Relevant bibliographies by topics / Original opera

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Original opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Original opera"

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Bland, Anita. "Original Opera in Middle School." Music Educators Journal 79, no. 6 (1993): 27–30. http://dx.doi.org/10.2307/3398546.

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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 performance in London in 1755. Ciampi, who wrote about one third of all the musical numbers for the Venetian premiere of the opera in 1749, was apparently joined in his work by other composers. For the London production in 1755 Ciampi added a newly composed portion of musical numbers, however, still almost a quarter of the entire score remained consisting of insertions of music by other composers. The surviving music also makes it possible to establish exactly what material from the Venetian production was used in the parodies on this opera composed in Paris: Bertholde à la ville by Louis Anseaume (1754) and Le Caprice Amoureux, ou, Ninette à la cour by Charles-Simon Favart (1755). The study of Bertoldo, Bertoldino e Cacasenno expands our understanding of the practices of opera buffa at the early stage of its history.
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Ivanytska, Yana. "Original and Editions of the Opera “Taras Bulba” by M. Lysenko." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (2022): 69–82. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258149.

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The purpose of the research is to establish the reasons for the editions’ creation of the opera “Taras Bulba” by M. Lysenko; analyze the differences between the author’s version and the options proposed by Revutskyi - Liatoshynskyi. After all, on the stage, the opera is performed being edited, in musicological literature (especially in recent years) the work is analyzed by the author’s piano (Z. Yuferova, L. Korniy), and scientific monographs of the Soviet-era provide either incorrect or semi-hidden information. The research methodology consists in a comparative textual analysis of the original score and editions of the work. The scientific novelty of the research lies in the comparative characteristics of the author's version of M. Lysenko's opera "Taras Bulba" and several versions created by L. Revutskyi, B. Liatoshynskyi and M. Rylskyi. Conclusions. As a result of the research, the author concludes that the original of Lysenko’s opera differs in genre from the work’s editions, because the author has a certain synthesis of lyrical and psychological opera with features of comedic and heroic-patriotic folk drama. Revutskyi - Liatoshynskyi has a historical and patriotic opera. So, today it would be necessary to make another version of “Taras Bulba”, closer to the author’s one. Of course, this is not an easy task. The new editor will have to compare not only Lysenko’s manuscripts, but also different versions of Revutskyi - Liatoshynskyi. However, there must come a time when the genre of the first Ukrainian opera will not be defined by the derogatory word “posterity”. Especially since it contradicts the truth.
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Platoff, John. "How original was Mozart?: Evidence from opera buffa." Early Music XX, no. 1 (1992): 105–18. http://dx.doi.org/10.1093/earlyj/xx.1.105.

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Ożarowska, Aleksandra. "Od czynów do słów: intersemiotyczne nadpisy w uwspółcześnionych spektaklach operowych." Przekładaniec, no. 43 (December 31, 2021): 162–79. http://dx.doi.org/10.4467/16891864pc.21.034.15148.

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Putting Action into Words: Intersemiotic Surtitles in Modernised Opera Productions Since their debut over operatic stages in the early 1980s, surtitles have become an important part of the audiovisual translation field. It is also, among others, thanks to them that opera is currently regaining its popularity – they make opera productions more accessible and audience-friendly. Surtitles can also considerably shape an opera production, especially when it is modernised. Modernising operatic productions is nowadays one of the most popular trends in major opera houses, though it is not free of many challenges. Libretti are always sung in original, but bringing the action a few centuries ahead may mean that the original text does not correspond to what the viewers can see on the stage. In such cases surtitles may serve as a bridge between the original and stage design. Recently, some opera houses have started treating surtitles as an integral part of their productions and sometimes the whole translation follows the modernised production both semantically and stylistically. The original for such translations is then not just the libretto, but the whole production and surtitles become intersemiotic. This clash between different messages is the source of innovations, and surtitles, which closely follow modernised productions may be considered to be a translational experiment.
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Guinle, Francis. "Review: Record: The Beggar's Opera: Original Songs and Airs." Cahiers Élisabéthains: A Journal of English Renaissance Studies 37, no. 1 (1990): 126. http://dx.doi.org/10.1177/018476789003700132.

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ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire." Eighteenth Century Music 11, no. 2 (2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.

