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Journal articles on the topic 'Operas – Scores'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.

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ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like

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Wang, Ziying. "The Interaction of Media and Wagner's Ring in A Modern Perspective." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 771–75. http://dx.doi.org/10.54097/vc50ay40.

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The research comprehensively explores the profound impact of media advancements on opera, particularly focusing on Richard Wagner's Der Ring des Nibelungen. It reveals how recording technology has revolutionized opera's accessibility and experience. This transformation has democratized the art form, extending its reach beyond elite circles to a global audience. In terms of production and promotion, the study highlights how Wagner's operas have adeptly utilized evolving media forms, ranging from print to digital platforms. This approach has significantly expanded the operas' global presence, fo

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3

Krejčová, Kristýna, and Jana Spáčilová. "Dittersovy italské opery z Jánského Vrchu : současný stav pramenů." Musicologica Brunensia, no. 1 (2023): 47–71. http://dx.doi.org/10.5817/mb2023-1-4.

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During his stay at the castle Jánský Vrch near Javorník between 1771 and 1776, Carl Ditters von Dittersdorf composed at least twelve Italian operas for the Bishop of Wrocław, Philip Gotthard Schaffgotsch. Four of these operas were later performed in Esterházy under the direction of Joseph Haydn. Information on Ditters' operas is incomplete or erroneous in the existing literature; the purpose of this study is therefore to present the current state of the sources – libretti and scores. Most of the librettos are stored in the Department of Music History of the Moravian Museum in Brno, two librett

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4

Sparti, Barbara. "HERCULES DANCING IN THEBES, IN PICTURES AND MUSIC." Early Music History 26 (October 2007): 219–70. http://dx.doi.org/10.1017/s0261127907000253.

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A general assumption persists among musicologists and dance historians that dance in seventeenth-century operas was a French phenomenon, with Italians only occasionally staging a final ballo. In large part the assumption is the result of lack of information concerning dance in seventeenth-century opera, due, particularly in comparison with other periods, to limited source material and limited research. The situation is exacerbated by the fact that when Italian operas included balli at the end of one or more acts, dance indications in the librettos tended to be brief, and the dance music appear

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Smaczny, Jan. "Alfred: Dvořák's First Operatic Endeavour Surveyed." Journal of the Royal Musical Association 115, no. 1 (1990): 80–106. http://dx.doi.org/10.1093/jrma/115.1.80.

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Alfred, Dvořåk's first opera, has long hovered at the edge of our awareness of the composer. If there are signs of a growing realization that opera was to Dvořåk quite as important as other areas of his output, the detail needed to flesh out the picture of ‘Dvořåk the opera composer’ is to a large extent lacking. In the case of the composer's first six operas the inaccessibility of material has meant that an assessment of his early work in the area is still very much the province of specialist scholars. Published vocal scores exist for only three of these early operas, and none of them are in

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6

Corneilson, Paul, and Eugene K. Wolf. "Newly Identified Manuscripts of Operas and Related Works from Mannheim." Journal of the American Musicological Society 47, no. 2 (1994): 244–74. http://dx.doi.org/10.2307/3128879.

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Opera at the court of Elector Palatine Carl Theodor in Mannheim during the period 1742-78 attained a level of prestige fully equivalent to that of other leading courts of the day. Yet the loss of most of the performance materials in use at Mannheim has constantly hindered basic research in this area. The present article reports the existence of twenty-eight manuscripts (mainly full scores) of twenty separate operas and related secular dramatic works that were either copied at Mannheim or prepared for use there. Eight of these are revealed to have belonged to the personal collection of Count Ca

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7

Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera i

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8

Maione, Paologiovanni. "‘Collected’ Pages for the Issipile (Teatro San Carlo, 1763)*." Musicology Today 18, no. 1 (2021): 127–37. http://dx.doi.org/10.2478/muso-2021-0012.

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Abstract During the 1763–64 season, numerous intersections and connections occur behind the scenes of the principal Neapolitan opera house of Teatro di San Carlo. On the one hand, the focus on Metastasian repertoire persists without interruptions – a long and boundless tradition which will only fade towards the end of the century; on the other hand, Hasse’s world still exerts its fascination. Along with Metastasio’s Olimpiade, Issipile and Didone abbandonata, Migliavacca’s Armida was also staged. This libretto had been set to music by Traetta in 1760 for Vienna, a city which played a significa

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9

Rice, John A. "The Staging of Salieri’s Les Danaïdes as Seen by a Cellist in the Orchestra." Cambridge Opera Journal 26, no. 1 (2014): 65–82. http://dx.doi.org/10.1017/s0954586713000335.

