Relevant bibliographies by topics / Singers, europe

Contents

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

Academic literature on the topic 'Singers, europe'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Singers, europe"

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Laschenko, Svetlana K. "Mikhail Glinka and his Russian disciples in Europe: contextual analysis of a forgotten history." Contemporary Musicology, no. 3 (2020): 3–65. http://dx.doi.org/10.56620/2587-9731-2020-3-003-065.

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The article analyzes the role of M.I. Glinka in training Russian singers—P.M. Ostroumov-Mikhailov and S.S. Gulak-Artemovsky— as preparation for their internship in Europe. Based on historical documents, the article compares the nature of Glinka's work with young musicians with the training the Russian chorister N.K. Ivanov received in Europe, where he later became an established lead opera singer. The article provides a brief biographical overview of OstroumovMikhailov and Gulak-Artemovsky before their studies with Glinka. It emphasizes Glinka's understanding for the need to free singers from their dependence on the state. The article traces back Glinka’s search for the patrons of art who could support singers during their European internship. The work provides the first mention of the role of M.D. Volkonsky and P.N. Demidov in organizing the studies of Ostroumov-Mikhailov and Gulak-Artemovsky. It is the first attempt to describe the conditions of their study. It analyses the sources of financing the internship, the peculiarities of performances made by Russian singers in Europe and their participation in a number of opera performances in Italy. It is crucial to analyse and compare professional approaches of European teachers to training Russian performers with Glinka’s methodology of working with vocalists. The article explores the reasons why an internship with European teachers did not allow Ostroumov-Mikhailov and GulakArtemovsky to take root in European opera culture. The article highlights the role of Rossini, who promoted Ivanov on the European stage. Russian singers did not have such a mentor, which had a detrimental effect on their career in Europe. The article traces back the return of Ostroumov-Mikhailov and GulakArtemovsky to Russia as well as their further careers in imperial theaters.
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Wąsacz-Krztoń, Jolanta. "Z historii muzycznych wędrówek polskich śpiewaków operowych po Galicji. Klementyna Czosnowska i Władysław Mierzwiński z występami we Lwowie i w Krakowie." Galicja. Studia i materiały 6 (2020): 136–54. http://dx.doi.org/10.15584/galisim.2020.6.7.

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The article describes the figure of a soprano, Klementyna Czosnowska, one of the most prominent Polish opera singers of the 19th century, and an unsurpassed Europe-wide famous singer, Władysław Mierzwiński, called “the king of tenors”. Their buoyant musical careers entailed frequent travels to famous and renowned musical centers. The map of such artistic travels includes also two major cultural centers in Galicia: Cracow and Lviv. Both artists performed on the stages of these cities in 1880s and 1890s, offering unforgettable artistic experiences to the local audiences. The singers were greeted with great enthusiasm, and treated with deep affection and utmost respect.
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Thurman, Kira. "Performing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Identity in Interwar Central Europe." Journal of the American Musicological Society 72, no. 3 (2019): 825–65. http://dx.doi.org/10.1525/jams.2019.72.3.825.

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When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German national identity was contingent upon whiteness. Some listeners chose to call black concert singers “Negroes with white souls,” associating German music with whiteness by extension. Others insisted that the singer had sounded black and therefore un-German. Race was ultimately the filter through which people interpreted these performances of the Austro-German musical canon. This article contributes to a growing body of scholarship that investigates how and when audiences began to associate classical music with whiteness. Simultaneously, it offers a musicological intervention in contemporary discourses that still operate under the assumption that it is impossible to be both black and German.
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Glixon, Beth L. "Scenes from the life of Silvia Gailarti Manni, a seventeenth-century virtuosa." Early Music History 15 (October 1996): 97–146. http://dx.doi.org/10.1017/s0261127900001534.

