." ECONOMICS AND POLICY OF ENERGY AND THE ENVIRONMENT, no. 2 (May 2021): 75–91. http://dx.doi.org/10.3280/efe2020-002004.
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The worldwide wave of reforms investing power industry has created new challenges to both supply demand side management. After deregulation, electric utilities restructured their opera-tions from vertically integrated mechanisms to open market systems in order to establish a new competitive sector. Reform has involved also the Italian power sector, but competition, as lar-gely shown by the empirical literature particularly in the first years of reform, has been far to be reached, and the electricity markets has been characterized by conditions of oligopoly and exercise of market power. This paper aims to analyze welfare loss and deviation from the competitive equilibrium recorded in the day ahead Italian electricity market after the first wave of reforms was almost implemented. The study presents a theoretical and empirical model to construct a competitive equilibrium, estimating market power, both, on the supply and demand sides of the day ahead electricity market. Results show the effect of non-competitive equilibriums for the hourly markets in the period 2013-2014. In an ideal competitive market, prices would be lower than historical prices by about 2-5% and quantities would be higher by about 0.5-1%.
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Karácsony, Noémi. "Christoph Willibald von Gluck and the Dawn of the Reform of Opera." Studia Universitatis Babeş-Bolyai Musica 62, no. 2 (December 20, 2017): 61–72. http://dx.doi.org/10.24193/subbmusica.2017.2.04.
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Glatthorn, Austin. "The Legacy of ‘ Ariadne’ and the Melodramatic Sublime." Music and Letters 100, no. 2 (May 1, 2019): 233–70. http://dx.doi.org/10.1093/ml/gcy116.
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Abstract Georg Benda’s Ariadne auf Naxos (1775) was an immediate success. By the end of the century, not only was it in the repertory of nearly every German theatre, but it was also one of the few German-language pieces translated for performances across Europe. Central to this melodrama—traditionally defined as an alternation of emotional declamation and pantomime with instrumental music—is its evocation of the sublime. Though scholars have posited Ariadne and its defining aesthetics as a model employed in subsequent Romantic opera, such teleological readings overlook reform melodramas that embraced vocal music and localized sublime moments. I argue that these works, rather than Ariadne, pushed melodrama’s generic boundaries to the verge of opera and in the process provided instrumental music with the power to express the sublime without the aid of text. This exploration offers fresh insight into melodrama’s music–text relations, generic hybridity, and aesthetic entanglements with opera and symphonic music.
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Wichmann-Walczak, Elizabeth. "“Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory." TDR/The Drama Review 44, no. 4 (December 2000): 96–119. http://dx.doi.org/10.1162/10542040051058500.
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Once upon a time, Beijing/Peking “Opera” was a thriving, popular art. But for most of the 20th century—both before and after the victory of Communism in 1949—it was an endangered species. Today, however, the Shanghai Jingju Company is one of the few to successfully increase its audiences, approach eco-nomic independence, and practice bold artistic innovation.
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SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.
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ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.
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Spasic, Vanja. "The status of opera artist at the national theatre in belgrade from 1970 to 1980." Muzikologija, no. 24 (2018): 131–49. http://dx.doi.org/10.2298/muz1824131s.
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This article deals with the status of the opera artist in the National Theatre in Belgrade in the 1970s. The status of an opera artist is analysed from two, relatively independent standpoints. The first level includes the artist?s position as an employed person in the institution, and the other - his social position at the final stage of the self-management socialism, which was the ideological and organisational framework of the Yugoslav cultural policy in the aforementioned period. The main idea of this article is to utilize the approaches of various sciences - sociology of art, cultural policy, musicology - in order to investigate those aspects that determine the status of artists. The initial research question was concerned with discovering how the status of opera artists in the Theatre was determined. The answer to this question required an insight into artistic work within the Theatre, which was reconstructed on the basis of the available archival material, as well as the artists? positioning in society, which was achieved by looking at the discourses about an artist from the eighth decade of the 20th century. The fundamental literature for this article was The White Book (Bela knjiga), which was issued in 1970 according to the decision of the Art Council of the National Theatre (Opera and Ballet); its purpose was to define the need for reform at the Opera and Ballet. The goal of this article is to point to different interpretations of the status of the artist in the observed period of self-management in the field of culture.
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Mario Mari, Libero, and Francesca Picciaia. "The accounting methods of the "Opera del Duomo" of Orvieto, from its origins to the 16th century statute reform: single or double-entry bookkeeping?" De Computis - Revista Española de Historia de la Contabilidad 11, no. 21 (December 31, 2014): 49. http://dx.doi.org/10.26784/issn.1886-1881.v11i21.38.
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The “Opera del Duomo” is the institution, still in existence, which was responsible for the construction of the cathedral in Orvieto. Over the centuries there have been many changes to its structure, in part due to continual conflict between the public administration and religious organizations. In accordance with the interpretation of the development of accounting as a result of its historical context, and, in particular, its organizational structure, this paper aims, through an analysis of the accounting registers and books of the Opera, to investigate “if” and “when” it is possible to observe the introduction of the double-entry bookkeeping method, and its role and function in the Opera’s structure.
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Zhang, Songcun. "Struggling between Tradition and Modernity: A Feminist Interpretation of Yu Opera China Women." Theory and Practice in Language Studies 7, no. 7 (July 1, 2017): 558. http://dx.doi.org/10.17507/tpls.0707.09.