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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en vaudevilles, as four of the unidentified French airs in the opera can now be identified as popular Frenchvaudevilles. I investigate the fruitful exchange between Paris and London in the early eighteenth century (despite prevailing anti-French sentiment in Britain), focusing on musical borrowings, translations and the performers who worked in both cities. We shall see that ballad opera and thecomédies en vaudevillesshare common ground, includingvaudevilles finals, common tunes sung by actor-singers and the use of musical parody and double entendre. A closer examination of Gay's (and his contemporaries') knowledge of thecomédies en vaudevillesilluminates previously unknown French contributions to eighteenth-century English popular musical theatre, and demonstrates the unique way in which French practices were appropriated in early eighteenth-century England.
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[方博], Fang Bo. "The Transtextual Gender Construction in the Opera Madame White Snake." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 1–18. http://dx.doi.org/10.30819/aemr.7-1.

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The opera Madame White Snake (hereafter Madame), co-commissioned by Opera Boston and Beijing Music Festival, premiered at Boston Cutler Majestic Theater in February 2010. It was the first commissioned opera by Opera Boston.1 Based on the story from the famous Chinese ancient myth Bai She Zhuan 2 (in Chinese: 白蛇传), this opera’s libretto was created by a Singaporean American librettist, who has shed the story’s “traditional skin and taking on modern trappings” (Smith, 2019: 27) on purpose. When sniffing at male librettists’ discourses about female characters’ vulnerable and tragic lives in their operas, opera Madame’s initiator and librettist Cerise Lim Jacobs argues that women should seize the initiative to make their own decisions in life. The white snake, in her mind, ought to be a whole woman who is powerful and demonic, and yet, is also nurturing and caring, is capable of deep and intense love. In the first section of this article, I introduce the original legend’s background and the story outline in its operatic adaptation; I also trace back the opera’s commissioning process. After providing the background information of the story and the operatic version, then, in the second section I analyze the opera in terms of its transtextual figural gender construction in her characterization through comparative studies of the white and green snakes’ images from the sources of literary works, traditional xiqu scripts and operatic librettos. Referring to Lim’s personal growth and migrating history, as well as she and her husband co-founded charitable foundation’s missions and its recent IDEA (Inclusion, Diversity, Equity, and Access) opera grant program partnering with Opera America, I aim to examine her gender construction of the “female” roles in the opera from the perspectives of feminism, interracial marriage; and heterosexual, transsexual, and homosexual relationships.
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Brett, Philip, Benjamin Britten, John Gay, Tyrone Guthrie, David Matthews, and Paul Hindmarsh. "The Beggar's Opera, Opus 43: Realized from the Original Airs of John Gay's Ballad Opera (1728)." Notes 55, no. 3 (1999): 735. http://dx.doi.org/10.2307/900454.

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Jagosz, Michał. "Rywale, czyli opera mieszczańska w Krakowie. Historia, kontekst kulturowy, znaczenie." Kwartalnik Młodych Muzykologów UJ, no. 52 (1) (2022): 55–77. http://dx.doi.org/10.4467/23537094kmmuj.22.004.15648.

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Rivals [Rywale], or the Burgeois Opera in Kraków: History, Cultural Context, Meaning During the period of stagnation in Kraków’s theatre culture in the 2nd half of the 18th century, an opera entitled Rivals, or the Tattoo in Kraków [Rywale czyli czapstrzyk w Krakowie] was created by Kacper Meciszewski (libretto) and Zagórski (music; not preserved to this day), unknown by first name. Although mentioned several times in the theatre studies literature, it has not been by far a subject of separate musicological research. This opera is an example of a work that can be described as a 'burgeois opera', i.e. a model of magnate operas, regarding to both theme and structure of the libretto, as well as to musical arrangement, transferred to the middle class standards and entrepreneurial capabilities of that time. Seemingly non-original, secondary and, due to its provincial character, relevant only to the 18th century residents of the former capital city, it seems to have a slightly deeper meaning. In order to understand the significance of Rivals in its full, this article will present the history of the comedy’s creation and staging, an analysis of the libretto and a hypothetical form of musical setting in the context and in comparison with analogous operas of that period. For a better understanding of the title tattoo meaning, the history of its creation and reception as well as the condition of Kraków regiment band will be outlined.
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Dissertations / Theses on the topic "Original opera"

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Golden, Carol Anne. "Venerable Doe. [Original opera]." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185390.