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During the seventeenth century, the growth of opera created the need for a large number of artists to perform in theatres throughout Italy and, increasingly, in much of Europe. The biographies of nearly all the singers who performed in Venice, the centre of opera during the middle of the century, and in other cities of Italy remain unwritten and, in most cases, unwritable. For some singers, including Giovanni Antonio Cavagna, Nicola Coresi and Vincenza Giulia Masotti, letters survive that convey something of their personalities. Yet, for the most part, we know nothing of their families and the early years of their careers, nor of their lives as performers. This article will explore several episodes in the career of the Roman singer Silvia Gailarti Manni, whose operatic appearances during three decades have been known to scholars through librettos, but whose life has never before come into focus.
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Garcia-Espluga, B., and M. A. Garcia-Reàdigos. "Atypical song of Blackcap Sylvia atricapilla." Revista Catalana d'Ornitologia, no. 39 (February 8, 2024): 53–59. http://dx.doi.org/10.62102/2340-3764.2023.1.7.

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The song of the Eurasian Blackcap Sylvia atricapilla consists of two distinct parts: an initial chattering of different harsh notes followed by a louder, fluting warble. However, some enigmatic individuals present an atypical version of their song characterised by a remarkable simplification of the traditional rich fluting warble. This study documents the unprecedented observation in the Iberian Peninsula of an atypical singer in Els Ports Natural Park (Catalonia, NE Spain). This bird exhibited distinct behavior including perching high in trees and intense morning singing, in addition to the atypical song marked by the substitution of the rich fluting warble by a monotonous series of approximately 15 similar notes. In a meticulous analysis of atypical Blackcap recordings on the online portal xeno-canto, we identified 12 cases of similar atypical singers distributed across Europe. We compared the vocal patterns of these atypical singers with the well-known Blackcap song variant leiern and concluded that there are important differences. People participating in common bird censuses should be aware of this variability in Eurasian Blackcap songs and the occurrence of atypical singers to avoid misidentification. The description and reporting of such observations will help improve knowledge of the complex subject of bird vocalisations.
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Dahlbäck, Kajsa. "Den kvinnliga sopranen i barockrepertoaren." Trio 10, no. 1 (2021): 65–73. http://dx.doi.org/10.37453/trio.110126.

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The artistic doctoral project of soprano Kajsa Dahlbäck is in two parts. The theme of the concert series is “The female soprano within the baroque repertoire 1600–1750” and that of the thesis is “Singing-in-the-world – a phenomenological study on the singer’s inner work”. In her concerts, Dahlbäck has performed music from different parts of Europe and particularly from communities with female singers, such as for instance Italian nun convents, Vivaldi’s time at La Pietà in Venice and the court of Swedish Queen Christina in Stockholm and Rome. In her thesis, Dahlbäck shares insights from her experience as a singer specializing in early music as well as the genre’s generally intimate concert and rehearsal atmosphere. Experience texts from rehearsals and concerts have been mirrored against phenomenological theories. The practice-based triadic concept of body–breath– mind is linked to the theoretical singing-in-the-world. Body–breath–mind is the foundation for singing-in-the-world, a synthesis of the phenomenological tradition of Heidegger’s being- in-the-world (in-der-Welt-sein), Merleau-Ponty’s being toward-the-world (suis à) and in recent years Škof and Berndtson’s breathing-in-the-world.
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Zorzan, Maira, Paolo Zucca, Daniela Collazuol, Stefania Peddio, Antonio Rescigno, and Raffaele Pezzani. "Sisymbrium officinale, the Plant of Singers: A Review of Its Properties and Uses." Planta Medica 86, no. 05 (2020): 307–11. http://dx.doi.org/10.1055/a-1088-9928.

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Abstract Sisymbrium officinale (hedge mustard and formerly called Erysimum officinale) is a common plant in wild lands of Europe and Africa. It is also cultivated for its seeds and leaves to be used in salad or mustard. Sisymbrium officinale is useful not only in culinary preparations, but it also seems to possess interesting therapeutic properties, especially for throat diseases such as aphonia and hoarseness. For this reason, it is commonly called “herb of singers” (in Italian, “Erba dei cantanti”). Indeed a cup of Sisymbrium officinale infusion is frequently consumed by singers before artistic performance, even if its beneficial ability still needs to be scientifically demonstrated. Some preliminary data can be analyzed, but new efforts and resources should be devoted to study and investigate a plant with valuable therapeutic potential. This review summarizes the data available for Sisymbrium officinale.
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Siefert, Marsha. "The Metropolitan Opera in the American Century: Opera Singers, Europe, and Cultural Politics." Journal of Arts Management, Law, and Society 33, no. 4 (2004): 298–315. http://dx.doi.org/10.3200/jaml.33.4.298-315.