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Yu Opera China Women (some translated it into Our Company, pinyin: Xiāng Hún Nǚ) (2000) has been well received by audiences for its simple folk description, vivid characters, touching story lines, stunning stage backgrounds and exquisite stage performances. The opera describes a story of Xiangxiang and Huanhuan, mother-in-law and daughter-in-law, two generations of women in the reform and opening up years in the twentieth century in China. These Chinese women try to break the shackles of fate, with the strength to overcome hardships, work hard to gain wealth, and be brave to pursue true love, so it has a strong sense of feminism. However, rooted in the deep traditional Chinese culture, Xiangxiang and Huanhuan are always struggling between tradition and modernity, and they make difficult choices along with the awakening of women's consciousness.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Fanelli, Simone, Chiara Carolina Donelli, Antonello Zangrandi, and Isabella Mozzoni. "Balancing artistic and financial performance: is collaborative governance the answer?" International Journal of Public Sector Management 33, no. 1 (November 19, 2019): 78–93. http://dx.doi.org/10.1108/ijpsm-05-2019-0138.
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Purpose Opera houses have been traditionally publicly financed in many western countries. However, today many opera houses are facing serious financial troubles, due to the recent financial crisis. There is thus a widespread public debate on measures to ensure agency efficiency for performing arts organizations. Focusing on the reform implemented recently in Italy, which submitted opera houses that had severe financial difficulties to a recovery plan and encouraged forms of collaborative governance (CG), the purpose of this paper is to investigate the impact of CG on the performance of the arts sector. Design/methodology/approach Multiple case studies are used, on longitudinal data from multiple sources over a period of up to five years, in order to triangulate the narrative of financial and artistic performance and ensure trustworthiness. The study thus spans the period before the Bray Law came into force (2013) and covers the entire period in which recovery plans were implemented. Findings The analysis explores how opera houses are building sustainability for themselves and the community in terms of financial and artistic performance through CG. Various forms of CG adopted yielded positive results. Furthermore, more robust forms of CG generated better performance, especially from a financial point of view. Originality/value This paper adds to the limited knowledge of CG in the non-profit sector by bridging the fields of agency performance and CG. It discusses how the introduction of forms of CG can build up long-term sustainability, solving the dilemma of how to achieve financial equilibrium without compromising artistic quality, focusing on the case of opera houses, which are notably affected by Baumol’s cost disease.
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Петрова, Г. В. "Imperial Orchestra in the First Third of the 19th Century: Reform of Cavos." OPERA MUSICOLOGICA, no. 4(42) (November 15, 2019): 6–15. http://dx.doi.org/10.26156/om.2019.42.04.001.
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В статье на основе архивных документов, впервые введенных в научный обиход, реконструируется история Императорского оркестра в СанктПетербурге первой трети ХIХ века. Показано, что в данный период, в отличие от модели Придворного оркестра, существовавшей в эпоху Екатерины Великой, институт оркестра опирался на несколько подразделений. Структура оркестра все более зависела от жизни оперных трупп. Яркой иллюстрацией является история оркестра итальянской труппы созыва 1828 года и реформа оркестра, проведенная Дирекцией Императорских театров в 1831 году параллельно увольнению труппы. Реформа осуществлена директором оркестров К. Кавосом, более известным в качестве композитора, инспектора Театральной школы, капельмейстера Русской оперы. Проясняется значение некоторых важных понятий, связанных с институтом оркестра рассматриваемого периода. The article reconstructs the history of the Imperial orchestra in St. Petersburg of the first third of the 19th century on the basis of archival documents first introduced into the scientific area. It is shown that unlike the model of the Court Orchestra, which existed in the era of Catherine the Great, the institution of orchestra of the beginning of the 19th century relied on several subdivisions. The orchestra structure increasingly depended on the operation of opera companies. A bright illustration is the history of the Italian company orchestra of 1828 and the reform of the orchestra, which followed in connection with its dismissal by the Directorate of Imperial Theatres in 1831. The reform was carried out by the director of orchestras Catterino Cavos, better known as a composer, inspector of the Theatre School, Kapellmeister of the Russian Opera. The author also clarifies the significance of some important terms related to the institution of the orchestra of the period under consideration.
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Lan, Nguyen To. "Entertainment as ritual: the Post-Reform transformation of Hát bội in Southern Vietnam." Asian Education and Development Studies 9, no. 1 (September 23, 2019): 15–25. http://dx.doi.org/10.1108/aeds-01-2018-0012.
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Purpose This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986. Design/methodology/approach This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm. Findings Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hát bội troupes. Originality/value This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.
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VAN DER LINDEN, HUUB. "EIGHTEENTH-CENTURY ORATORIO REFORM IN PRACTICE: APOSTOLO ZENO REVISES A FLORENTINE LIBRETTO." Eighteenth Century Music 16, no. 1 (February 14, 2019): 31–52. http://dx.doi.org/10.1017/s1478570618000337.