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AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published

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10

Karwaszewska, Monika. "Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music." Zbornik Akademije umetnosti, no. 9 (2021): 136–54. http://dx.doi.org/10.5937/zbaku2109136k.

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This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece cham

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11

Severn, John R. "Opera-to-opera adaptation revived: Barrie Kosky and Elena Kats-Chernin’s Monteverdi Trilogie at the Komische Oper Berlin, instrumentation, localization and community." Journal of Adaptation in Film & Performance 15, no. 1 (2022): 41–59. http://dx.doi.org/10.1386/jafp_00068_1.

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In 2012, Barrie Kosky opened his first season as head of the Komische Oper Berlin by staging adaptations of three Monteverdi operas. Alongside using more familiar forms of adaptation, Kosky commissioned Elena Kats-Chernin to adapt the scores, focusing on instrumentation. While opera-to-opera adaptation is comparatively rare today, it has a long and rich history. The article first proposes three categories of reasons for opera-to-opera adaptation in the past. It then sets Kosky and Kats-Chernin’s Monteverdi productions in the context of this largely forgotten history, arguing that a historical

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Wang, Yangyanru. "Discussing The White-Haired Girl Opera and Ballet from the Perspective of Female Characters." International Journal of Education and Humanities 12, no. 1 (2024): 261–67. http://dx.doi.org/10.54097/yc3wd163.

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The scope of this dissertation is to study the female protagonist, Hei'er, in the White Hairy Maiden Opera and Ballet and to exemplify the historical context of the White Hairy Maiden Opera and Ballet and the characteristics of the status of women in this era. The purpose of the research is to draw the characteristics of the era of the female characters in Bai Mao Nü in relation to the female lead's plot and the women's characteristics of the era in the context of Chinese history. The writing process of the thesis is firstly to find the tableaux and scores of the White Hairy Woman's operas and

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Kryazheva, Irina A. "At the crossroads of traditions: Austria and Russia in the creative destiny of V. Martin у Soler". Contemporary Musicology, № 2 (2019): 2–12. http://dx.doi.org/10.56620/2587-9731-2019-2-002-012.

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The article discusses the key role of Austria and Russia in the creative development of the Spanish composer Vicente Martín y Soler, who was engaged in the transformation of the opera buffa as a genre. The study applies comparative historical and social contextual analysis, which allows to reveal certain similarities in distribution and popularization of Martín y Soler’s music, its penetration into everyday musical culture of Vienna and St. Petersburg. The article highlights the importance of lyrical and pastoral imagery aimed to please the amateur audience. It focuses on various distribution

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Sternberg, Rolf. "FANTASY, GEOGRAPHY, WAGNER, AND OPERA*." Geographical Review 88, no. 3 (1998): 327–48. http://dx.doi.org/10.1111/j.1931-0846.1998.tb00111.x.

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ABSTRACT. Wilhelm Richard Wagner fused fantasy based on epic and lore with seamless scores, using landscapes and urban images to forge spatial order on stage. As a footloose composer‐conductor, Wagner was considered a globetrotter for his time, and from trans‐European tours he drew inspiration for numerous stagings. Nine of his operas have rustic pastoral settings, with actors silhouetted against geological formations, forests, vistas of undulating terrain for pilgrimages, or raging seas, all visually believable scenery. Rienzi and Die Meistersinger von Nürnberg are urban in setting, whereas D

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15

Forment, Bruno. "Pastiching as Artistic Research: Ifigenia / Ipermestra (Brussels, 2006)*." Musicology Today 18, no. 1 (2021): 148–59. http://dx.doi.org/10.2478/muso-2021-0014.

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Abstract On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: Ifigenia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut & paste’ operas offered opportunities to explore issues of music-dramatic syntax in opera seria. In this article, I explain how individual arias and recitatives were combined into two meta-compositions that sometimes respected, and sometimes overrode eighteenth-century generic conventions. By revisiting the scores, libretti, archiv

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16

Ivanov, Anton M. "Сhorus as a Form of Implementation of Sacral Contents and a Symbol of Orthodox Faith in Rodion Shchedrin’s Creation". Observatory of Culture, № 5 (28 жовтня 2014): 51–57. http://dx.doi.org/10.25281/2072-3156-2014-0-5-51-57.

