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Journal articles on the topic 'Opera study'
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1
Tesařová, Petra. "OPERa Study." Klinicka onkologie 26, no. 6 (December 15, 2013): 425–33. http://dx.doi.org/10.14735/amko2013425.
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Zaslaw, Neal. "Scylla et Glaucus: A case study." Cambridge Opera Journal 4, no. 3 (November 1992): 199–228. http://dx.doi.org/10.1017/s0954586700003773.
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The policies of centralisation pursued by Louis XIV and his ministers affected most aspects of French life and culture. From 1645 opera had been imported from Italy by Louis' minister Cardinal Mazarin, originally out of political motives. When it had become ‘naturalised’, assuming its characteristic French guise under the despotic direction of Lully's Académie Royale de Musique, it continued to serve political purposes. In return for a monopoly on theatre music, Lully saw to it that opera served not only as entertainment for the nobility and bourgeoisie, but also as propaganda for the state and for the divine right of the King. An incidental effect of these policies was that the number of French operas produced was small compared to the number in Italy. This was due to the monopoly; to the centralisation, which meant that with few exceptions ‘French’ opera really meant ‘Parisian’ opera; and to the lavishness of the productions, which made frequent changes of repertory impractical even with subsidies. Each première was an event of note, chronicled in official and unofficial sources – the archival documents, mémoires, correspondence, periodicals, pamphlets and books of the day. This profusion of documentation frequently makes possible a degree of precision about the history of early French opera that can rarely be attained for other national schools.
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Rosmiati, Ana. "PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (March 9, 2022): 129–43. http://dx.doi.org/10.33153/acy.v13i2.3998.
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This research on the accuracy of diction in the placement of product placement in the soap opera Tukang Ojek Pengkolan (TOP) at the RCTI Television Station is interesting considering that there are advertising products that are inserted when the soap opera is running. Product placement has become a trend to be shown in soap operas and films in Indonesia with the aim of introducing products effectively because at the same time as the broadcast time, TOP soap operas are one of the soap operas that air on RCTI with high viewership ratings. The story in this soap opera is relatively light about the life of a motorcycle taxi driver. The problem in this research is how to choose an effective diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and how to place the product placement in the soap opera Tukang Ojek Pangkalan when viewed from the nature of the advertisement. The purpose of this study was to find an effective choice of diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and to describe the advertising nature of the product placement found in the soap opera Tukang Ojek Pengkolan. This type of research is a qualitative descriptive research. The data source in this study is the primary data source in the form of the soap opera Tukang Ojek Pengkolan (TOP).Keywords : Product placement, advertisement, soap opera TOP
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TÜRKMENOĞLU, Ömer, and Dilek ALİYAZICIOĞLU. "A STUDY ABOUT THE "ARSHIN MAL ALAN" OPERETTA." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 287–304. http://dx.doi.org/10.46291/zfwt/130215.
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Azerbaijan became acquainted with opera at the beginning of the twentieth century thanks to the tours organized by Russian and European operas to Baku. The intense admiration of the Azerbaijani people led Azerbaijani composers to produce works in opera style. In that period, Üzeyir Hacıbeyli combined his knowledge of authorship, historiography, scientists, education, journalism and musicians in the art of opera, based on the impact of the strong and aesthetic touch of art on people, and laid the foundations of opera in the East by composing the mugam opera "Leyli and Mecnun". In the revolution and democracy struggle that started in Azerbaijan, the artists and intellectuals of the period started an enlightenment movement through their works. On this occasion, Hacıbeyli turned from the opera style to the operetta style. Operetta is a musical / dialogue stage piece that takes its subject from social problems and aims to make the audience laugh while making them think. Hacıbeyli compiled the topics of his operettas from the reactionary perspectives that prevent his people from adopting modern life, offered solutions through his works and gave new and modern perspectives to his audience. The "Arşın Mal Alan" has gained a worldwide reputation thanks to the musical structure that it has created by carefully synthesizing the elements of the Azerbaijani national music style, folk mahnis, dances and mugam traditions with the European operetta style. This work, which is about the tradition of arranged marriage rebelled by the new generation, has been translated into more than sixty languages worldwide thanks to its musical and sociological success and has been adapted to the big screen. Considering that it is a very popular work in our country and in other countries where it has been staged and is of such importance for the Turkish world opera literature, the work does not take place in our opera scenes enough and it is noteworthy that the number of publications such as articles, theses and books about it in Turkey. With this study, it is thought to contribute to the literature. In this article, the history of Azerbaijan operetta, the life of Üzeyir Hacıbeyli and the operetta "Arşın Mal Alan" are examined. Keywords: Azerbaijan Opera, Üzeyir Hacıbeyli, Operetta, Opera, Arşın Mal Alan
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Rachmawati, Yul, and Tangguh Okta Wibowo. "KENIKMATAN IRONIS BAGI MANTAN PREMAN DI YOGYAKARTA SETELAH MENONTON SINETRON PREMAN PENSIUN." Jurnal Komunikasi 12, no. 2 (September 9, 2018): 111–20. http://dx.doi.org/10.21107/ilkom.v12i2.4513.
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ABSTRACTThis study attempts to explore how the reception of the audiences after watching Preman Pensiun(PP) soap opera, a comedy soap opera by Aris Nugraha which has aired up to three series. Theproblematization of this study comes when PP soap opera raises a question, how do audiences’response in the city other than Bandung? This study tries to understand how receptive thugs whoare retired or ex-thugs after watched PP soap operas in their daily lives. For data collection,researchers conducted in-depth interviews after approaching three informants as former thugs in Yogyakarta. The result of this study is the communication of former thugs in daily life after they have constructed and reproduced values adopted from PP soap opera. Last, PP soap opera givespleasure for the ex-thugs in providing entertainment, but also it gives ironic pleasure and paradoxwhen they feel away with the pleasure.Keywords: daily lives of ex-thugs; ironic pleasure; Preman Pensiun soap opera; reception of thugs
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Roll, Julia, and Sven-Ove Horst. "The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 90–109. http://dx.doi.org/10.1515/bsmr-2017-0014.
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AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.
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Yazar, İlhan Uğur. "The Influence of Orientalism in the 18th and 19th Century Opera Librettos." Journal of Human Sciences 19, no. 2 (June 21, 2022): 300–310. http://dx.doi.org/10.14687/jhs.v19i2.6283.