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ABSTRACTAlthough the circulation and revision of Italian opera librettos is a well-known aspect of musical life in eighteenth-century Europe, the practice has hardly been touched upon with regard to the Italian oratorio of the same period. Librettist Apostolo Zeno (1668–1750) worked in and theorized about both genres, yet his involvement with the oratorio has been little studied. This article addresses three editions of an oratorio libretto by Domenico Canavese. Following versions for Florence (1712) and Pistoia (1714), a third appeared in 1726 in conjunction with a Lenten performance at the Imperial Court Chapel in Vienna. An annotated copy of the 1712 edition from Zeno's library shows that he revised the text for the Viennese performance. His textual changes – some small, some radical – reveal practical, stylistic and dramaturgical concerns. A comparison of the annotated copy with the printed libretto for the 1726 performance and the principal musical source for the new setting by Giuseppe Porsile shows that Zeno's revisions were scrupulously followed.
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SMITH, ANNALISE. "GLUCK AND THE MAP OF EIGHTEENTH-CENTURY MUSIC WESTERN ILLINOIS UNIVERSITY, 17–19 OCTOBER 2014." Eighteenth Century Music 12, no. 2 (August 24, 2015): 276–79. http://dx.doi.org/10.1017/s1478570615000238.
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The year 2014 marked the tercentenary of the birth of Christoph Gluck, an anniversary shared with his fellow operatic reformer Niccolò Jommelli and the most famous Bach son, Carl Philipp Emanuel. For most people, the mention of Gluck brings to mind his involvement in the reform of eighteenth-century opera and seminal works such as Orfeo ed Euridice, associations that have had the effect of minimizing Gluck's other accomplishments, including the majority of his dramatic oeuvre. The conference and festival Gluck and the Map of Eighteenth-Century Music, organized by Brian Locke and Anita Hardeman at Western Illinois University, focused less on Gluck's involvement in operatic reform than on the many ways in which he engaged with operatic and balletic traditions. Encompassing studies of genre, performance and reception history, the papers portrayed Gluck as a composer enmeshed in the musical culture of his time, whose works still leave much to be discovered by both scholars and performers.
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DelDonna, Anthony R. "Tradition, Innovation, and Experimentation: The Dramatic Stage and New Modes of Performance in Late Eighteenth-Century Naples." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 139–72. http://dx.doi.org/10.33137/q.i..v36i1.26277.
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Naples in the last thirty years of the eighteenth-century was characterized by a fervent climate of theatrical experimentation. Although too often viewed as the last stronghold of Metastasian dramatic principles and traditions, the city was deeply influenced by the “reform culture” of Northern Europe. These exterior influences were bolstered by the contributions of local practitioners, whether composers, performers, and theorists. This essay is a brief consideration of how the ideas of “reform culture” affected contemporary Neapolitan theatrical practices and the emergence of new works in the city. A critical source for “reformed” theatrical philosophy was the work of Antonio Planelli (1747–1803), whose treatise Dell’opera in musica (1772) is a significant exploration and commentary on the dramatic stage of the Bourbon capital. Progressing from theatrical philosophy to existing practice, I will consider how the prevailing conditions animated the creation of the largely unknown cantata/pastorale/opera, La pietà d’amore (1782) by the singer, composer, and Calzabigi protégé Vito Giuseppe Millico (1737–1802), created expressly for Naples under the sway of reform principles and his direct collaborations with the poet of Orfeo, Alceste, and Paride ed Elena. My study concludes with an examination of the emergence of the so-called “Lenten tragedy” or azione sacra per musica, a theatrical form created in the exclusive environs of the Teatro di San Carlo, the royal theater of the Bourbon capital, yet imparting a new theatrical aesthetic and modes of representation for contemporary sacred genres consistent to select ideals of reform culture.
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Nicholson, Rashna Darius. "“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”." Theatre Survey 61, no. 3 (July 27, 2020): 331–50. http://dx.doi.org/10.1017/s0040557420000265.
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The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.
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Altet, Marguerite, and Maria Teresa Mhereb. "A observação das práticas de ensino efetivas em sala de aula: pesquisa e formação." Cadernos de Pesquisa 47, no. 166 (December 2017): 1196–223. http://dx.doi.org/10.1590/198053144321.
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RESUMO Neste artigo, a autora apresenta sua trajetória de pesquisadora das práticas de ensino efetivas e do funcionamento do processo interativo ensino-aprendizagem a partir da observação de uma sequência de aulas. A autora considera diferentes pesquisas realizadas pelo CERSE, CREN, pelas redes OPEN e OPEEN & Reform e apresenta uma pesquisa recente sobre a observação das práticas de ensino em suas relações com a aprendizagem (OPERA) feita em Burquina Faso e que procura identificar as práticas de ensino portadoras de efeitos. A partir da observação de aulas, da aplicação de questionários e de entrevistas com alunos, professores e diretores de escolas, a pesquisa pôde identificar as necessidades de formação tanto dos professores quanto dos demais profissionais da educação. Depois, a partir desse diagnóstico, ferramentas de formação foram concebidas para ajudar na análise das práticas e contribuir para a melhora da qualidade dos sistemas educativos na África subsaariana.
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Klemenčič, Ivan. "Operne reforme Richarda Wagnerja in glasbena drama." Musicological Annual 51, no. 1 (June 1, 2015): 167–86. http://dx.doi.org/10.4312/mz.51.1.167-186.