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Mellēna-Bartkeviča, Lauma. "No kora Liepājā uz galvenajām lomām Berlīnē: latviešu tenora Artūra Priednieka-Kavaras starptautiskā karjera starpkaru periodā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 205–14. http://dx.doi.org/10.37384/aplkp.2023.28.205.

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The article brings to the spotlight Latvian tenor Arthur Cavara (Artūrs Priednieks-Kavara, 1901–1979), one of the most outstanding Latvian operatic tenors of the 20th century in the context of his international career successfully developed in Germany in the 1930s. In both the recently established Latvian Republic and Europe, the interwar period was a very intensive and, at the same time, very contradictory time due to the historical conditions, social processes and political regimes, but it was also the time of opportunities when one of the centres of art life longed for by Baltic musicians was Berlin. Arthur Cavara was one of a few Latvian singers gifted with unique voice qualities, working capacity and a vast repertoire, who managed to develop a successful career on operatic stages in Berlin in a very short time, thus engraving his name in European opera history of the interwar period. In 1927 the young opera choir singer from Liepāja was not hired by Latvian National Opera, and he decided to go to Berlin to study vocal art with Louis Bachner (1882–1945). In a few years, Priednieks-Kavara developed a successful operatic career in Germany, becoming one of the leading tenors of Krolloper un Die Deutsche Staatsoper in Berlin, participating in guest performances in other countries, including South America, and finally, he was critically acclaimed in Latvia, too. The Second World War and related circumstances stopped the singer’s career at its peak, Cavara, together with his family, emigrated first to Germany, a well-known country to him, and afterwards to the USA, where he worked as a vocal coach and opera director. A great deal of facts regarding the life of Latvian tenors in Berlin was documented in letters published in Latvian press of the interwar period and autobiographical works by another opera singer and writer Mariss Vētra (1901–1965), who often met Cavara both in Germany and Latvia. The article traces the career of Cavara until the emigration in 1944.
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Kleikamp, Bernard. "The First USA Performance of Tuvan Throat Singers." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 113–18. http://dx.doi.org/10.30819/aemr.9-10.

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Until the 1990s khöömei or throat singing from Tuva was virtually unknown outside the then-USSR. Russian researchers like Aksenov and Shchurov had published the results of their fieldwork in Tuva, but their work was hardly known outside the USSR. In the 1980s researchers from outside the USSR like Tran Quang Hai and Ted Levin started paying attention to the subject, but it took until the early 1990s before a Western audience could make its acquaintance with Tuvan throat singers on stage. I ran the Paradox concert agency from 1978 until 2003, and it so happened that Paradox was the first to bring Tuvan throat singers to Europe and to North America in the early 1990s. The Iron Curtain had just fallen and it became possible to invite musicians from behind the Curtain without assistance from state agencies. Paradox had ample previous experience with state agencies in visa and work permit procedures. and that expertise proved very useful in dealing directly with musicians and music ensembles and their representatives then. My essay presents the story of the first concert of Tuvan khöömei singers in the USA in 1992 to which I was an eye witness (and also shortly explains the process of throat singing). This is an iconic story, because not only it describes how concert tours were organised in an age before the internet but also it documents the start of a hype. After that first concert in just a few years bands from Tuva were travelling all over the world and many audiences got to experience the phenomenon of throat singing. But in 1992 it was all new.
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Dissertations / Theses on the topic "Singers, europe"

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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.

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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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Raver, Debra Marie. "Song weaving| The multivocal performance patterns of Lithuanian Sutartine singers." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558015.