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Deals with choir compositions by Rodion Shchedrin. Starting from the mid 1980s, the sacred music gradually revived in Russia and it is within this context that the author considers Shchedrin’s works. The three most significant scores are chosen, in which the sacral theme is put in the forefront: “The Sealed Angel” Russian liturgy, “The Enchanted Wanderer” and “Boyarina Morozova” operas. The abovementioned scores were written during the different periods of time but each contains the spiritual meaning; each of them represents composer’s thoughts on the eternal questions of belief, life and dea

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17

Murata, Margaret. "Why the first opera given in Paris wasn't Roman." Cambridge Opera Journal 7, no. 2 (1995): 87–105. http://dx.doi.org/10.1017/s095458670000447x.

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Genealogies persist in the writing of histories, if not to suggest lineages then to delight or dismay us with the effects of accident and circumstance. The first generation of Italian operas were all court, that is private, entertainments, whether produced in Florence, Mantua, Rome or Turin. When this new form of entertainment first emigrated, it spoke Italian in foreign courts (except in Madrid), perhaps because it was so identified in its novelty with still novel Italian musical styles, with the dramaturgy of Italian spectacle and above all with the Italian way of singing. It travelled to th

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Kostyuk, Aleksei A., and Galina V. Alekseeva. "Emotions as a Phenomenon of Vocal and Opera Music." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 168–77. http://dx.doi.org/10.56620/2782-3598.2023.1.168-177.

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The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions

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19

Xinhang, Cui. "The role of Nicolo Grimaldi (Nicolini) in the Italian opera development in London in the early 18th century." PHILHARMONICA. International Music Journal, no. 3 (March 2023): 34–47. http://dx.doi.org/10.7256/2453-613x.2023.3.43425.

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The subject of the research is the artistic phenomenon of Nicolo Grimaldi, an outstanding Italian operatic castrato of the early 18th century. The author examines the creative biography and focuses on the analysis of the stage skills of the singer, who set the bar high for dramatic art in England. Nicolo Grimaldi (1673–1732) became famous under the pseudonym Nicolini (or Nicolino). His name became widely known thanks to the legendary performances on the stage of the Royal Theater in London in 1708–1712 and 1715–1717. The reconstruction of the vocal-dramatic profile of the singer, based on reli

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20

Dupuis-Désormeaux, Nathalie. "Lost Arias from Ifigenia in Tauri (1713) in Thomas Gray's Music Collection: ‘E posto in Musica dal Sig. Domenico Scarlatti’?" Eighteenth Century Music 20, no. 1 (2023): 33–59. http://dx.doi.org/10.1017/s1478570622000239.

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AbstractThis article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Ama

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Guseinova, Zivar M. "Pan Voyevoda by N. A. Rimskii-Korsakov. To the Creative History of Opera." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 4–19. http://dx.doi.org/10.21638/spbu15.2023.101.

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In the N. A. Rimskii-Korsakov’s legacy there are operas that seem to be in the shadow of his great creations; among them is the opera Pan Voyevoda (1903) to a libretto by I. F. Tyumenev (without using any historical or literary source). The opera was the result of the composer’s long-cherished plan to create an opera on a Polish plot, so that in it “there would be no place for politics or national enmity”. Romantic events that took place in the 16th–17th centuries are presented in many respects in the traditional musical solution, which does not exclude the presence of bright dramatic situatio

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Lutsker, Pavel V., and Irina P. Susidko. "Early Italian Opera Within the Labyrinths of Postmodernity." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 87–95. http://dx.doi.org/10.56620/2782-3598.2022.4.087-095.

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The article is focused on certain critical questions of the position of early Italian opera in contemporary culture. For a long time both performers and scholars considered it as an outdated genre meriting only historical interest. This state of affairs began to change in the 1970s, when a series of facsimiles prepared by Garland Publishing revealed a certain number of published opera scores and librettos. Over the past 50 years, three trends have emerged in the scholarly approach to early Italian operas. The first is that of deconstruction of the prevailing and largely erroneous stereotypes.