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This work is a setting of "Venerable 'Doe,' " and original story and libretto by the composer. "Venerable 'Doe' " is the temporary appellation of Javanese music spirit whose true name is not known. It is also the name of the gamelan over which the spirit reigns and in whose pusaka gong he resides. The work combines traditional Western dance, instruments, orchestration, notation and theory and traditional Javanese court dance, instrument, instrumentation, performance practice and theory with the composer's innovations created to facilitate the combining of two divergent worlds of music. The language of the libretto and the selection of pitch material have been determined by an original, extended, soggetto cavato technique. This technique accommodates all letters of the English alphabet and all pitch classes of both the Western and Javanese scales used in the work. While the soggetto cavato technique expands upon techniques used in the works of J. S. Bach, Venerable Doe's continuous rather than sectional deportment, devotion to symbolism and personification of specific sound patterns as 'motives' continue innovations of Richard Strauss. Venerable Doe is an opera containing two major formal divisions, a fantasy-ballet "Overture," the score of which constitutes the "original composition" portion of this dissertation, followed by four acts of the opera's main body. The "Overture" is designed to be performed with the main body of the opera or as an independent composition. The programmatic content of the "Overture" is drawn from the first half of the story, "Venerable 'Doe,' " while the program of the four acts is from the second half. The work is set in English, and uses Javanese terminology, as well as Swedish, German and Latin translations of Psalm 23. It is scored for full Western orchestra, Javanese gamelan, chorus, soloists, Western and Javanese dancers. Lighting, costuming, dance, stage and visual projection directions appear on the score and in preliminary pages.
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Kuniyasu, Kurt Kazuo 1958. "Twin oaks: A Comic Opera in One Act." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc1038755/.

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Twin Oaks: A Comic Opera in One Act is a chamber opera approximately 60 minutes in length. Its accompanying ensemble is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bass clarinet, bassoon, trumpet (in C and B-flat), F horn, percussion, piano, 2 violins, viola, violoncello and double bass. It is a Number Opera with 10 numbers. There is a single case in which there is music played under the dialogue. The text is based off the W.S. Gilbert Play: Eyes and No Eyes: or The Art of Seeing.
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Volaj, Altin. "Ion, opera in seven scenes, based on Euripides original play." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8143.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Yang, Hyun Joo. "Which arias better represent Susanna's character : the original or replaced arias? /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11199.

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Shirey, Benjamin 1985. "Transient Delete: Original Composition with a Critical Examination of the Compositional Process and a Survey of Digital Technology in Opera." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849752/.

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This paper explores various technologies available to the modern composer and utilized in recent modern opera, providing creative approaches to producing aural, visual, and theatrical performance environments. It also explores my own use of digital technology in Transient Delete. Transient Delete is a digital miniature-opera that explores different aspects of a community of post-human cyborgs. The story follows Iméra, a newly converted cyborg as she acclimates herself to this new cybernetic existence. During this process she meets several other cybernetic entities that are there to help guide her through her metamorphosis.
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Howlett, May Catherine. "The production of a contemporary chamber opera (The boy who wasn't there)." Thesis, Electronic version, 2005. http://hdl.handle.net/1959.14/769.

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A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies.
Dissertation, libretto and score of the opera.
Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005.
Bibliography: p. 138-141.
Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion..
From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television.
Mode of access: World Wide Web.
141 leaves music
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Doyle, James Joseph. "Violetting Through August’s End (Or the Sunset in Water, the Carillon-chime in Square): an Original Chamber Opera and a Critical Essay on the Trajectory of American Minimalist Opera." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699885/.

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When the dust settles, John Adams’s Nixon in China and Philip Glass’s Einstein on the Beach may stand as the most important operas of the latter twentieth century. The critical essay portion of this thesis examines the trajectory of minimalist opera, from its beginnings with Glass’s Einstein on the Beach through the more romantic operas of John Adams, Steve Reich’s multimedia opera The Cave, David Lang’s musical-influenced The Difficulty of Crossing a Field, and finally the post-minimalist operas currently being staged by young composer Nico Muhly. It examines the differences between the more abstract trajectory established by the early Glass operas and the plot driven trajectory established by operas more commonly associated with John Adams, most significantly Nixon in China. Additionally, the aforementioned pieces are compared and contrasted with the author’s newly composed chamber opera Violetting through August’s End (or the sunset in water, the carillon-chime in square).
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Weidlich, Richard. "Jean-Blaise Martin and the opera-comique: A studyof selected airs sung by the original baryton Martin." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280081.