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<p> This thesis explores the distinct two-part polyphonic patterning in Lithuanian Sutartines to reveal how singers shape and/or experience their songs as musical weaves. The findings are based on original fieldwork as well as old ethnographic sources, which are (re)examined and interpreted through the lens of metaphor as a methodology.</p>
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Stange, Enno [Verfasser], Stefan [Gutachter] Grundmann, and Reinhard [Gutachter] Singer. "Bargeldloser Zahlungsverkehr und Drittmissbrauchshaftung in Europa / Enno Stange ; Gutachter: Stefan Grundmann, Reinhard Singer." Berlin : Humboldt-Universität zu Berlin, 2009. http://d-nb.info/1208077740/34.

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de, la Cruz-Fernández Paula A. "Atlantic Threads: Singer in Spain and Mexico, 1860-1940." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/953.

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This dissertation examines the role of Singer in the modernization of sewing practices in Spain and Mexico from 1860 to 1940. Singer marketing was founded on gendered views of women’s work and gendered perceptions of the home. These connected with sewing practices in Spain and Mexico, where home sewing remained economically and culturally important throughout the 1940s. "Atlantic Threads" is the first study of the US-owned multinational in the Hispanic World. I demonstrate that sewing practices, and especially practices related to home sewing that have been considered part of the private sphere and therefore not an important historical matter, contributed to the building of one the first global corporation. I examine Singer corporate records and business strategies that have not been considered by other scholars such as the creation of the Embroidery Department in the late nineteen-century. Likewise, this dissertation challenges traditional narratives that have assumed that Spain and Mexico were peripheral to modernity. I look at Singer corporate records in Spain and Mexico and at regional government and cultural sources to demonstrate how Singer integrated Spain and Mexico within its business organization. Singer's marketing was focused on the consumer, which contributed to make the company part of local sewing businesses and cultures.
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Rioux, Catherine. "Regard sur la transgression féminine dans les nouvelles d'Isaac Bashevis Singer." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/28885/28885.pdf.

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Cette étude vise à démontrer les différents aspects de la civilisation juive d’Europe de l’Est que conteste, dans ses écrits, l’auteur yiddishophone Isaac Bashevis Singer. Dans ses nouvelles, il met en scène des personnages féminins déchirés entre le monde du shtetl et la modernité convoitée. Ce mémoire explore cinq nouvelles, Yentl, l’étudiant de Yeshiva, Taibele et son démon, Zeitl et Rickel, Yanda et La sorcière, qui problématisent toutes la représentation féminine. À la lumière des écrits théoriques de Vincent Jouve et de Philippe Hamon, ce mémoire analyse thématiquement les diverses composantes de l’identité et de l’univers féminin afin de démontrer les éléments contredits par Singer.
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Wong, Liu Shueng. "As the bamboo sings." AUT University, 2009. http://hdl.handle.net/10292/944.

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The research question considers the possibility that culture and identity impedes Chinese New Zealanders from writing fiction about their own culture, and considers a Chinese New Zealand history as interpreted from a Chinese perspective. The research looks at various elements related to this question, such as Chinese as strangers or foreigners, the pressure to conform, and the role of communities.
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Baker, Kenneth Rex III. "Lights, Camera, Creating Heroes in Action: Claus von Stauffenberg and the July 20th Conspirators in German and American Filmic Representations of the July 20th Plot." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241204154.

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Considine, Basil. "Priests, pirates, opera singers, and slaves: séga and European art music in Mauritius, "The little Paris of the Indian Ocean"." Thesis, 2013. https://hdl.handle.net/2144/15056.