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This study aims to trace the change and transformation of meaning and influence of orientalism and in the West from the 18th century through the 19th century in the operas where both content and visual codes were penetrated in the subtlest way, which first evolved geographically and politically, then diplomatically and culturally, and finally the purpose of domination by the West. While opera librettos embodied orientalism visually, the evolving content of orientalism shaped the operas. From this viewpoint, this study discusses the interaction between the East and the West in the 18th century, and the reflection of the historical memory in the performing arts in the 19th century, in which the attempts for domination emerged. In this context, ‘Tamerlano’ Opera by George Frederick Händel and the ‘Abduction from the Seraglio’ Opera by Wolfgang Amadeus Mozart in the 18th century are looked through, and ‘Aida’ Opera by Giuseppe Verdi in the 19th century is construed subsequently.
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Wang, Xiao. "Spiritual Inheritance: A Case Study of Henan Opera." Journal of Contemporary Educational Research 5, no. 9 (September 30, 2021): 26–30. http://dx.doi.org/10.26689/jcer.v5i9.2531.
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Despite many scholarly debates on Chinese opera, the study of how opera hit rock bottom remains scarce. Therefore, this article addresses this reason through a case study of Henan Opera. Informed by a systematic approach, there have been various improvements, good and bad criticisms, as well as affirmations in regard to opera. The lack of the Chinese opera spirit is the root of the difficulties in the development of Chinese opera.
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Herzfeld, Gregor. "Poe and “Gothic Opera”." Edgar Allan Poe Review 16, no. 1 (April 1, 2015): 1–18. http://dx.doi.org/10.5325/edgallpoerev.16.1.00001.
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Abstract This article seeks to fulfill two aims: The first is a more documentary one, namely, to give a broad overview, including short characteristics, of the rich operatic production following Poe's texts. The second is a more interpretative one, that is, to investigate the reasons that brought Poe to such a privileged position. Given the special outline of his stories, the composers seem to be interested in a kind of sensual operatic experience, which André Schaeffner labeled “theater of fear” with regard to Debussy. Following this lead, the article aims to reconstruct a line of tradition using “Gothic” elements in operas, creating a “Gothic opera,” which can be traced back to Weber's Freischuütz, Marschner's Vampyr, and Wagner's Flying Dutchman. In order to explore what has attracted opera composers to Poe's works for the last hundred years, I study Poe's ideas on literary musicality, the reception of Gothic features in music and opera, and the aesthetic concepts that might be a unifying factor in these different operas. My idea is that there is a certain aesthetics of atmosphere that can be realized especially well in music and opera, respectively. Composers who are fascinated by Gothic conceptions of atmosphere do not bypass Poe as one of its most ingenious masters and readily adapt his texts to operatic works. By way of reading four of the Poe operas more closely, the aesthetics of a fearful musical atmosphere will be exemplified.
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Minying, YE. "Translation Norms of Yueju Opera to Go Global: A Case Study of The Legend of Liang Shanbo and Zhu Yingtai: A Yueju Opera Translation by Shi Yili." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 2 (June 30, 2022): 040–46. http://dx.doi.org/10.53789/j.1653-0465.2022.0202.005.p.
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As one of China’s major operas and world intangible cultural heritage, Yueju Opera plays an important role in the process of translating Chinese traditional culture. From the perspective of external propaganda, this paper firstly introduces the Projects for Disseminating Chinese Operatic Dramas Overseas, chiefly edited by He Qixin of Renmin University of China, expounds its studying concept and value, and mainly focuses on the Shi Yilis translation of The Legend of Liang Shanbo and Zhu Yingtai — A Yueju Opera in this series. By analyzing the unique translation norms adopted by this translation version, it publicizes traditional cultural opera, which is not limited to the script translation itself. This provides more referent methods and perspectives to inspire individuals, relevant institutions, and even central government. Thus, they can further solve many problems and seize more opportunities encountered in the cause of “going global” of Yueju Opera.
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Minying, YE. "Translation Norms of Yueju Opera to Go Global: A Case Study of The Legend of Liang Shanbo and Zhu Yingtai: A Yueju Opera Translation by Shi Yili." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 2 (June 30, 2022): 040–46. http://dx.doi.org/10.53789/j.1653-0465.2022.0202.005.
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As one of China’s major operas and world intangible cultural heritage, Yueju Opera plays an important role in the process of translating Chinese traditional culture. From the perspective of external propaganda, this paper firstly introduces the Projects for Disseminating Chinese Operatic Dramas Overseas, chiefly edited by He Qixin of Renmin University of China, expounds its studying concept and value, and mainly focuses on the Shi Yilis translation of The Legend of Liang Shanbo and Zhu Yingtai — A Yueju Opera in this series. By analyzing the unique translation norms adopted by this translation version, it publicizes traditional cultural opera, which is not limited to the script translation itself. This provides more referent methods and perspectives to inspire individuals, relevant institutions, and even central government. Thus, they can further solve many problems and seize more opportunities encountered in the cause of “going global” of Yueju Opera.
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Aydin, Pinar, Robert Ritch, and John O’Dwyer. "Blindness and visual impairment in opera." European Journal of Ophthalmology 28, no. 1 (January 2018): 6–12. http://dx.doi.org/10.5301/ejo.5001071.
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Purpose: The performing arts mirror the human condition. This study sought to analyze the reasons for inclusion of visually impaired characters in opera, the cause of the blindness or near blindness, and the dramatic purpose of the blindness in the storyline. Methods: We reviewed operas from the 18th century to 2010 and included all characters with ocular problems. We classified the cause of each character’s ocular problem (organic, nonorganic, and other) in relation to the thematic setting of the opera: biblical and mythical, blind beggars or blind musicians, historical (real or fictional characters), and contemporary or futuristic. Results: Cases of blindness in 55 characters (2 as a choir) from 38 operas were detected over 3 centuries of repertoire: 11 had trauma-related visual impairment, 5 had congenital blindness, 18 had visual impairment of unknown cause, 9 had psychogenic or malingering blindness, and 12 were symbolic or miracle-related. One opera featured an ophthalmologist curing a patient. Conclusions: The research illustrates that visual impairment was frequently used as an artistic device to enhance the intent and situate an opera in its time.
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Lingling, Lou. "A Study on the Cross-cultural Communication Strategies of Yue Opera." Journal of Critical Studies in Language and Literature 2, no. 2 (February 28, 2021): 53–59. http://dx.doi.org/10.46809/jcsll.v2i2.61.
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Yue Opera, the second-largest opera in China, is also known as “the most widely spread local opera genre in China”. It is called “Chinese Opera” abroad. The overseas dissemination of Yue Opera has extremely far-reaching significance for displaying traditional Chinese culture, telling Chinese stories well, and building cultural confidence. Based on combing the status quo of overseas communication of Yue Opera in different stages, the paper analyzes the currently existing problems, and then, under the guidance of Lasswell’s Model of Communication, discusses cross-cultural communication strategies of Yue Opera from five aspects, namely “who”, “says what”, “in which channel”, “to whom” and “with what effect”.