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(Nicolas) Jean-Blaise Martin (1768-1837) created numerous roles in operas-comiques by many of the most notable composers in Paris spanning the periods of the French Revolution, Consulate, Empire, and Restoration in a stage career that endured from 1789 to 1834. The outgrowth of his popularity was the creation of the voice type named for him, the baryton Martin, which at first represented the roles for which he was known, but later was developed by numerous French composers who expanded the high lyric baritone repertoire, including Bizet and Ravel. A discussion of the life of Martin is followed by more specific chapters discussing his voice and select roles sung by him. Works discussed include Les Visitandines (1792) by Francois Devienne, Joconde (1814) by Nicolo Isouard, Les Voitures versees (1808/1820) by Francois-Adrien Boieldieu, and Les Souvenirs de Lafleur (1833) by Fromental Halevy. The voice of Martin is described as to range, weight and timbre, as well as vocal characteristics that were identified with him, including his famous use of fioratura, the use of head voice for passages extending up into the tenor range, "patter" singing, and a frequent use of wide leaps. In addition, reviews are cited later in Martin's career to illuminate his vocal condition at the end of his career. Each opera-comique is discussed regarding the composer, the librettist(s), the work, including a brief plot summary, as well as a more specific discussion of one air from each that was sung by Martin. Various observations of these airs will attempt to give a more complete picture of the artist and singer. A brief discussion detailing the baryton Martin throughout the century will follow the summary of the document, and will detail singers of this voice type and roles written for them. The career of Martin is detailed in an appendix that lists many works in which the baritone sang, with pertinent information as available, as well as a listing of the theaters in which be performed.
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Sansone, M. "Verismo : From literature to opera." Thesis, University of Edinburgh, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379337.

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Michon, Jacques. "Le "Ballad-Opera" forme originale du théâtre musical anglais." Lille : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105622j.

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Books on the topic "Original opera"

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Fieled, Adam. Opera Bufa (original Otoliths book pdf). Edited by Mark Young. Otoliths, 2007.

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Birtwistle, Harrison. The second Mrs Kong: An original opera text. Universal Edition, 1994.

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Arthur, Sullivan. The Sorcerer: An original modern comic opera in two acts. Cramer., 2003.

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M, MacMurray Jessica, ed. 101 opera librettos: Complete original language texts with English translations. Black Dog & Leventhal, 2002.

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Daniel, Tony. Savage Trade: Star Trek The Original Series. Pocket Books, 2015.

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Horace. Opera: The works of Horace, with English notes original and selected... Griffin, 1991.

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Robert, Cohen H., ed. Dix livrets de mise en scène lyrique datant des créations parisiennes, 1824-1843 =: The original staging manuals for ten Parisian operatic premières, 1824-1843 : in facsimile. Pendragon Press, 1998.

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Weber, Carl Maria von. Oberon old and new: [Burgess's new opera together with Planché's original text]. Hutchinson, 1985.

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Cox, Greg. Child of Two Worlds: Star Trek The Original Series. Pocket Books, 2015.

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Mariotte, Jeff. The Folded World: Star Trek The Original Series. Pocket Books, 2013.

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Book chapters on the topic "Original opera"

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Hogle, Jerrold E. "The Original Fantôme’s Mysteries." In The Undergrounds of The Phantom of the Opera. Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-11288-0_1.

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Hogle, Jerrold E. "The Gothic and the ‘Otherings’ of ascendant culture: the original Phantom of the Opera." In Spectral Readings. Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230374614_11.

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Manni, Paola. "Il Vocabolario Dantesco a cura dell’Accademia della Crusca e dell’Opera del Vocabolario Italiano (CNR)." In L'illustre volgare. Società Editrice Fiorentina, 2022. http://dx.doi.org/10.35948/dilef/978-88-6032-685-0.03.