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Obravnava teoretičnih izhodišč za operne reforme Richarda Wagnerja izhaja iz štirih skladateljevih spisov na prelomu štiridesetih v petdeseta leta 19. stoletja, predvsem knjižne izdaje Opera in dramaiz leta 1851. Po predstavitvi tipike glasbene drame in razlike z opero se razprava osredotoča na ugotavljanje prvin glasbene drame v Wagnerjevem zrelem in poznem glasbenoscenskem ustvarjanju.
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Vučinić-Nešković, Vesna. "Some Observations on Cultural Opposites in Contemporary China: Kunming and Beijing Twenty Years Later." Issues in Ethnology and Anthropology 4, no. 3 (December 10, 2009): 161–95. http://dx.doi.org/10.21301/eap.v4i3.9.
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This paper considers the cultural opposites observed in various segments of Chinese culture during the author's three stays in China over a period of twenty years. The first and second stay, in 1986 and 1989 respectively, coincided with the initial period of the implementation of modernization reforms in China, when their results were just beginning to be felt. The third stay was in 2009, towards the end of the third decade of reform implementation, at the time of an already developed marketoriented communism. The paper's main thesis is that most of the phenomena observed in present-day urban China can be assigned to opposite categories, namely Chinese-Western and traditional- contemporary. Cultural opposites have been observed in the sphere of tourism and the behavior of both Chinese and foreign visitors, in the use of Chinese and English in notices and signs in public places, and in the promotion of traditional and modern architecture. In addition, they have been noted in the presentation of arts and crafts and industrial products, in the manner of consumption of hot drinks, and in the combining of Chinese and foreign cuisine. They are also evident in a Beijing Opera performance adapted both to the modern Chinese and to foreigners, and in the traditional Chinese exercises and western dances performed in public parks. In conclusion, the paper suggests that the process of establishing connections between China and the West is being carried on in a moderate and controlled way. In the globalization process cultural opposites coexist and merge, imparting new features to Chinese culture.
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Peritz, Jessica Gabriel. "Orpheus's Civilising Song, or, the Politics of Voice in Late Enlightenment Italy." Cambridge Opera Journal 31, no. 2-3 (July 2019): 129–52. http://dx.doi.org/10.1017/s0954586719000168.
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AbstractThis article explores new conceptions of voice in late eighteenth-century Italy as expressed in discourses connected with opera reform. Inspired by the convergence of Enlightenment epistemologies of feeling and neoclassical aesthetics, certain progressive singers and literati sought to rebrand the singing voice as an agent of moral and political edification. Here, this ideology-laden project is traced through two conflicting representations of singer-poets, both of whom wield the power of lyric song to achieve political ends. First, the article unpacks Giuseppe Millico's narrative of his performance as Gluck's Orfeo (published in Naples in 1782), in which the singer argues for voice as audible interiority and, as such, a warrant of political subjectivity. It then turns to a reading of Gastone della Torre di Rezzonico's libretto for Giuseppe Sarti's dramma per musica Alessandro e Timoteo (Parma, 1782), in which voice transforms into an instrument of anti-absolutist critique. The article concludes by considering how these two modes of voice were imagined, together, as capable of revivifying Italian culture.
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Wildavsky, Aaron. "Keeping Kosher: The Epistemology of Tax Expenditures." Journal of Public Policy 5, no. 3 (August 1985): 413–31. http://dx.doi.org/10.1017/s0143814x00003196.
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Not long ago, I found myself at an athletic breakfast. Having long supported a broader-based, lower-rate income tax, with fewer tax preferences, I was dismayed to discover a letter from an administrator requesting all present to protest against the new reform on the grounds that by weakening tax preferences it would reduce contributions to the University in general and sports in particular. To this special interest – all interests are special to those who care about them – one can add, among numerous others, museums, opera companies, and sports franchises. Indeed, until I started writing this review, I was unaware of how tax preferences help increase the salaries of athletes. These franchises make substantial income from box seats bought by corporations that can write them off as business expenses. Absent this subsidy, franchise income, hence allowable salaries, would be less. Do we want to subsidize athletes? Or owners? How is this to be avoided while protecting the busboys, waiters, and other people who depend on the ablity of businessmen to write off meals and drinks?
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Zhao, Mi. "State Capitalism and Entertainment Markets: The Socialist Transformation of Quyi in Tianjin, 1949–1964." Modern China 44, no. 5 (June 11, 2018): 525–56. http://dx.doi.org/10.1177/0097700418779535.
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This article explores the relationship between the state and a persistent entertainment market during the socialist transformation period of 1949–1964. Drawing on the competing narratives in state archives and the oral accounts of performers and Chinese Communist Party cadres, the article examines the interplay of central policies, local practices, and personal experiences in the formation of state-run troupes and new quyi in Tianjin. It reveals that state-run troupes applied various marketing strategies to fulfill the task that the Center had assigned them: achieving self-sufficiency amid local economic difficulties. The central government promoted a state capitalist policy, and yet provided little funding. To support themselves, local leaders employed such marketing approaches as performing for pay at parties (“party performances”), staging quyi opera, and charging audiences on a pay-by-time basis. In a process of policy testing and negotiating among multiple levels of government, central policies were adjusted. This study demonstrates that the cultural reform was not simply a contest between a singular state and the market, but rather that the state existed at multiple levels and the lack of state funding facilitated a market economy. State capitalism laid a foundation for the socialist cultural transformation.