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23

Wesangula, Moses Poi Poi, and Lavera Leah Namachi. "RELATIONSHIP BETWEEN SELECTED SEX-RELATED ACTIVITIES AND ACADEMIC PERFORMANCEOF SECONDARY SCHOOL STUDENTS IN KAKAMEGA CENTRAL SUB-COUNTY, KENYA." International Journal of Education Humanities and Social Science 05, no. 03 (2022): 178–83. http://dx.doi.org/10.54922/ijehss.2022.0397.

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Educationists have observed that candidates’ summative scores in their exams correlates strongly with their continuous assessment’s tests in their former classes. They allege that although early sexual debut may not be a direct course of poor academic performance, higher educational aspiration is associated with postponement of sexually related activities. This study sought to determine the degree to which exposure to pre-marital sex activities influences academic achievements of secondary school pupils in Kakamega Central Sub-County. The study employed Psychosocial Theory of Personality devel

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Midwinter, Eric. "W. S. Gilbert: Victorian Entertainer." New Theatre Quarterly 3, no. 11 (1987): 273–79. http://dx.doi.org/10.1017/s0266464x00015256.

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Interpretive criticism applied to the plays of W. S. Gilbert verges upon self-parody, suggests Eric Midwinter. The musical plays to which Sullivan contributed his inimitable scores were careful and calculated blends of the theatrical resources which Gilbert could command with plot and character conventions of proven and sustained appeal – which could, moreover, attract to the theatre the respectable family audiences for which the Savoy became almost a home-from-home. Eric Midwinter analyzes the ingredients of the operas which contributed to this popular success, describes the veritable industr

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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.

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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later p

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Hetsroni, Amir. "Associations between Television Viewing and Love Styles: An Interpretation Using Cultivation Theory." Psychological Reports 110, no. 1 (2012): 35–50. http://dx.doi.org/10.2466/17.pr0.110.1.35-50.

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This study evaluated the associations between television viewing and love styles. The Love Attitudes Scale (LAS), based on Lee's love style taxonomy, was administered to a sample of 338 unmarried Israeli students along with questions about TV viewing habits, current involvement in a serious romantic relationship, and marital intentions. A confirmatory factor analysis of the LAS indicated that the expected six-factor solution adequately fit the data. Correlations between individual love styles and TV viewing were small to moderate, ranging from .12 to .29. Scores for Ludus love style correlated

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Dunnett, Roderic. "Schwetzingen: Adriana Hölszky's ‘Der gute Gott von Manhattan’." Tempo 59, no. 231 (2005): 37. http://dx.doi.org/10.1017/s0040298205210057.

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Adriana Hölszky – Romanian-born, but Stuttgart-based since 1976 – scored a deserved, significant hit when her first opera, Bremer Freiheit, based on Rainer Maria Faessbinder, was staged at the 1988 Munich Biennale. Two other operas – one based on Jean Genet – had their premières in Vienna and Bonn, before Stuttgart's ever-pioneering Württembergisches Landestheater commissioned Giuseppe e Silvia, based on Hans Neuenfels, in 2000. A sheaf of chamber and orchestral works have seen premières at festivals such as Styria and Vienna, and (even more aptly) at Donaueschingen.

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BULLOCK, PHILIP ROSS. "Staging Stalinism: The search for Soviet opera in the 1930s." Cambridge Opera Journal 18, no. 1 (2006): 83–108. http://dx.doi.org/10.1017/s0954586706002114.

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With the exception of Shostakovich's Lady Macbeth of the Mtsensk District, Soviet opera in the 1930s has been relatively little studied. Yet this was an era in which opera was vigorously promoted as an ideal Soviet form after more than a decade of criticism from radical proletarian groups. This article considers three main aspects of Soviet operatic culture in the 1930s. First, opera's emotional power was valued as a way to mobilise mass opinion and the opera house was increasingly seen as a highly ideological site. Second, whilst most of the work in founding a Soviet repertory was carried out

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Notley, Margaret. "Bruckner Problems, in Perpetuity." 19th-Century Music 30, no. 1 (2006): 081–93. http://dx.doi.org/10.1525/ncm.2006.30.1.081.