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Ni, Yuqi, Jiayi Lou, Yaxuan Wang, Congcong Yu, Yutong Li, Tianyu Xia, Yiting Xu, Xinlan Ru, and Shihua Cao. "A study on the current situation and countermeasures of the communication and development of college students' opera culture ---- A case study of universities in Hangzhou." Advances in Education, Humanities and Social Science Research 1, no. 3 (February 1, 2023): 180. http://dx.doi.org/10.56028/aehssr.3.1.180.
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Traditional Chinese opera is one of the outstanding traditional cultures and has a significant role in cultivating moral sentiments and enhancing cultural confidence. The effect of opera is gradually decrease among the contemporary university community, and there are widespread flaws in the cultural literacy of opera. The transmission and development of opera culture in universities is facing great challenge, so the popularisation of opera in the scale of campuses has become an urgent issue for improvement. This paper investigates the current situation of Chinese opera popularization in universities in Hangzhou city China, explores inherent problems and puts forward corresponding countermeasures and suggestions. In order to help universities to improve the education and popularisation of Chinese opera.
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Palma Fahey, María. "Understanding idioms and idiomatic expressions in context: a look at idioms found in an Irish soap opera." TEANGA, the Journal of the Irish Association for Applied Linguistics 22 (July 17, 2019): 84–104. http://dx.doi.org/10.35903/teanga.v22i0.154.
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This paper looks at idioms drawn from a corpus of soap opera and compares their communicative functions to those performed by idioms in corpora of naturally-occurring conversation. In this study soap opera data is validated as a suitable tool for demonstrating the role that idioms play in spoken interaction. Soap operas, as well as other media genres, try to convey a believable linguistic world, exploiting idioms and providing contexts in which the pragmatic functions of idioms can be understood and analysed. This paper suggests that the analysis of idioms found in soap opera can contribute to the increase of knowledge and understanding concerning the communicative functions that idioms have in conversation. The data used in this study is drawn from the corpora of naturally-occurring conversation --- the Limerick Corpus of Irish English (LCIE) and the Cambridge and Nottingham Corpus of Discourse in English (CANCODE) --- and a corpus of the Irish soap opera, Fair City.
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TÜRKMENOĞLU, Ömer, and Zümra AZİZOĞLU. "THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 305–20. http://dx.doi.org/10.46291/zfwt/130216.
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The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera
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Siti, Sholihati, Heddy Shri Ahimsa, and Heru Nugroho. "THE USES OF RELIGIOUSS SYMBOLS TO REPRESENT ISLAM (A Study on Religious Soap Opera "Bukan Islam KTP")." Analisa 1, no. 1 (May 19, 2016): 91. http://dx.doi.org/10.18784/analisa.v1i1.242.
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<p>This study is entitled THE USES OF RELIGIOUS SYMBOL TO REPRESENT ISLAM (A Study on Religious Soap Opera Bukan Islam KTP).<strong> </strong>The background of the research is based on the facts of the arbitrary use of symbols to represent Islam shown on Indonesian televisions. The pattern of the use of religious symbols, either verbal or non-verbal symbols are generally explicit, but when examined using appropriate methods, they are actually contained some implicit meanings. The purpose of this study was to discover about how Islam is represented on television religious soap opera using religious symbols and to find out the dominant ideology behind the representation techniques. To analyze the soap operas consist of twenty episodes, the researcher used a semiotic approach by John Fiske on television codes. The results of this study are: (1) the use of verbal symbols to represent Islam potentially creates multiple interpretations when they are spoken by different characters. (2) Some religious terminologies are often used by antagonist player to express anger and disappointment. (3) The soap opera is dominated by verbal violence used by both protagonist and antagonist players, while antagonist player use violence both in verbal and non-verbal forms. The findings about ideology embedded in the soap opera are: (1) capitalist-materialistic ideology, (2) ideology of patriarchy, and (3) violence domination.<strong></strong></p>
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Yuliia, Shchukina. "Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 111–25. http://dx.doi.org/10.34064/khnum1-60.06.
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Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.
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Öğüt, Evrim Hikmet. "The transformation of sacrifice theme in opera repertoireOpera repertuvarında kurban temasının dönüşümü." Journal of Human Sciences 13, no. 1 (April 20, 2016): 2113. http://dx.doi.org/10.14687/ijhs.v13i1.3766.
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The concept of sacrifice, with roots in pre-historic times, not only has sustained its primary meaning throughout the history but also has gained secondary meanings besides its ritual, religious and divine features. While various aspects of the concept can be found in the opera repertoire, the mentioned transformation can be traced particularly in the context of human sacrifice.In parallel with the transformation of opera repertoire from 18th to 20th centuries, this study, examining a selection of the opera repertoire with the concept of human sacrifice; with a chronological perspective, aims to present the new meanings of the concept of sacrifice and the act of human sacrifice have gained.Not covering a musicological analysis of the operas, this study aims to draw attention to the historical sense of and the dynamic character of the opera as well as, to the methods applied when dealing with the subject of human sacrifice, which is a tough and pre-modern subject in contrast to opera as a “modern” artistic form. Özetİnsanlık tarihiyle yaşıt olan kurban kavramı tarih öncesinden günümüze gelen süreç içinde birincil anlamını koruduğu gibi, ritüel boyutundan, dini ve kutsal boyutlardan sıyrılarak ikincil anlamlar kazanmıştır. Opera repertuvarı incelendiğinde kavramın pek çok farklı görünümünü bulmak mümkün olduğu gibi, söz edilen dönüşümü özellikle insan kurban etme bağlamında takip etmek mümkündür.Temel olarak, opera repertuvarında insan kurban edilmesini konu alan örneklerden bir seçme üzerinde duracak olan bu çalışma, kronolojik bir bakışla, kurban kavramının ve insan kurban etme düşüncesinin kazandığı yeni anlamları, opera anlayışının 18. yüzyıldan 20. yüzyıla gelen süreçte geçirdiği değişime paralel olarak sunmayı amaçlamaktadır.Çalışma, söz edilecek operalara ilişkin müzikbilimsel bir incelemeyi içermemekle birlikte, opera gibi çoksesli Batı müzik geleneğinin merkezinde yer alan ve “modern” olarak adlandırılabilecek olan bir türün, özellikle insan kurban edilmesi gibi zorlu ve modern-öncesi bir konuyu ele alırken baş vurduğu yöntemlere, operanın tarihselliğine ve dinamik karakterine dikkat çekmeyi amaçlamaktadır
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Arsenio Nicolas, Zhang Jian,. "Zhuang Opera --- A study of Chinese Minority Arts in Guangxi Province, China." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 6 (April 5, 2021): 2900–2912. http://dx.doi.org/10.17762/turcomat.v12i6.5799.