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Orum, Anthony M., Sidney Bata, Li Shumei, Tang Jiewei, Sang Yang, and Nguyen Thanh Trung. "Public Man and Public Space in Shanghai Today." City & Community 8, no. 4 (December 2009): 369–89. http://dx.doi.org/10.1111/j.1540-6040.2009.01298.x.
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Public space is a topic of great interest for urban scholars and urban planners. Such space, like parks, sidewalks, and plazas, it is argued, can provide the common grounds where the inhabitants of a city meet, exchange ideas, even engage in a variety of cultural performances. This article reports on fieldwork about the use of public space in Shanghai today. We find a great diversity of uses, ranging from vendors who sell their wares to people who engage in heated and extensive political discussions to performers of Beijing opera and ballroom dancing. We also find that the local authorities use a light, and sometimes covert, hand in their oversight of inhabitants in such spaces. Finally, we discover that powerful social differences and inequalities between native inhabitants and working–class migrants, which have emerged during the period of economic reform and market transition, are now actively in evidence in the quality and use of public space in Shanghai. the article puts these findings within a broader theoretical context, concluding in the end that for many—though not all—inhabitants public man is alive and well in Shanghai.
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Yu, Zhou. "Discussion on the Theoretical Guidance and Practical Exploration of the Integrated Development of Aesthetic Education and Moral Education in Colleges and Universities." Journal of Educational Theory and Management 4, no. 2 (November 3, 2020): 24. http://dx.doi.org/10.26549/jetm.v4i2.4669.
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Innovative integration is the development trend of education reform in recent years. Teachers can try to promote the high integration of aesthetic education and moral education from the establishment of music studios, and form a “three-in-one” education and education integration mechanism of classroom teaching, extracurricular activities, and campus culture construction, so as to inherit and innovate the outstanding Chinese traditional music culture and red music culture, and explore the necessity and feasibility of the complementary and integrated development between aesthetic education and moral education.Under the background that the country attaches great importance to inheriting and developing the excellent Chinese traditional culture, taking the integration of music education into college students’ moral education as the starting point, exploring the effective ways of vocal music, instrumental music, opera, Chinese folk art, dance, rap and other artistic works to cultivate national builders and successors who have comprehensive development of moral, intellectual, physical, aesthetic, and labor will be definitely to improve the humanistic quality of university and college students, which promotes the Chinese excellent traditional music culture and red music culture, trains college music talents, etc., and promotes the integration and development of large, medium and small aesthetic education and moral education.
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Helman, Alicja. "Opera w filmie — opera filmowa." Literatura i Kultura Popularna 24 (April 18, 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.
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Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.
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Raguzin, Igor, and Zeljko Tomsic. "Legislation framework for Croatian renewable energy sources development." Thermal Science 11, no. 3 (2007): 27–42. http://dx.doi.org/10.2298/tsci0703027r.
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The energy sector reform in the Republic of Croatia (started 2001), which comprises restructuring, liberalization, privatization, and changes in the overall energy sector, has a significant effect on the possibilities of introducing and increasing the share of renewable energy sources (RES). The adoption of a new legislative framework within the context of reforming Croatia?s energy sector is of key importance for further development and for the future or RES utilization. The Electricity Market Act sets out the le- gal obligation to purchase electricity produced from RES in the manner that a quota or a minimum obligatory share of RES in electricity production is determined by a Government ordinance combined with Tariff system for the production of electricity from renewable energy sources and co-generation. Consequently, on the one hand, incentive funds needed to cover increased costs of production from RES will be collected from customers through the supplier and distributed to privileged producers (feed-in-tariffs, purchase is guaranteed to RES producers on known terms) through the Market Opera- tor. On the other hand, RES investment projects will be encouraged by pur- pose-specific government subsidy and by the Environmental Protection and Energy Efficiency Fund (out of public budget). By applying new energy legislation and associated by-laws (coming into force in 2007), RES projects in Croatia will be provided with a complete and stable legal framework as well as support through incentive measures which will equitably value environmental, social and other benefits of RES use.
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Florit O`Neill, Paula, and Maximiliano Piedracueva. "Tierras estatales y desigualdad de género en Uruguay." Cuestiones de género: de la igualdad y la diferencia, no. 12 (June 24, 2017): 141. http://dx.doi.org/10.18002/cg.v0i12.4849.