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In the past, "the" Bruckner problem had to do with producing editions that reflected his intentions, insofar as these could be determined from extant autograph materials. Since then, musicologists have singled out other Bruckner problems. Thus many scholars see the need to create a more believable image of the composer than that of the pious na&#x95;f who appears in much of the traditional literature. As the scope of Bruckner scholarship widened in the past three decades, the opposition between Catholic liturgical music and Wagner's operas, both crucial in Bruckner's development as a compo

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Neumann, Joshua. "Phenomena, Poiēsis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera." Empirical Musicology Review 12, no. 3-4 (2018): 247. http://dx.doi.org/10.18061/emr.v12i3-4.5827.

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Amidst discussions regarding the nature of a musical work, tensions within and between score- and performance-based approaches often increase ideological entrenchment. Opera's textual and visual elements, along with its inherently social nature, both simultaneously complicate understanding of a work's nature and provide interdisciplinary analytical inroads. Analysis of operatic performance faces challenges of how to interrogate onstage musical behaviors, and how they relate to both dramatic narrative and an opera's identity. This article applies Martin Heidegger's dichotomy of technē and poiēs

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Го, Ц. "The influence of the piano work of D.B. Kabalevsky on modern music education in China." Management of Education 14, no. 3-1(78) (2024): 248–53. http://dx.doi.org/10.25726/p3055-6183-2027-c.

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Китайская музыка на протяжении своего существования сохраняла своеобразие и особенности, однако она постепенно включается в процесс глобальной эволюции мирового музыкального пространства. Русская фортепианная культура оказала глубокое и продолжительное воздействие на формирование и развитие фортепианной культуры и образования Китая. В рамках статьи осуществляется анализ влияния концепции музыкального воспитания Кабалевского на создание китайских фортепианных произведений. Кабалевский работал во многих областях. Он написал большое количество произведений, в том числе фортепианную музыку, концер

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Provine, Robert R. "Notation and expression of emotion in operatic laughter." Behavioral and Brain Sciences 31, no. 5 (2008): 591–92. http://dx.doi.org/10.1017/s0140525x08005463.

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AbstractThe emotional expression of laughter in opera scores and performance was evaluated by converting notation to temporal data and contrasting it with the conversational laughter it emulates. The potency of scored and sung laughter was assayed by its ability to trigger contagion in audiences.

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Hadi, Fida Rahmantika. "Penggunaan Media Lego Bricks Untuk Meningkatkan Kemampuan Kognitif Matematika Pada Materi Operasi Hitung Bilangan Bulat." ZAHRA: Research and Tought Elementary School of Islam Journal 2, no. 1 (2021): 73–82. http://dx.doi.org/10.37812/zahra.v2i1.217.

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This study aims to improve mathematical cognitive abilities in integer arithmetic operations through the use of lego bricks for fifth grade students of SDN 02 Winongo Madiun. This type of research is a classroom action research conducted in two cycles and each cycle is carried out twice. The research subjects were all fifth grade students totaling 17 SDN 02 Winongo Madiun. The research data were collected through observation, written tests in the form of pretest and posttest and documentation. The results of this study indicate that the Lego brick media can improve the cognitive ability of mat

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Lutsker, Pavel V. "Bertoldo, Bertoldino e Cacasenno: the Original Score Examined." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 104–22. http://dx.doi.org/10.33779/2782-3598.2022.2.104-122.

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Bertoldo, Bertoldino e Cacasenno was the first comic opera, which opened the Venetian era in the history of opera buffa. Contemporary dictionaries name Carlo Goldoni (text) and Vincenzo Legrenzio Ciampi (music) as its authors. The detailed review of the manuscript (preserved in the Estense Library in Modena) undertaken in the article for the first time, reveals the original “pasticcio” nature of this opera. An analysis of the handwriting and various markings shows that the score contains musical material representing two different productions of the opera: the Venice premiere in 1749 and a per

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Demchenko, Aleksandr. "Unique opera score by Mark Karminskyі". Aspects of Historical Musicology 19, № 19 (2020): 44–64. http://dx.doi.org/10.34064/khnum2-19.03.