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This article is a study of Zhuang Opera in the Guangxi Province in China. There are three general genres of Zhuang Opera, the analysis of selected musical pieces of these four types focuses on the music structure of Pingban melody, and the rhyme of the song texts --- Yaojiaoyun. This study is a pioneering work on the Zhuang Opera's musical form as there is currently no published work on the music of the opera and its association with related music categories. Except for very few research collections on national opera, most studies mainly focus on the history, literature, and folklore of traditional Zhuang Opera. In general, this study utilized new research methodologies producing different results from previous research, while at the same time, confirming earlier studies on the music and performance styles of the opera.
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Sheppard, W. Anthony. "Blurring the Boundaries: Tan Dun's Tinte and The First Emperor." Journal of Musicology 26, no. 3 (2009): 285–326. http://dx.doi.org/10.1525/jm.2009.26.3.285.
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Abstract Tan Dun's 2006 opera The First Emperor dramatically transgresses stylistic, cultural, genre, and aesthetic boundaries and prompts investigation of critical methods and categories. This opera's multiplicity and engagement with the operatic past brings into focus relationships between Chinese, European, and experimental American operatic traditions and Romantic, modernist, and postmodernist modes of Orientalist representation. Powers's study of Puccini's manipulation of multiple styles in Turandot is a model for tracing Tan's stylistic sources and exploring their interaction in The First Emperor. Tan's use of conventions from the Orientalist operatic tradition and treatment of thematic material indicates an attempt to accommodate audience expectations. Other recent operas influenced by Chinese operatic traditions and the recent reception of Chinese opera in the West likely shaped Tan's composition and offer useful contextual and comparative perspectives. The critical reception and revision of this high-profile opera raise issues central to the creation of contemporary opera.
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Yanko, Yu V. "Performing interpretation of the opera in the spectacles of the Opera Studio of the Kharkiv National I. P. Kotlyarevsky University of Arts in the late 20th – the early 21st century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 92–107. http://dx.doi.org/10.34064/khnum2-14.07.
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Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.
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Solomonova, Olga. "Interpretation Content of the Modern Musical Theater: Portrait in the Style of ad Libitum." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 143–59. http://dx.doi.org/10.31318/2522-4190.2021.130.231226.
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Relevance of the study. The interpretive space of modern musical theater is one of the most dynamic, multivariate and modernized world culture phenomena. In the era of culture “non-classical paradigm” the past cult operas viability is maintained through their renewed representation and “alienation”. The refusal to perceive the author’s work as complete and the only possible for realization emancipates the modern interpretive strategy and opens up endless possibilities until the emergence of the “corporate” opera text’s phenomenon. So the interpretation process extends to the work’s “inner sanctum” — to its music and thus allows the involvement of the modern artist’s personality to co-author with the composer of the past. The unique example is the opera project “Boris” by corporate authorship of Modest Mussorgsky and contemporary Russian-German composer Sergei Nevsky (2020, Staatsoper). The need for update the ideas about the modern musical theater’s interpretive strategy and the lack of this project research provides the relevance and the innovative essence of the material.Main objective of the study is to determine the modern interpretive strategies of modern opera theater on the example of the project “Boris”.Methodology. The material specificity led to the adaptation of the fellowing research methods: the interpretive — to identify the modern musical theater main interpretive strategies in relation to the production of “Boris Godunov” by M. Mussorgsky with an emphasis on the project “Boris”; the hermeneutic-semantic — for the purpose of reveal the intonation-image specificity of the analyzed S. Nevsky’s project; the comparative — for juxtaposition of two co-operas authored by Mussorgsky and Nevsky as components of the project “Boris”; the holistic intonation analysis — to study the intonation and drama specifics of the hybrid work.Results and conclusions. The modernity interpretive reality initiates the emergence of radically new trends in the opera interpretation. An example of the modern musical theater innovative strategy is the hybrid project “Boris” synthesized from two stylistically contrasting operas that belong to different epochs: “Boris Godunov” by M. Mussorgsky and “Second-hand Time” by S. Nevsky. The research considered the intonation-genre specificity and its indicators from the point of view of the associative musical text theory. The associative text of “Boris” exists in two versions: as a quotation (in S. Nevsky’s opera “Second-hand Time” was adapted the material from “Boris Godunov” by M. Mussorgsky); b) in the form of a whole work presented by Mussorgsky’s opera “Boris Godunov” in the framework of the entire project “Boris” which is a unique opera phenomenon.
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Hautsalo, Liisamaija. "The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera1." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 71–88. http://dx.doi.org/10.23865/nrme.v2.3024.
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This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.
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Yang, Xiu-Feng, and Wei Zheng. "A Study of the Development and Promotion of Chinese Opera Movie in Rural Areas: An Investigation and Reflection on Hunan Rural Movie of Local Opera Project in China." International Journal of English and Cultural Studies 3, no. 1 (May 11, 2020): 41. http://dx.doi.org/10.11114/ijecs.v3i1.4849.
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Chinese opera movie is a special form of art developed from the combination of traditional Chinese opera and cinematographic art. In the inheritance and development model represented by “Hunan Rural Movie of Local Opera Project”（also called “Hunan Local Opera Movie Project”）, Chinese public administrators, traditional opera artists and opera movie makers target rural areas, adhere to traditional opera culture, and explore new ways to develop and promote opera movie. They put effort into upholding orthodox opera and innovating for audience, conducting a beneficial practice of making traditional culture resonate by current rural audience again in way of producing and disseminating opera movies. Their practice has contributed to the creative development of opera movie in rural areas.
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Shin Young Sun. "A Study on Libretto of Opera." 러시아연구 27, no. 1 (May 2017): 167–94. http://dx.doi.org/10.22414/rusins.2017.27.1.167.
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Antonova, Olena. "Violin concerto by Gian Carlo Menotti: at the intersection of opera and instrumental genres." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 81–95. http://dx.doi.org/10.31318/2522-4190.2022.135.271007.
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The relevance of the study is to study the instrumental works by G. С. Menotti, known worldwide primarily as an opera composer. His four concerts, unfortunately, did not receive such recognition as his operas, unfairly remaining in the shadow of the latter. The Violin Concerto, which was recorded only twice in the first 44 years after its premiere in 1952, is no exception. Performing interest in this work intensified in the late twentieth century, but scientific research is still isolated, and they do not cover the question: whether the interpretation of a purely instrumental genre influenced the opera aspirations and skills of the composer and if so, how?
The main objective of the study is to trace the interaction of opera and instrumental principles in Menotti's Violin Concerto and to identify the peculiarities of the interpretation of the chosen genre due to such interaction.
The methodology includes historical (to consider circumstances of the creation and the performance of the concerto), comparative (to identify common features in the theme and compositional organization of the concert and the opera "Amal and Night Guests"), as well as structuralfunctional, genre-style and intonational-dramatic methods (for a comprehensive analysis of the work).