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<p><strong>Resumen</strong></p><p>En Uruguay, el Instituto Nacional de Colonización (INC) es la institución encargada de la adjudicación de tierra por parte del Estado, orientado a la distribución racional de la tierra y su acceso por parte de la población rural más vulnerable. A partir del año 2005, atravesó una reforma que jerarquizó su rol en las políticas de Estado y gestó un nuevo modelo de adjudicación de tierras: las experiencias asociativas. Ese mismo año, el nuevo gobierno impulsó la transversalización de género en el Estado, impulso que anclara en el INC a partir del 2013. Este artículo analiza desde una perspectiva de género la reforma refundacional y la nueva política de tierras, develando la ceguera de género de la reforma y evidenciando desafíos pendientes para la transversalización de género en el diseño de la principal modalidad de adjudicación de tierras públicas. </p><p> </p><p><strong>Abstract</strong></p><p><strong></strong>In Uruguay, the National Institute of Colonization is the institution resposible for the adjudication of land by the State, aimed at the rational distribution of land and its access by the most vulnerable rural population. Since 2005, the INC went through a reform that prioritized its role in the policies of the State and created a new model of land adjudication: associative experiences of colonization. In that same year, the new government promoted gender mainstreaming in the State, impulse that took roots in the INC from 2013 onwards. This article analyzes from a gender perspective the refounding reform and the new land policy, unveiling the gender blindness of the reform and highlighting pending challenges for gender mainstreaming in the design of the main public land adjudication modality.</p><p> </p><div id="SLG_balloon_obj" style="display: block;"><div id="SLG_button" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png'); display: none; opacity: 1;"> </div><div id="SLG_shadow_translation_result2" style="display: none;"> </div><div id="SLG_shadow_translator" style="display: none;"><div id="SLG_planshet" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg2.png') #f4f5f5;"><div id="SLG_arrow_up" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/up.png');"> </div><div id="SLG_providers" style="visibility: hidden;"><div id="SLG_P0" class="SLG_BL_LABLE_ON" title="Google">G</div><div id="SLG_P1" class="SLG_BL_LABLE_ON" title="Microsoft">M</div><div id="SLG_P2" class="SLG_BL_LABLE_ON" title="Translator">T</div></div><div id="SLG_alert_bbl"> </div><div id="SLG_TB"><div id="SLG_bubblelogo" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png');"> </div><table id="SLG_tables" cellspacing="1"><tr><td class="SLG_td" align="right" width="10%"><input id="SLG_locer" title="Fijar idioma" type="checkbox" /></td><td class="SLG_td" align="left" width="20%"><select id="SLG_lng_from"><option value="auto">Detectar idioma</option><option value="">undefined</option></select></td><td class="SLG_td" align="center" width="3"> </td><td class="SLG_td" align="left" width="20%"><select id="SLG_lng_to"><option value="">undefined</option></select></td><td class="SLG_td" align="center" width="21%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" width="10%"> </td><td class="SLG_td" align="right" width="8%"> </td></tr></table></div></div><div id="SLG_shadow_translation_result" style="visibility: visible;"> </div><div id="SLG_loading" class="SLG_loading" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/loading.gif');"> </div><div id="SLG_player2"> </div><div id="SLG_alert100">La función de sonido está limitada a 200 caracteres</div><div id="SLG_Balloon_options" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg3.png') #ffffff;"><div id="SLG_arrow_down" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/down.png');"> </div><table width="100%"><tr><td align="left" width="18%" height="16"> </td><td align="center" width="68%"><a class="SLG_options" title="Mostrar opciones" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?bbl" target="_blank">Opciones</a> : <a class="SLG_options" title="Historial de traducciones" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?hist" target="_blank">Historia</a> : <a class="SLG_options" title="ImTranslator Ayuda" href="http://about.imtranslator.net/tutorials/presentations/google-translate-for-opera/opera-popup-bubble/" target="_blank">Ayuda</a> : <a class="SLG_options" title="ImTranslator Feedback" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?feed" target="_blank">Feedback</a></td><td align="right" width="15%"><span id="SLG_Balloon_Close" title="Cerrar">Cerrar</span></td></tr></table></div></div></div>
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García Roca, Javier. "El diálogo entre el Tribunal Europeo de Derechos Humanos y los tribunales constitucionales en la construcción de un orden público europeo." Teoría y Realidad Constitucional, no. 30 (June 1, 2012): 183. http://dx.doi.org/10.5944/trc.30.2012.7005.
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Asistimos a un proceso de influencia recíproca sobre derechos entre altos tribunales. Distintas jurisdicciones —ordinaria, constitucional, convencional y de la Unión— concurren al servicio de la integración europea mediante la garantía efectiva de unos derechos comunes y vienen obligadas a elaborar interpretaciones compatibles. Los derechos fundamentales son un ingrediente de un orden público democrático y el CEDH opera como un instrumento constitucional al servicio de ese orden. La idea de diálogo judicial es un instrumento flexible y ambiguo, y, precisamente por ello, muy útil para organizar un trabajo en red en este escenario de pluralismo constitucional. Si bien no es claro qué quiere decirse con «diálogo», puede que de esta ambigüedad sea mejor no salir dado el amplio círculo de los destinatarios. Los tribunales constitucionales deben actuar como interlocutores del TEDH y, al tiempo, como mediadores, divulgando la jurisprudencia europea y haciéndola compatible con las jurisprudencias constitucionales mediante una interpretación conforme. Sería muy conveniente acomodar los parámetros constitucionales de derechos, mediante su reforma, al mínimo que entraña el sistema del Convenio. Debemos explicar con mayor profundidad las diversas relaciones que se engloban bajo la inclusiva denominación de diálogo.We are witnessing a process of influence and cross-fertilization in human rights between high courts. Several jurisdictions —domestic, constitutional, European Court and Court of Justice— cooperate in European integration in order to achieve collective enforcement of rights and therefore compatible interpretationsmust be constructed. Fundamental rights are an ingredient of a European and democratic public order, and the European Convention on Human Rights must work as a constitutional instrument of this order. The idea of judicial dialogue is such a flexible and ambiguous device that it becomes very useful for organizing a network in this scenario of constitutional pluralism. Nevertheless it is not at all clear what the expression «dialogue » means, however it is probably better not to go very much into detail because of the wide number of member States which have to understand it. Constitutional Courts should act as partners of the European Court of Human Rights and also as mediators, spreading European legal doctrine and making it compatible with their own constitutional doctrines by means of an interpretation secundum conventionem. It would be convenient to reform constitutional parameters in order to harmonize their internal standards with the system of the Convention. But we should go further and explain in detail the different relationships which are included under the word «dialogue».