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L’Accademia della Crusca, fin dalle origini impegnata nell’attività lessicografica, ha avviato, in collaborazione con l’OVI – Opera del Vocabolario Italiano (CNR), un nuovo Vocabolario dantesco che si pubblica dal 2018 al sito di rete www.vocabolariodantesco.it. L’intervento illustra, con l’aiuto di alcune immagini, gli intenti e le metodologie altamente innovative di questo Vocabolario che, pur proponendosi di analizzare tutte le opere volgari di Dante, ha preso avvio dalla Commedia, testo fondante della nostra tradizione letteraria e linguistica.
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Staples, David. "National Opera House, 2008 (originally the Wexford Opera House) Wexford, Ireland." In Modern Theatres 1950–2020. Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-53.

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Maehder, Jurgen. "The Origins of Italian Literaturoper: Guglielmo Ratcliff, La figlia di Iorio, Parisina, and Francesca da Rimini." In Reading Opera, edited by Arthur Groos and Roger Parker. Princeton University Press, 1988. http://dx.doi.org/10.1515/9781400859597.92.

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Frigotto, Maria Laura, and Francesca Frigotto. "Resilience and Change in Opera Theatres: Travelling the Edge of Tradition and Contemporaneity." In Towards Resilient Organizations and Societies. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82072-5_9.

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ABSTRACTOver the last century, the opera has changed dramatically and on several levels. This chapter maps out the major changes of the opera since its origin in its country of birth, Italy, discussing whether this evolution displays a form of transformative resilience. As a theoretical contribution, this case allows to challenge the resilience framework presented in Chapter 1, by raising several prominent questions for the conceptual advancement and empirical grounding of resilience. We ask: To what extent can an entity change in order to be considered a persisting entity and not a different entity? Or in other words: How much continuity is necessary to recognize resilience in the same entity? We add: How are different levels of resilience (institutional, organizational and individual) nested one into another, and therefore, how is the ‘agency of resilience’ played out? As an empirical contribution, this chapter sketches an empirical reconstruction of the history of the opera in a holistic longitudinal perspective.
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Prud'homme, Gabrielle. "Verdi at the Heart of the Dictatorship." In Music and Democracy. mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-005.

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This chapter examines the political appropriation of Giuseppe Verdi in Fascist Italy through a study of the celebrations commemorating the fortieth anniversary of his death in 1941. More specifically, it provides an analysis of the Verdi Year through the lens of a landmark event held among fascist officials at the Academy of Italy in Rome, the heart of the regime's intellectual power, in June 1940-a few days before Italy's entry to war. By reconstructing the structure and the reception of the event, Gabrielle Prud'homme sheds light on how Mussolini's regime maintained its grip on the commemorations and disseminated a discourse entirely consistent with the fascist political and ideological agenda. By insisting on Verdi's patriotic image, exploiting the nationalist topoi conveyed in his operas, emphasizing his peasant origins, and exalting his Italianness, party intellectuals nurtured a Verdian myth that enhanced the Fascist political and totalitarian project.
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Cavazza, Antonella. "“Vinci te stesso e vincerai il mondo”. Le fonti di un aforisma rinvenibile nelle opere di Dostoevskij dell’ultimo periodo." In Biblioteca di Studi Slavistici. Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.15.

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Notable among the stylistic tools adopted by Dostoevskij to disseminate the values that he considered crucial for the moral revival of contemporary Russian society is the use of the aphorism. This article explores the origins of the renowned maxim “If you want to overcome the whole world, overcome yourself”, a phrase that recurs either in this form or with some variation in the literary and journalistic texts that Dostoyevsky authored towards the end of his life. His sources include Saint Augustine, Thomas à Kempis, and Prosper of Aquitaine.
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"The Original Tannhäuser Ballad." In A Knight at the Opera. Purdue University Press, 2011. http://dx.doi.org/10.2307/j.ctt6wq715.5.

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Platoff, John. "How original was Mozart?" In Essays on Opera, 1750–1800. Routledge, 2017. http://dx.doi.org/10.4324/9781315094366-19.

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Conference papers on the topic "Original opera"

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Ye, Xiaochen. "Research on the Development Strategy of Shaanxi Historical Theme Opera "Dahan Suwu" Combining Original Chinese Opera Elements." In 2019 12th International Conference on Intelligent Computation Technology and Automation (ICICTA). IEEE, 2019. http://dx.doi.org/10.1109/icicta49267.2019.00122.