Results and conclusions. Menotti's Violin Concerto is considered in the aspect of opera influences due to the author's many years of experience in the field of theatrical music. The lack of dissemination of the work in the world of violin was stated, the names of its performers were given — from the premiere to the present. The structure and figurative content of the concert are characterized, the ratio of typical and atypical genre features is indicated, the presence of elements of end-to-end tonal and thematic development within the cycle is emphasized. The properties of music themes, which reflect the typical for Menotti operas mixed type of vocal intonation with a combination of cantilena and declamatory phrases, are analyzed. The figurative-thematic connection between the concert and opera works of the composer is traced, in particular, by comparing certain episodes of the Violin Concerto and the opera «Amal and Night Guests». Theatrical influences at the compositional and dramaturgical level, such as «cadre» fragmentation of sections and frequency of their changes in the opening and closing movements of the concert, proximity to the end-to-end opera stage in the middle part, are revealed. An analogy between the ratio of solo and orchestral parts in concert and in Menotti's operas is made. Emphasis is placed on the leading role of the violin solo in the concert, which is determined by the exposure of most music themes in its part, virtuosity of presentation, the presence of a large number of purely solo episodes, including two cadences. At the same time, it is noted that the originality of Menotti's concert is not only due to opera influences, but also to the dedicate the work for a specific performer — the American violinist Efrem Zimbalist. The close cooperation of the two musicians affected the character of the solo part in the concert and, indirectly, its music content.
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Lee, Minhee. "A Study on little theater Opera as an Independent Category - Focusing on opera , ,." Music Theory Forum 28, no. 1 (June 30, 2021): 185–218. http://dx.doi.org/10.16940/ymr.2021.28.1.185.
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Naismith, Robert, Mark Cascione, Luigi Grimaldi, Stephen Hauser, Ludwig Kappos, Xavier Montalban, Jerry Wolinsky, et al. "Preliminary results of the opera i and opera ii open-label extension study." Journal of Neurology, Neurosurgery & Psychiatry 88, no. 5 (May 2017): e1.90-e1. http://dx.doi.org/10.1136/jnnp-2017-316074.88.
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Kim, Yong Hwan. "A Study on the “Forgotten” Opera Unidine by Hoffmann and His Opera Aesthetics." Journal of the Musicological Society of Korea 17, no. 3 (September 30, 2014): 117–78. http://dx.doi.org/10.16939/jmsk.2014.17.3.117.
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Lyan, Tszitao. "The opera “Siberia” by U. Giordano in the context of the composer’s creative work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 71–84. http://dx.doi.org/10.34064/khnum1-52.05.
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Formulation of the problem. The creative work of the bright representative of the Italian opera U. Giordano consists of eleven operas. Despite the fact that the composer is considered a bright representative of verismo, not all his operas belong to this direction. For example, in the late period of his creativity (1910–1920), U. Giordano departs from the traditions of verismo and aims his search for the comedy genre («La cena delle beffe», «Dinner with Jokes»), the genre of opera novels («The King»). But all the same, the main, repertoire operas (as early as «Mala Vita», «Marina», and the mature ones like «Andrea Chenier», «Fedora») are the quintessence of the tradition of verismo. The opera «Siberia» is also considered to be such. The emergence of new productions of the opera in the 21st century gives a reason to appeal to this opus and analyse it in terms of stability of the traits of the composing style of U. Giordano. The purpose of the study is to identify the role of the opera «Siberia» in the context of creativity by U. Giordano. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is systematically presented in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. Today it is the most complete publication of his letters and reviews on the opera productions. Vincenzo Therenzio reflects on the basics of the style of U. Giordano, Giovanni Ugolini resorts to the analysis of the traditions of verismo in the creative work of the composer. Carmine Ruizzo’s research is devoted to the manifestations of verismo in the creative work of U. Giordano. In relation to creativity (general characteristics) of U. Giordano one should list the encyclopaedic articles and the book by Alan Mallach, which covers the path of the Italian opera on the border of the 20th – 21st centuries from verismo to modernism. Regarding the opera “Siberia”, we should mention the review article by M. Morini and the articles directly devoted to the productions in the «Helikon-opera». We do not find a detailed analysis of the score of the opera in any scientific sources. Statement of the main content of the article. The plot of the opera «Siberia» is the love story of the officer Vasyl and the courtesan Stefana, who, after Vasyl was arrested, follows him to Siberia. The pimp Hleb cannot quarrel the lovers, but after an unsuccessful escape the injured Stefana dies. This tragic story is presented by the composer and librettist (Illik) on the background of the Russian reality, which creates a certain context of the love line of the main heroes. And the interpretation of the plot, and the musical concept in general, corresponds to the guides of the opera creativity of U. Giordano. Thus, generalizing the observations of G. Marqezi, M. Morini, and V. Therenzio, one can determine the following features of the composer’s opera style, among which there is the theme of love in the centre of the plot, the ability to create bright and exciting portraits of the main characters, the «stylistic equilibrium» (V. Therenzio), the reliance on the traditions of the Italian musical theatre, the combination of the purity of the picture and expression, the inclusion of reminiscences, the severity of orchestration, the provision of the national character to the score (by incorporating the musical material of the region in which the action takes place). All of them are embodied in the opera «Siberia». The analysis of the main scenes of the opera “Siberia” with the participation of the protagonists – Stefana and Vasyl – is presented, and it is proved that this opera (along with «Fedora» and «Andrea Chenier») is the quintessence of the traditions of verismo. Conclusions. In the context of the creative work of U. Giordano, the opera «Siberia» takes up the prominent place. It, along with the operas of the mature style («Fedora», «Andrea Chenier»), embodies the typical features of the opera style of the composer. So, the images of the protagonists are vivid in their musical characteristics. In addition, the musical images of Vasyl and Stefana are presented by the composer in the development. The very Vasyl owns almost all the main motives of the opera, which often appear before the listener in a slightly transformed form. Often there is just a reminder of them with similar intonations and rhythm. It should be noted that the musical material characterizing the image of Vasyl, in its expressiveness and intonation wealth, is not inferior to the woman’s party of Stefana, in contrast to the “La Traviata” by G. Verdi, where the main emphasis is on the main character – Violet. As for the orchestration of the opera, in general, it has a strict character, although the composer includes the simulation of a characteristic instrument for the colour provision. Thus, the vivid contrast in the scene of Stefana’s death is a picture of folk feasts under the sounds of the balalaika (which in the orchestra is imitated by the mandolin). The instrument symbolizes that somewhere far away, life continues to go on its own. The orchestral score of the opera “Siberia” is distinguished by the transparency of the texture, most of the material is laid out in the string group and the group of the wooden brass instruments. The timbres of the copper wind instruments are rare, as well as the great dynamic nuances. The feature that gives the opera “Siberia” a similarity to the best examples of the Italian theatre is the intonation concept. For example, the typical resemblance to G. Verdi’s “La Traviata” is that all the musical material of this picture from the lives of ordinary people is permeated with household song and dance intonations and rhythms. They fill both the recitative episodes and the aria ones. If in “La Traviata” the main theme of Alfred is presented in a waltz manner, with a three-part size, the themes of the hero of the opera “Siberia” of Vasyl are described predominantly in four-part sizes (including 12/8), which is more attractive to the song-romance composition. The parallel with “La Traviata” is still that the hero Alfred had to fight not only with the public condemnation about the choice of his beloved woman who led an unworthy way of life but also with the personal condemnation from his father and family. Vasyl also struggled for his beloved woman, who was also a courtesan, but for him it was not so important what Stefana’s being was like, the problem was her financial dependence on another man. The prospect of further study of the topic. In the modern theatre (after a long oblivion) both the directors and performers return their interest to the opera “Siberia”, which makes it possible to analyse the composition by U. Giordano from the point of view of the performing analysis.