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Wiley, Roland John. "Dances in Opera: St. Petersburg." Dance Research 33, no. 2 (November 2015): 227–57. http://dx.doi.org/10.3366/drs.2015.0139.
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In Russia opera dances emerged in the eighteenth century, distinguishing themselves from other theatre works that included dance; the most important works and composers of this period will be summarized. As a repertoire of continuing interest, opera dances began with those of Mikhail Glinka in 1836 and 1842. Problems of studying the opera dances since then, including local practice, faulty scholarship and press criticism, will be identified. The principal makers of opera dances in Russia are introduced next together with their accomplishments, not least in light of so-called theatre reforms of the early 1880s, which favored opera over ballet proper. Finally, selected opera dances from Glinka to Tchaikovsky are analysed, with elaborations from historical records and the contemporary press.
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Moya, Manuel Fernando. "La producción de la verdad en el espacio penal del campo jurídico colombiano: un acercamiento a la Ley 600 de 2000." Criterios 4, no. 2 (November 15, 2011): 39–60. http://dx.doi.org/10.21500/20115733.1961.
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En el espacio penal se opera uno de los procesos sociales más complejos de transformación. En los mismos se procura un método de generación de la sentencia, sobre la base de un esquema concreto de consolidación de la verdad judicial. Tales métodos comportan una cierta identidad a los esquemas de procesamiento. En Colombia se operó un cambio en este sentido a consecuencia de la implementación del llamado ‘sistema acusatorio’, el cual contempla un modelo acentuadamente distinto al que se ha practicado durante los dos siglos precedentes en el país. Oscilante entre los modelos de producción de la verdad judicial basada en las verdades absolutas y la indagación, el país penduló hacia una estructura procesal en la que se acentúa profundamente el concepto de la verdad como hipótesis no descubierta sino producida, si bien manteniendo un referente con el objeto del proceso. Sin embargo, el país no parece haber interiorizado aún la modificación, entre otros aspectos, por la falta de conciencia sobre las implicaciones de la reforma.
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Cheung, Ah Li. "The voices of the voiceless: the Cantonese opera music community in Guangzhou, China." Asian Education and Development Studies 8, no. 4 (October 7, 2019): 443–53. http://dx.doi.org/10.1108/aeds-02-2018-0049.
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Purpose Since Cantonese opera was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009, the Chinese government has carried out different policies to “develop” Cantonese opera in Guangzhou. Through state-initiated reforms, the local performing art was homogenized, institutionalized and nationalized in many ways. In this process, the government authorities took the lead and the Cantonese opera music community was not involved in the decision making of the future of their own tradition. This paper aims to discuss this issue. Design/methodology/approach Based on intensive fieldwork conducted in 2011, the paper examines the meaning of heritage to the local music community, as the art form was recognized by UNESCO in 2009. Apart from studying the policies made by the government, this paper looks into the socio-political impact brought to the Cantonese opera music community from a bottom-up perspective. Findings Cantonese opera performances in Guangzhou as well as performers’ own social life changed drastically in recent years. Musicians faced a dilemma of whether to follow the government’s market-oriented plan or to preserve their traditional lifestyle with their own initiative. Originality/value This paper reveals the voices of the “voiceless” music community and investigates the consequences resulted by the heritagization of the art form to the music community.
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Chabrowski, Igor Iwo. "Reforming the State and Constructing Commercial Opera in Sichuan, 1902–1920s: An Entangled History of Performing Arts and Administrative Reforms." Modern China 45, no. 1 (June 26, 2018): 64–90. http://dx.doi.org/10.1177/0097700418782874.
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This article analyzes the thorough reformulation of opera in Sichuan in the first two decades of the twentieth century. It argues that theater developed in Sichuan during the eighteenth century as a part of the social and religious life of market towns and cities and that it was indivisibly connected with the political and administrative structure of the country. As such, it was fragmented along musical, dialectic, and geographic lines. The introduction of the New Policies in 1905, which most affected the largest urban centers such as Chengdu and Chongqing, was the main cause of organizational reconstruction of theatrical performances. They changed both opera’s place in social life and the way it was produced and staged. Within the new legal framework, opera was placed under the Company Law and therefore moved from the sphere of festivity to that of business, while playhouses’ prosperity was bound with the police departments that taxed and protected them. The mutual dependence of law enforcement and entertainment persisted during the early Republic and was revived in the 1930s, making theaters among the most stable and important institutions of early twentieth-century Sichuan cities. The Sichuan opera we know now is a product of this historical process. The study of the institutional development of opera shows the aims, scope, and limitations of the political reforms that reshaped China in the late Qing and Republican periods.
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Da Fonseca, Fernando Taveira. "Uma Universidade que se renova." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 29–48. http://dx.doi.org/10.14195/1647-8436_46_47_2.