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Lawrence, Willie, and Eiji Adachi. "Assessing the Occurrence of Blocking Operations in Database Schema Evolution: A Case Study." In Workshop de Visualização, Evolução e Manutenção de Software. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/vem.2021.17209.

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During the evolution of a database schema, some schema-changing operations (e.g., the “ALTER TABLE” command) require the underlying database management system to lock tables until the opera-tion is finished. We call these schema-changing operations blocking operations. During the execution of blocking operations, a soft-ware application may behave abnormally, varying from a slow page loading to an error caused by a web request taking too long to return. Despite their potential negative impact on important qual-ity attributes, blocking operations have not yet been empirically investigated in the context of software evolution. To fill this gap, we conducted a large industrial case study in the context of a Brazilian software company. We analyzed 1,499 atomic schema-changing operations from a period of 6 years to explore which blocking operations the developers frequently performed during the evolution of the database schema of a target system. The intention behind this case study is better understanding the problem in its original context to outline strategies to correct or mitigate it in the future. Our results show that blocking operations were very common, though not all of them seemed to cause observable downtime periods. We also present some mitigating strategies already in use by the devel-opment team of the target system to cope with blocking operation during software evolution, avoiding their negative impact.
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De Lellis, Giovanni. "The OPERA experiment and its contribution to neutrino physics." In The 3rd International Symposium on “Quest for the Origin of Particles and the Universe". Sissa Medialab, 2017. http://dx.doi.org/10.22323/1.294.0010.

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Sato, Osamu. "Evidence for $\nu\mu\to\nu\tau$ oscillation by appearance mode from OPERA experiment." In KMI International Symposium 2013 on “Quest for the Origin of Particles and the Universe. Sissa Medialab, 2015. http://dx.doi.org/10.22323/1.208.0016.

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Caruntu-Caraman, Livia. "Înregistrarea englezismelor în dicționar." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.07.

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Limba reflectă schimbările ce se produc în societate. În etapa actuală, constatăm că globalizarea favorizează răspândirea englezismelor în diverse limbi, ceea ce duce la internaționalizarea comunicării. Întrucât multe asemenea elemente circulă cu formă grafică originară, dar și „hibridizată” au loc multiple disensiuni de fonetism, transcriere, semantică, iar, ca să se clarifice, consumatorul apelează în primul rând la un dicționar. Astfel, am decis să elaborăm o lucrare specială în care să înregistrăm un corpus de englezisme din vorbirea actuală și care să cuprindă elemente de ortografie, morfologie, fonetică, etimologie și semantică, precum și unele recomandări și principii de realizare. Aici utilizatorul va găsi explicații la situațiile confuze privind mijloacele novatoare de exprimare, întâlnite mai cu seamă în mass-media, în opere științifice, în viața cotidiană.
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García, Andrés M., Inés Santé, and Rafael Crecente. "Análisis de la evolución de pequeñas áreas urbanas utilizando análisis cluster y regresiones logísticas: un estudio de caso en Ribadeo (NO de España)." In Virtual cities and territories. Department of Civil Engineering of the University of Coimbra and e-GEO, Research Center in Geography and Regional Planning of the Faculty of Social Sciences and Humanities of the Nova University of Lisbon, 2011. http://dx.doi.org/10.5821/ctv.7698.

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La necesidad de encontrar soluciones a los problemas derivados del crecimiento urbano ha llevado al desarrollo de metodologías para el análisis de los procesos que lo regulan. Estos procesos son complejos y operan a varias escalas, de manera que en un área pequeña se pueden encontrar varias dinámicas que originan patrones de crecimiento diferentes. El estudio de estos patrones a escala local y las dinámicas que los producen es especialmente importante en pequeñas áreas urbanas, donde los procesos de crecimiento son menos claros y evidentes. Esto se debe a que el crecimiento urbano en estas zonas es más lento y por lo tanto las dinámicas son más difíciles de identificar. En el presente trabajo se han utilizado técnicas de análisis clúster y métricas espaciales para delimitar las zonas con patrones de crecimiento urbano uniformes en el municipio de Ribadeo. Posteriormente se han identificado los factores que regulan las dinámicas de los usos urbanos en cada una de estas zonas mediante un análisis de regresión logística.
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van der Wel, M. C., M. Kramer, and J. P. van Buijtenen. "Premixing Air and LCV Gas in a Gas Turbine Compressor." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30015.