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The main goal of this publication is to draw the attention of musicologists and the general music community to the rich creative heritage of Mark Karminskyi, whose 90th anniversary is celebrated in 2020. One of the milestone works of the talented composer was the opera “Ten Days That Shook the World” (1970). Staged at one time by several theaters in the former USSR and abroad, it was later practically forgotten. The author of this article is the first to deeply analyze Karminskyi’s score, coming to the conclusion that the composer has an innovative understanding of the very nature of the opera

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Movchan, Larisa Anatol'evna. "The specifics of teaching the techniques of conducting gesture in the "Choral conducting" classroom." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 18–32. http://dx.doi.org/10.7256/2453-613x.2024.1.69898.

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The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gest

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Liu, Ting. "The interpretative function of singing in the “score” of a modern ballet performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (2022): 79–92. http://dx.doi.org/10.34064/khnum1-62.05.

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Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack

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Pandya, D. B. "AB0973 THE IMPACT OF YOGA, ANTI-INFLAMMATORY DIET & SELF MONITORING IN CHILDREN WITH RHEUMATIC DISEASES." Annals of the Rheumatic Diseases 79, Suppl 1 (2020): 1781.1–1782. http://dx.doi.org/10.1136/annrheumdis-2020-eular.2650.

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Background:There is growing evidence of positive effects of yoga, special diet and an internet-based model of self-monitoring in adults with rheumatic diseases in various small scale independent studies. These studies have shown improvement in disease activity, symptom relief, quality of life, mental health issues and social life and thereby optimizing the disease management in a holistic way.Objectives:The present study was designed to investigate the combined effects of yoga, anti-inflammatory diet and self monitoring in children with chronic rheumatic diseases.Methods:In the clinical study,

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Ichim, Traian. "The Arsenal of Means Used by a Conductor in Decoding an Opera Score." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 257–66. http://dx.doi.org/10.24193/subbmusica.2023.2.18.

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"For a conductor the text of the score is that building material used in the creation of “his own world”. This paper examines the system of means used by a conductor in creating an opera performance. A transformation of the “mobile” and “fixed” elements of the score into a magnificent world of opera performance. The study is based on material from a production of the opera Orpheus by Claudio Monteverdi, directed by Jean-Pierre Ponnelle, conductor being Nikolaus Harnoncourt. This staging can certainly be considered one of the most striking examples of the remarkable interplay between conductor

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Du, Ling. "Clémence de Grandval in the French artistic culture of the XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 144–58. http://dx.doi.org/10.34064/khnum1-63.08.

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Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Mus

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Dubov, N. "That Obscure Object that Sounds. Metamorphoses of the Composer’s Score in the Opera Industry." Versus 2, no. 6 (2023): 109–32. http://dx.doi.org/10.58186/2782-3660-2022-2-6-109-132.

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In the 20th century, the composer’s music score acquired the status of the firmest and almost sacred core of the opera in stage performance. Battles between traditionalists and Regieoper lovers are still ongoing both online and offline. However, oaths of allegiance to it and accusations of wrongdoing against it show that it is almost impossible to maintain the inviolability of the score in theater practice. The history of opera presents various approaches to this problem. From the birth of the art of opera, the composer was an equal contributor to the show, just like the set designer, stage ma

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Anitha Anitha. "STUDI LITERATUR : PENGARUH PERAWATAN LUKA POST OPERASI DENGAN METODE MODERN DRESSING TERHADAP SCORE PENYEMBUHAN LUKA." Jurnal Nurse 5, no. 2 (2022): 74–82. http://dx.doi.org/10.57213/nurse.v5i2.124.

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Perawatan luka telah mengalami perkembangan sangat pesat terutama dalam dua dekade terakhir, ditunjang dengan kemajuan teknologi kesehatan. Pemilihan balutan merupakan tahap penting untuk mempercepat proses penyembuhan luka. Infeksi Luka Operasi (ILO) merupakan salah satu komplikasi paska bedah yang ditakuti oleh dokter spesialis bedah dan merupakan masalah yang serius, karena dapat meningkatkan morbiditas dan lama perawatan. Tujuan penelitian ini adalah untuk mengetahui pengaruh perawatan luka post operasi dengan metode modern dressing terhadap score penyembuhan luka. Desain penelitian ini me

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Rizal, Taufik, Tiara Architaputri, and Abdurrohman Izzuddin. "THE USE OF APFEL SCORE TO PREDICT PREVALENCE OF POSTOPERATIF NAUSEA AND VOMITING : AN ANALYSIS OF PUBLISHED STUDIES." Jurnal Ilmu Kedokteran dan Kesehatan 10, no. 10 (2023): 3005–9. http://dx.doi.org/10.33024/jikk.v10i10.9699.