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This dissertation comprises a musical history and ethnography of musical culture on the island of Mauritius in the southern Indian Ocean. It details two interrelated performance traditions, examining the history and practice of European art music on the island in parallel with that of an endemic song-and-dance tradition called séga. Mauritius, once a notorious nest of pirates and privateers, was a famous overseas haven of French culture during the eighteenth and nineteenth centuries. Wealth from trade, war, and piracy fueled a rich cultural scene that featured the latest music from Western Europe. Visitors to "The Little Paris of the Indian Ocean" also encountered séga, a percussion-driven music based on improvised songs and dances that developed amongst the island's African and Malagasy slaves. Today, séga is an integral part of the Mauritian tourism industry and is prominently featured in government cultural and educational programs. The general format of the dissertation is a musical history of Mauritius from its first human settlement in 1638 to the present day. It draws extensively on unpublished archival documents and on travelogues, letters, and diaries from visitors to provide specific details about the extent and nature of musical practice in Mauritius. It is also informed by historical newspapers, contemporaneous literature, and by recent discoveries in Mauritian archaeology. The narrative of the past half-century of Mauritian musical and cultural history takes the form of a musical ethnography and draws upon numerous interviews and on field research conducted in Mauritius from 2011-2012. The dissertation also includes a detailed study of music in contemporary Mauritian society, with special reference to the use of séga in nation-building policies, identity politics, the tourism industry, and in public education.
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Books on the topic "Singers, europe"

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Casey, Ronan. Joe Dolan. Penguin Group UK, 2010.

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Burke, Carolyn. No regrets: The life of Edith Piaf. A.A. Knopf, 2011.

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Bret, David. Piaf: A passionate life. Robson Books, Parkwest, 2000.

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Bret, David. Piaf: A passionate life. JR, 2007.

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Nourrit, Adolphe. The great tenor tragedy: The last days of Adolphe Nourrit. Amadeus Press, 1995.

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Wistreich, Richard. Warrior, courtier, singer: Giulio Cesare Brancaccio and the performance of identity in the late Renaissance. Ashgate, 2007.

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Johannes, Jansen. Opera. Barron's, 1998.

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Poole, Sara. Brel and chanson: A critical appreciation. University Press of America, 2004.

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1946-, Birkin Jane, ed. Gainsbourg: Inside = vu de l'intérieur. Lannoo, 2011.

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Paul, Bailey. Uncle Rudolf. Fourth Estate, 2002.

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Book chapters on the topic "Singers, europe"

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Reuter, Ursula. "Die andere Fortschrittspartei – Johann Jacoby und Paul Singer." In Sozialliberalismus in Europa. Böhlau Verlag, 2012. http://dx.doi.org/10.7788/boehlau.9783412215774.67.

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Dodds, Phil. "The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project." In Music and the Cultural Production of Scale. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_5.

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AbstractAnalysis of the work of the music historian, composer, editor and Moravian missionary administrator Christian Ignatius Latrobe (1756–1836) enables a better understanding of the role of music in colonial expansion in the first half of the nineteenth century. In London, Latrobe received and circulated accounts of the missions’ supposed success in training disciplined and ‘sweet’ choirs of Christian singers from among formerly ‘heathen’ ‘barbarians’, and these accounts were taken to demonstrate the scalability of the ‘civilisation’ project of European colonialism, which suited both antislavery campaigners and colonial state officials. Latrobe sent standardised Christian hymn books, in English and German but also translated into indigenous languages, to mission stations around the world, from Suriname to Jamaica to Labrador to Greenland to Siberia to South Africa. He also sent musical instruments to accompany the hymn-singing, favouring the organ both aesthetically and for its ability to function in different climates. He also circulated specific instructions for training organists, with firm recommendations for a simple accompaniment style and learning hymns by heart. At the different stations, the policy increasingly became to train local members of the congregation according to Latrobe’s advice, so that the instrument, the canon of tunes and the performance conventions were exported uniformly from Europe, embodied in the organ and the organist. Crucially, this uniform and standardised imposition of music—although always resisted and never fully achieved—required the remaking of the cultural landscapes on which they were to be imposed, including through the violent outlawing of existing musical practices and styles. As such, key periods in the history of large-scale musical colonisation can be better understood when framed in terms of the cultural production of scalability, following Anna Tsing, with empirical attention to the efforts involved in musical scale-building projects that make claims about music’s universal qualities and that seek to propagate a standardised, common music around the world.
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Zavala, Iris M. "When the Popular Sings the Self." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xii.14zav.

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Porter, Laraine. "All Singing! All Talking! All British! Musical Moments in Early British Talkies 1929 to 1932." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_6.