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Tager, Michele. "Soap opera viewing in a communal context." Communicare: Journal for Communication Studies in Africa 23, no. 2 (October 24, 2022): 1–20. http://dx.doi.org/10.36615/jcsa.v23i2.1757.
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This paper presents some of the findings of an ethnographic audience study of the soapopera viewing patterns and interpretations of Zulu-speaking students living in residencesat a South African university (Natal University’s Durban campus) who watch The Boldand the Beautiful (an American soap opera) and Generations (a South African soapopera). Although the research undertaken covered various aspects of the soap operaviewing experience and the consumption of an international vs a local soap opera, thispaper will focus specifically on the nature of the viewing process and the ways in whichthe respondents relate to both soap operas, and it touches briefly on how the viewingpatterns of the students and their motivations for watching compare with audiencestudies conducted elsewhere in the world.
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Marvin, Roberta Montemorra. "Introduction to the Special Issue on Ottocento Opera." Nineteenth-Century Music Review 7, no. 2 (November 2010): 3–5. http://dx.doi.org/10.1017/s147940980000358x.
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In the early 1960s a PhD candidate at Princeton University informed his professors that he wished to write a dissertation on the operas of Gioachino Rossini. He was pointedly discouraged from doing so and told that, if he wished to be taken seriously in musicology, he should focus on worthwhile repertory such as Renaissance music or works by nineteenth-century German composers. The student persisted in his purpose and, with his groundbreaking dissertation, set the study of ottocento opera on a solid trajectory. That student was Philip Gossett. Recently, at a gala event celebrating Philip's ‘retirement’, many of us who have focused our scholarship on this repertory were reminded about the evolution of the study of nineteenth-century Italian opera during the past 50 years.
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Sygulska, Anna, and Krzysztof Brawata. "The Study of the Proscenium Area in an Opera House." Archives of Acoustics 42, no. 3 (September 26, 2017): 515–26. http://dx.doi.org/10.1515/aoa-2017-0055.
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AbstractThe paper describes issues of the proscenium area shown on the example of two opera houses. The subject of the analysis was the design of the Chamber Opera House in Kalisz and the already existing building of the Opera House in Krakow. It covers the influence of the proscenium walls and forestage ceiling on the acoustic conditions in the auditorium. Another subject of the investigation was the influence of the primary proscenium, designed in the very first opera houses in Baroque. The analyses were carried out by means of two computer softwares: Ray Model and Catt Acoustic, and such parameters as sound strength (G), reverberation time (RT), early decay time (EDT), C80(clarity) index and center time (TS) were calculated. The parameters were further analyzed in the auditorium for three positions of the sound source on the stage.
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Høedt-Rasmussen, Inger, and Lise-Lotte Nielsen. "Lawyers in Opera: The Transformation of the Legal Profession." NAVEIÑ REET: Nordic Journal of Law and Social Research, no. 5 (December 1, 2015): 63–82. http://dx.doi.org/10.7146/nnjlsr.v0i5.111080.
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For centuries lawyers, broadly understood as judges, notaries, legal officials and private practicing lawyers, have played important roles in society and been members of a strong profession possessing privileges. Also in operas, from the Italian Commedia dell’arte, ‘Il dottore’, to recent lawyer figures, judges, notaries, lawyers, courtrooms, prisons and legal cultures are exposed. These conditions have influenced the reputation of lawyers. This article contributes with reflections about lawyers’ identity through a fruitful inspiring collaboration between an opera singer and a legal scholar. At three levels of analysis, this explorative study searches for connections between societal requirements (what to do), professional requirements (how to act) and legal and ethical expectations of specific lawyer-like behaviour, morality and good citizenship (who to be). The article brings into a dialogue the world of law and the world of opera and compares the construction of lawyer identities in society with different lawyer roles in opera.
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柯香君, 柯香君. "南管《蘇秦》版本考述." 中正漢學研究 31, no. 31 (June 2018): 115–70. http://dx.doi.org/10.53106/2306036020180600310005.
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<p>南管戲之確切淵源與發展，向來眾說紛紜，在探尋南管戲淵源時，主要集中於劇目與宋元南戲舊目之關係探討，並以此作為南管戲淵源於宋元戲文之依據。然而是否「同名劇目」就一定源自於「宋元戲文」？是否在劇目情節安排上，彼此就一定存在必然關係？「文化集體性」是文本改寫過程中最主要變因，為符合地域文化之差異性，文本有必要重新詮釋再創，縱使已傳承數百年之經典文本亦同。關於「蘇秦」故事，始自《戰國策》，此後相繼改編成雜劇、傳奇等形式。然而經過時空之傳遞流播，各地改編情節亦有所差異，尤其閩南語系地域，因不同文化氛圍，使得劇作產生地域性之變異。</p> <p>本文將以泉州南管《蘇秦》為研究對象，針對相同劇目進行版本考述，並從各劇作之「關目情節」與「曲文賓白」兩大面向，比對歷來相關劇作彼此間之承繼與創新，嘗試建構南管戲在地方聲腔演化過程中之地位與價值，以窺見南戲流播之軌跡。</p> <p> </p><p>There have been various opinions regarding the precise origin and development of Nanguan Opera. Study on history of Nanguan Opera is mainly based on the relationship between list of opera and old list of Sung Yuang Nanxi and it is regarded as reference of Nanguan Opera originated from Sung Yuan hsi-en. However, is “list of opera of the same name” derived from “Sung Yuan hsi-wen”? Does the relationship exit in the plot arrangement of list of opera? “Cultural collectivism” is the principal factor of text revision. In order to comply with regional and cultural difference, the authors must develop the reinterpretation, even in the classical texts which have been diffused for hundred of years. The story of the Su Qin began with the Intrigues of the Warring States and has since been adapted into dramas, legends, and other forms. However, through the transmission of time and space, there are also differences in the plots of adaptations in various places. In particular, in the Minnan dialect region, due to different cultural atmospheres, the drama produces regional variations.</p> <p>This article will use the Quanzhou Nanguan Su Qin as its research object. Careful research against a version of the same repertoire. This article research project, including “Guanmu”, “Plotline”, “Cyu Wun”, “Binbai”. A careful analysis tbetween inheritance and innovation of the relationship between each scrip. Final, establish to Construct the Position and Value of Nanguan Opera in the Evolution of Local Sound Cavity, to understand the spread of Nanguan Opera.</p> <p> </p>
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Miao, Lei, and Qiuping Wang. "A Study on the Spread of Chaozhou Opera in Thailand under the Strategy of Maritime Silk Road." Journal of Language Teaching and Research 9, no. 3 (May 1, 2018): 520. http://dx.doi.org/10.17507/jltr.0903.10.