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Abstrak : Penggunaan Skor Apfel Dalam Memprediksi Angka Kejadian Mual dan Muntah Pasca Operasi : Analisis Literatur Publikasi. Mual dan muntah pasca operasi atau Post Operatif Nausea and Vomiting (PONV) merupakan efek samping yang paling sering terjadi setelah operasi. Bukan hanya membuat pasien tidak nyaman, PONV juga menyebabkan perpanjangan waktu perawatan dan juga semakin besarnya biaya perawatan. Skor apfel merupakan salah satu prediktor terjadinya PONV. Studi literatur ini bertujuan untuk menilai penggunaan skor Apfel dalam rangka memprediksi resiko angka kejadian mual muntah pasca opera

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Voltmer, Edgar, Mark Zander, Joachim E. Fischer, Brigitte M. Kudielka, Bernhard Richter, and Claudia Spahn. "Physical and Mental Health of Different Types of Orchestra Musicians Compared to Other Professions." Medical Problems of Performing Artists 27, no. 1 (2012): 9–14. http://dx.doi.org/10.21091/mppa.2012.1003.

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Objectives: This study examined the physical and mental health of orchestra musicians of different types of orchestras compared to a reference sample of the general population and of two other professions. Methods: Professional musicians (n = 429) from nine opera and/or concert orchestras were surveyed with the Short Form-12 general health questionnaire (SF-12). Data were compared with a reference sample (n = 2805) with a sample of physicians (n = 549) and aircraft manufacturers (n = 822). Results: Compared to the reference sample and the two other professional groups, the musicians had a high

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ICHIM, Traian. "The concept of style in the scenic interpretation of a musical score." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 69–76. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.7.

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In the aesthetics of opera theater at the beginning of the 21st century, the concept of "style" is applicable only to a musical score. The impact of auditory and visual perception in an opera show contradicts the canons of classical opera, which are always focused on the synthesis of the arts that formed this phenomenon. The article is devoted to the urgent problem of the reform of the work, based on the ideals of contemporary drama. The mechanisms and ways of using the experience of a certain type of theater at the beginning of this century are considered by the author in a general historical

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TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the sam

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Emslie, Barry. "The domestication of opera." Cambridge Opera Journal 5, no. 2 (1993): 167–77. http://dx.doi.org/10.1017/s0954586700003979.

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At the end of the last century opera started to shed elements of its many-sided and hybrid character. Of course there are numerous exceptions, but in general the genre becomes tighter, the expansive five-act form that triumphed at Paris in the middle of the nineteenth century is rejected and several elements, such as the ballet, dismissed as distractions. Musical structures, influenced – among other things – by Wagner's leitmotif system, become denser and even large scores exhibit an exceptional thematic homogeneity. Most striking, all those bandits, pirates, gods and gypsies make way for more

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Day, David A. "An Inventory of Manuscript Scores at the Royal Opera House, Covent Garden." Notes 44, no. 3 (1988): 456. http://dx.doi.org/10.2307/941519.

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Shchetynsky, Oleksandr. "Borrowed and Original Techniques in the Trio by Leonid Hrabovsky." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 106–20. http://dx.doi.org/10.31318/2522-4190.2021.132.249978.

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Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivi

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Mangi, Jesisca L. T., Elsy Senides H. Taunu, Mega Retno Wulandari, Anggriati Ledu Ngaba, Yuliana Tamu Ina Nuhamara, and Mayun Erawati Nggaba. "ANALISIS KESALAHAN SISWA DALAM MENYELESAIKAN SOAL OPERASI PECAHAN BENTUK ALJABAR SMP." Prima Magistra: Jurnal Ilmiah Kependidikan 3, no. 1 (2021): 85–91. http://dx.doi.org/10.37478/jpm.v3i1.1404.

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According to the national examination (UN) scores for Junior High School in East Sumba in 2019, it can be seen that the percentage of student’s math scores based on the comparison of test scores with graduation standards is still very low. In view of the problem, studies are conducted to describe a student’s error, describing the factors that cause students to make mistakes in solving problems, and planning follow-up actions to minimize student errors when operating addition and subtraction of algebraic fraction. This type of research is qualitative approach. The technique of determining the s

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