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When a gas turbine is operated on low calorific value (LCV) gas instead of natural gas, the operating point of the compressor will shift towards the surge line. The compressor pressure ratio can rise to a level where stall or surge can occur. Premixing LCV gas with air inside the compressor of a gas turbine can solve this problem. With all fuel premixed, no fuel needs to be injected through the normal fuel inlet. The mass flow balance between turbine and compressor is restored and matching problems will not occur. From calculations with two LCV gases it could be concluded that all LCV gas could be premixed with compressor air when a low percentage of hydrogen gas was present in the LCV gas. The LCV gas could not be fully premixed in case of a high amount of hydrogen. The calculations show that an OPRA OD 500 gas turbine operated on premixed LCV gas with a low amount of hydrogen can maintain its original efficiency and a loss of 14 efficiency points can be prevented.
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Klein, Sikke, Ivar Austrem, and Jan Mowill. "The Development of an Ultra Low Emissions Liquid Fuel Combustor for the OPRA OP16 Gas Turbine." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30107.

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During the last few years OPRA has been working intensively on the development of an ultra low emissions combustor for the OP16 gas turbine. The main focus has been on the combustion of liquid fuels (diesel fuel #2), but a natural gas and a dual fuel system has also been developed. The most important aspect of the development has been the patented Controlled Fuel Air Ratio (COFAR) system incorporating the venturi premixer, the air valve and the fuel injection nozzle. The original diesel fuel injection nozzle of the OP16 was a hybrid design, comprising a pressure swirl central injector surrounded by a classic air-blast atomizer. While the emissions with this fuel nozzle were quite good (30 ppm up to 85% load), subsequent natural gas tests demonstrating single digit emissions, while running at a higher average flame temperature indicated that there was scope for improvement of the fuel preparation system. It was clear that atomization, evaporation and mixing of the diesel fuel could be further improved. For better understanding of the combustion of diesel fuel, an atomization and mixing model was developed, to study the quality of the fuel/air mixture leaving the pre-mixer. Based on the results of this study, a fuel nozzle system, using multipoint injection with small pressure swirl nozzles was selected. Three different sets of atomizers have been evaluated and a nozzle arrangement comprising five identical pressure swirl nozzles showed the best results. The emissions on diesel fuel with the new injector proved very satisfactory. The NOx concentration was kept below 25 ppm from 50% load up to 90% load and below 30 ppm at full load. CO and UHC were well below 10 ppm. These low emissions were achieved by running at a low flame temperature (below 1820K). Furthermore, no combustion dynamics or flame instability was observed.
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Pileggi, Paolo, Elena Lazovik, Ron Snijders, et al. "A Lesson on Operationalizing Machine Learning for Predictive Maintenance of Gas Turbines." In ASME Turbo Expo 2021: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/gt2021-59249.

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Abstract OEMs, service providers and end-users are moving from preventative to predictive maintenance to minimize the risk of unwanted power plant shut-downs and to maximize profitability. Digital Twin and Machine Learning (ML) are important techniques in this transformation as it complements and improves the traditional expert-based knowledge systems. There is a continued trend to use data-driven, so-called black-box, ML techniques as an improvement over traditional statistical approaches. However, these ML approaches suffer from low interpretability or explainability, making it hard to trust how or why a certain anomaly in the system is detected, limiting the trust in the prediction and making it much less likely to identify the real original cause of the problem. In this paper, we present our lesson learnt from operationalizing ML in a real-world use case that studied data from the 1.85 MWe OPRA OP16 all radial single-shaft gas turbine. We comment on the unforeseen obstacles we uncovered during our ML anomaly detection application and juxtapose them with the high potential value that our novel ML applications and explanation method can provide. ML may be enticing for the predictive maintenance of gas turbines but our lesson makes it clear that operationalizing ML goes beyond merely algorithm specifics. In line with the nature of the Digital Twin, it requires careful consideration of the specialized IT system supporting the algorithm, and the specific process it supports and in which it is deployed.
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