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Chaozhou Opera, selected in the first batch of national intangible cultural heritage protection list, is an ancient Chinese opera. It has been spread overseas with Chaozhou people and has become one of the most influential local opera in China, also homesickness sustenance for many overseas Chinese people. In 2013, the General Secretary Xi Jinping proposed the strategy on the construction of the “21st Century Maritime Silk Road”, which has clearly pointed out to strengthen the cultural communication and cooperation in the “Maritime Silk Road” regions. Thailand is an important country on the Silk Road. Therefore, this article takes the development of Chaozhou Opera in Thailand as the research object, analyzes the present situation of Chaozhou Opera in Thailand, points out its bottleneck and puts forward the development strategy.
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Paltanavičiūtė, Justina. "CREATIVITY AS SOCIAL CRITIQUE: A CASE STUDY OF THE OPERA HAVE A GOOD DAY!" Creativity Studies 15, no. 1 (March 10, 2022): 233–45. http://dx.doi.org/10.3846/cs.2022.15026.
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The article explores the communication of social critique in contemporary art. The article aims to reveal the connections between art and politics existing in the theory of art aesthetics and art practice. Empirical research: the content analysis of critical reviews allowed to determine that the pronouncements of the authors and the official agenda presentation of a work of art that potentially articulates a political message but is considered hermetic affect and indicate the direction of reception. An example of contemporary opera was deliberately chosen for the research. Contemporary opera is often considered as a hermetic domain of creativity, solving only aesthetic, but not sociopolitical challenges. However, from the very first examples, the opera genre has been treated as an improvised and aestheticized public sphere, enabling to communicate ideology principles of the dominant political power or, conversely, to demonstrate social criticism to those in power. Opera research that focuses on political aspects is usually based on the musicological paradigm conducted on the basis of analysis of aesthetic regime -opera as a work of art communicating a socio-political message is still rarely explored. However, contemporary artists often creatively rely on politically active narratives and themes. This enables the opera genre to be seen as a platform for political communication.
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Herieningsih, Sri Widowati, and Tandiyo Pradekso. "Soap-opera, Parental Mediation, Perceived Reality and Antisocial Behavior." E3S Web of Conferences 73 (2018): 14008. http://dx.doi.org/10.1051/e3sconf/20187314008.
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Many attentions have been spotted to the potential drive and effect of television on anti-social behavior. The main argument lies on the frequent repetition of intense violent showed by television soap opera. Previous studies showed that children with heavy viewing habit of violent soap-operas were tend to imitate anti-social behavior. Children were considered to have limited skill to differentiate facts and fictions from television content, and this is where parental mediation (restrictive, active, or viewing) should take place to moderate the impact of television violence. The research was intended to explain the effect of watching soap-opera, parental mediation, and perceived reality on anti-social behavior of children. Using survey method, the study non-randomly collect data from children of age 10-12 years old in Semarang. Research finding shows considerable effect of soap-opera viewing, and perceived reality on anti-social behavior of children. However, no effect of parental mediation appeared on anti-social behavior of children.
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Izzo, Francesco. "Comedy between Two Revolutions: Opera Buffa and the Risorgimento, 1831-1848." Journal of Musicology 21, no. 1 (January 1, 2004): 127–74. http://dx.doi.org/10.1525/jm.2004.21.1.127.
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For more than a century discussions of the relationship between the operatic stage and the socio-political scene of the Risorgimento have relied almost exclusively on serious operas (particularly those of Giuseppe Verdi) and especially on the period after 1848. Roger Parker's recent revision of Verdi's ostensibly exclusive role as "Bard of the Risorgimento" provides an opportunity to reassess the politics of Italian opera during this period, considering also other composers and works. The purpose of this study is to discuss the interaction between opera and the Risorgimento in a group of comic works composed between the revolutions of 1831 and 1848, focusing in particular on the representation and implications of national identity in Luigi Ricci's Il nuovo Figaro(1832) and in two Italian versions of Donizetti's La Fille du rgiment (1840), as well as on the significance of military themes. Furthermore, relevant cases of censorship in these and other comic works are examined. These operas uncover numerous affinities with the political discourse in contemporary serious melodrama, showing that warlike themes, choruses, and other statements of patriotism were not a prerogative of Verdi's operas, nor an exclusive feature of the serious genre. Their authors used conventional buffa procedures, such as modern European settings and encoded allegories of national character, in ways that reveal connections with the tensions and aspirations of the Risorgimento. A better knowledge of this repertory can only improve our understanding of the politics of opera during this crucial period of Italian history.
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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical Study of Classical Peking Opera Singing." Journal of Voice 26, no. 2 (March 2012): 137–43. http://dx.doi.org/10.1016/j.jvoice.2011.01.001.
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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical study of classical Peking opera singing." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3376. http://dx.doi.org/10.1121/1.4708730.
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Li, Na. "Multimedia Drama Imaging Technology Based on Big Data Information System." Mobile Information Systems 2022 (July 31, 2022): 1–15. http://dx.doi.org/10.1155/2022/4765619.