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O percurso biográfico de D. Francisco de Lemos está intimamente ligado à Universidade num dos seus momentos cruciais. Tendo feito toda a sua formação académica em Coimbra, antes de 1772, ele irá desempenhar um papel principal na preparação e na implantação da reforma universitária que nesse ano se formaliza através dos novos Estatutos. A reforma assenta numa base institucional e económica que, em grande parte, permanece; mas opera uma revolução nos conteúdos e nos métodos de ensino. Tentaremos aqui, em síntese, traçar um quadro que englobe estas duas realidades que mutuamente se iluminam.
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Da Fonseca, Fernando Taveira. "Uma Universidade que se renova." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 29–48. http://dx.doi.org/10.14195/2184-7681_46_47_2.
Full textAbstract:
O percurso biográfico de D. Francisco de Lemos está intimamente ligado à Universidade num dos seus momentos cruciais. Tendo feito toda a sua formação académica em Coimbra, antes de 1772, ele irá desempenhar um papel principal na preparação e na implantação da reforma universitária que nesse ano se formaliza através dos novos Estatutos. A reforma assenta numa base institucional e económica que, em grande parte, permanece; mas opera uma revolução nos conteúdos e nos métodos de ensino. Tentaremos aqui, em síntese, traçar um quadro que englobe estas duas realidades que mutuamente se iluminam.
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Fernandes, Márcia, and Thaís Catalani Morata. "Estudo dos efeitos auditivos e extra-auditivos da exposição ocupacional a ruído e vibração." Revista Brasileira de Otorrinolaringologia 68, no. 5 (October 2002): 705–13. http://dx.doi.org/10.1590/s0034-72992002000500017.
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Objetivo: Este estudo teve como objetivo investigar as queixas de saúde e achados audiológicos de dois grupos de trabalhadores. Forma de estudo: Clínico prospectivo randomizado. Material e método: Grupo 1- exposto a níveis de pressão sonora elevados e vibração transmitida por meio das mãos-braços nos trabalhadores que operam motorroçadeiras, e Grupo 2- exposto a níveis elevados de pressão sonora e vibração transmitida por meio do corpo inteiro nos trabalhadores que operam equipamentos pesados como pá-carregadeira, moto niveladora, retro-escavadeira e rolo compressor. Os 73 participantes passaram por entrevista, inspeção do meato acústico externo e audiometria tonal. Resultado: Em relação aos problemas de saúde, o grupo 2, exposto a vibração de corpo inteiro, é o que apresenta um maior número de queixas. Os trabalhadores do Grupo 1, sem exceção, fazem uso do protetor auditivo e apenas 4 (11%) referem zumbido. No Grupo 2 nem todos os trabalhadores usam o protetor auditivo e 6 (17%) referem apresentar zumbido. Entretanto, a porcentagem de audiogramas alterados é mais elevada no grupo 1, expostos a vibração transmitida por meio das mãos-braços. Conclusão: Este estudo revelou uma série de deficiências no acompanhamento de saúde dessas populações e demonstrou a necessidade da implantação de programas preventivos tanto no que se refere à exposição a níveis de pressão sonora elevados quanto à vibração.
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Casassus, Juan. "A reforma educacional na América Latina no contexto de globalização." Cadernos de Pesquisa, no. 114 (November 2001): 7–28. http://dx.doi.org/10.1590/s0100-15742001000300001.
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O artigo analisa as reformas educacionais ocorridas na América Latina, na década de 90, com o objetivo de dar indicações sobre como opera a regionalização no plano da cultura e das instituições e sobre os conteúdos desses processos macros, independentemente das variações nacionais e locais. Efetua também um balanço dos objetivos expressos por esses conteúdos após uma década de reformas educacionais na região. Embora o trabalho focalize o nível regional, a análise se apóia nas ações no nível nacional, uma vez que elas são estruturadas pelas políticas nacionais e, portanto, ocorrem dentro de um espaço definido por essas políticas, a Nação.
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Conceição, Bruno Magera, Renan Magera Conceição, Joelma Telesi Pacheco Conceição, and Márcio Magera Conceição. "O processo de terceirização aplicado a administração pública – uma abordagem jurídico legal." Research, Society and Development 7, no. 2 (January 1, 2018): e872145. http://dx.doi.org/10.17648/rsd-v7i2.203.
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O artigo apresenta uma análise da terceirização na Administração Pública brasileira e a forma como opera atualmente, iniciando um processo de reforma, visando a reduzir o tamanho do aparelhamento administrativo. São demonstradas diversas conceituações doutrinárias e jurisprudenciais para o tema, com o objetivo de demonstrar de forma concisa a aplicabilidade da terceirização como mecanismo de redução de custos da máquina pública, aumento de sua eficiência e diminuição de seu tamanho. São apresentadas algumas vantagens da utilização da terceirização pela administração pública por diversos juristas, conceituando inclusive os ganhos em competitividade e a facilidade de fiscalização por parte dos cidadãos. A extensão da responsabilidade da administração pública pela empresa terceirizada e a forma como se opera, a luz da legislação, da jurisprudência e da melhor doutrina, sugerem alternativas eficientes no exercício da administração, ampliando sua credibilidade e eficiência no alcance de objetivos governamentais. A metodologia utilizada foi através a dedutiva. Os resultados alcançados demonstram que o processo de terceirização traz qualidade e uma nova dinâmica no serviço público.