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Opera is a unique comprehensive stage art form in China. As a traditional Chinese drama style, it is known as the three ancient drama cultures in the world together with the tragicomedy of ancient Greece and the Sanskrit drama of India. However, in the trend of the new era, Chinese opera is facing a severe existential crisis. How to innovate the opera and make people fall in love with the opera again is a problem worthy of research and analysis at present. This study takes the research of multimedia opera image technology as the object, aims to improve the perception and experience of opera, and studies how to use modern technology to improve opera image. First, this study briefly expounds on the presentation methods and current situation of traditional opera video technology. This study then describes in detail the imaging technology that combines opera and modern technology and then establishes the algorithm model of virtual reality imaging technology. And it then describes in detail the video technology that combines Chinese opera with multimedia technologies such as projection and virtual reality interaction. It then established a virtual reality technology algorithm model for opera images. This study then experiments, analyzes, and improves the multimedia opera video technology based on virtual reality. Finally, by means of a questionnaire survey, it investigates and analyzes the viewing attitude of opera images based on virtual reality technology. Through the research of virtual reality image technology and the investigation of citizens, this study obtains the methods and models to improve traditional opera images and effectively innovates opera. In a survey of citizens, it was found that nearly 70% of the respondents held a positive and optimistic attitude toward the virtual reality-based opera video technology, indicating that people are willing to accept the combination of traditional culture and modern technology. In the element loss detection experiment, it was found that nearly 70% of the interviewees were very interested in the method of combining traditional opera with modern technology. The model of virtual opera scene construction was improved so that the element loss rate was lower than 4%. The element representation delay is less than 3%, which improves the smoothness of the picture and maintains a good viewing experience.
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Azwar, Azwar, Hreeloita Dharma Shanti, and Kintan Arumdhani. "DAMPAK SINETRON INDONESIA TERHADAP PERILAKU MASYARAKAT." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 2, no. 02 (October 1, 2019): 89–98. http://dx.doi.org/10.30871/deca.v2i02.1524.
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This study aims to reveal how people's behavior after watching the soap opera Anak Langit and what are the factors that cause people's behavior to change after watching the soap opera Anak Langit. In addition, this study will also look at how violations that occur in Anak Langit soap operas are based on broadcasting regulations in Indonesia. This research will explore the existing problems using Cultivation Theory where this theory assumes that television exposure impacts on the community. This theory is based on Gerbner's thought which conveys that the continued exposure of the media will give an idea and influence on the perception of the viewer. That is, as long as viewers make contact with television they will learn about the world, change their perception of the world, learn to behave and people's values. This study uses qualitative methods, where researchers conduct literature studies, observations and interviews to approach and explore research problems. Based on this research it can be seen that the soap opera Anak Langit has a negative impact on some of its audience. This is because many violations occur, if guided by broadcasting regulations in Indonesia.
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Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.
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Wallack, Lawrence, Warren Breed, and James R. De Foe. "Alcohol and Soap Operas: Drinking in the Light of Day." Journal of Drug Education 15, no. 4 (December 1985): 365–79. http://dx.doi.org/10.2190/2l1t-5fq5-20v7-2yd6.
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Television programming serves as an important source of information about health in general and alcohol issues in particular. This article reports on a study of drinking portrayals on the day time soap opera, “All My Children.” Major drinking themes over the past four and one-half years are reviewed. In addition, a study of thirty consecutive episodes in summer 1984 is reported and findings are compared to other research on soap opera drinking. Overall, “All My Children” was found to be doing a good job of accurately portraying drinking problems. Several good role models for social drinking and abstinence were presented and negative reinforcement for heavier or high risk drinking was frequent. Several recommendations are presented regarding ways that soap operas can take greater advantage of a unique opportunity for health education.
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Lo, Patrick. "Metropolitan Opera versus Vienna State Opera: A Comparative Study of their Cultural and Management Policies." International Journal of the Humanities: Annual Review 4, no. 1 (2006): 1–16. http://dx.doi.org/10.18848/1447-9508/cgp/v04i01/41788.
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Gong, Hongmin. "Problems and Countermeasures of the Popularization of Cantonese Opera Culture in Colleges." SHS Web of Conferences 151 (2022): 01006. http://dx.doi.org/10.1051/shsconf/202215101006.
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As a treasure of Lingnan art, Cantonese opera audience is mostly among the elderly, and young people today know very little about it, which has a serious impact on the inheritance and development of Cantonese opera art. Although the government and society have been paying more and more attention to Cantonese opera, the results have been limited. As the last stop for students to study, colleges shoulder the important mission of learning professional skills and completing values. Incorporating the art of Cantonese opera into the study and life of colleges, so that students can understand and like Cantonese opera, has a certain positive significance for the development of Cantonese opera.
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Hutcheon, Linda. "Interdisciplinary Opera Studies." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 802–10. http://dx.doi.org/10.1632/003081206x142896.
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I hold this truth to be self-evident: that an art form consisting of a literary text, a dramatic stage performance, and music should be studied in all its multimedia and “multimediated” dimensions (Kramer, Opera 25). Today I can make this statement with confidence because the academic study of opera indeed covers all those aesthetic bases, but that has not always been the case. So long as opera fell primarily within the domain of musicology, it was studied first and foremost as music alone. The fact that the music was written for a specific dramatic text was not deemed particularly significant. The very name given to that text betrayed a belief in its secondariness: the diminutive libretto. But things have been changing: in recent years, some musicologists have challenged the dominant positivistic historicism and formalism of their discipline; some have even looked to literary theory for inspiration, bringing new approaches to the music of opera through narratology (e.g., Abbate) or semiotics (e.g., Nattiez). But just as important for opening up the study of opera as an aesthetic and cultural form has been the attention of scholars working in other disciplines. To take but one example, Peter Rabinowitz's rhetorical narrative theory introduced new ways of thinking about opera as narrative, not only as drama and, more pointedly, not only as drama with the composer in the role of dramatist (Kerman). It was opera, not dance, for example, that became a focus for interdisciplinary studies; already multimediated, it attracted diverse lines of inquiry. To cite the title of David Levin's groundbreaking 1994 volume, we can now see “opera through other eyes.” (Musical theater too has been seen through other—especially literary—eyes, but that is not the focus of this piece [see, e.g., Most; Miller; Rabinowitz].)
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Van der Merwe, Nadia. "Isidingo as entertainment-education." Communicare: Journal for Communication Studies in Africa 24, no. 2 (October 24, 2022): 47–65. http://dx.doi.org/10.36615/jcsa.v24i2.1775.
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In developing countries, the popular media can be used effectively to address socialproblems (Vaughan, Rogers, Singhal & Swalehe, 2000:82). In recent decades, variousdevelopmental, educational and other socially useful messages have often been includedin the content of soap operas (Mody, 1991).The producers of South African soap opera Isidingo are acutely aware of their socialresponsibility and therefore attempt to make a contribution towards social change andnation building. As such, Isidingo employs positive role models to transmit pro-socialmessages to its viewers. This paper will report on a study that explored the applicationof the entertainment-education (E-E) strategy in the local soap opera Isidingo byinvestigating the perceptions of female viewers in respect of self-reported knowledgeacquisition, attitudes and behavioural changes due to watching this programme.