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AbstractBritish silent cinema transformed to sound in June 1929, slightly ahead of Europe and a year or so behind Hollywood whose popular Al Jolson Musicals The Jazz Singer (1927) and The Singing Fool (1928) had taken British cinemas by storm. Alfred Hitchcock’s murder story (Blackmail, Alfred Hitchcock, UK) was Britain’s first official talkie and like the majority of films that followed in its wake, contained a pivotal musical moment. This article analyses the use of song and music in early British talkies as they sought to forge a new ‘talkie film language’ by combining dialogue, music and plot. It argues that these early musical moments deployed the dramatic potential of synchronised music at pivotal moments in the plot as well as using them to delineate gender and sexuality and signalling differences in class and culture through the representation of musical tastes, styles and motifs. In some cases, music freed the performers from the tyranny of early spoken dialogue, stilted scripts and primitive microphone technology. Importantly, musical interludes also created commercial opportunities from sales of the ‘song-from-the-film’, exploiting links between early talkies and the lucrative domestic gramophone and sheet music markets.
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Poady, Antoine Cano, Chanel Ouetcho, Angélique Stastny, and Matthias Kowasch. "Kanak Cultural Heritage on Colonised and Damaged Lands." In Geographies of New Caledonia-Kanaky. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-49140-5_12.

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AbstractThis chapter – co-authored by two Kanak knowledge holders (a clan chief and a singer-songwriter) and two European researchers (from political science and geography) – discusses how Kanak communities deal with cultural heritage in the present, in a context of colonial legacies, institutional conservatism and depleting natural resources. We focus specifically on the communities of Bako and Touaourou in Paicî Cèmuhi and Drubea-Kapumë countries, respectively. We first analyse colonial policies of land dispossession and cultural oppression, as well as the ongoing inadequate support for Kanak languages from school institutions. We then discuss the ways in which grassroots initiatives testify to resilient and resurgent spaces for Kanak languages and cultural heritage in such contexts, by taking the example of (1) the work of the Agency for the Development of Kanak Culture (ADCK) to record oral histories, myths and toponyms as important identity markers and (2) Kaneka music as a contemporary transmitter of Kanak languages and cultural practices. In addition to the collection of toponyms in Kanak communities, Kaneka music is popular amongst young people and elders. Bands such as Humaa-gué from Touaourou provide songs engaging with colonial history, Kanak cultural life and practices, the mining industry and current sociopolitical issues. We draw the conclusion that the educational institution responds inadequately to Kanak needs, and initiatives undertaken by Kanak people at the grassroots level are key to the continuance of Kanak languages, cultural heritage and practices.
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Waksman, Steve. "Staging the Spiritual." In Live Music in America. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0003.

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The Fisk Jubilee Singers played an integral role in making the black spiritual into a publicly recognized genre of song. They were also the first African American singing group to become widely recognized outside the context of blackface minstrelsy. With the emergence of the Jubilee Singers, and their extensive concert tours throughout the US and Europe during the decade of the 1870s, black music became dramatically repositioned as an element of American public life. This is not to say that the Fisk Singers escaped the legacy of minstrelsy in one fell swoop. Blackface performance remained very much a part of the cultural environment in which the Jubilee Singers dwelled. Nonetheless, the Fisk Jubilee Singers in their performances and their wider touring endeavors demonstrated and typified a new mobility among African Americans that was both literal and figurative. Furthermore, the Singers exemplify the status accorded to music in the years after the Civil War as a potential source of reconciliation and a voice of conscience against the continued specter of violence and racial reaction, most evident in their performances at the massive 1872 World Peace Jubilee organized by bandmaster Patrick Gilmore.
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André, Naomi. "Black Opera across the Atlantic." In Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0002.

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This chapter provides an overview of the participation of black people in opera in the United States and South Africa. Themes include the practice and legacy of minstrelsy in both countries. For the United States, the focus explores the creation of an American operatic tradition outside Europe and one that features black composers and singers. For South Africa, the focus explores the experiences of Angelo Gobbato who worked in opera through the last decades of apartheid and into the new millennium with integrated casts and Neo Muyanga (Soweto-born composer) who was educated in Europe during the last decades of apartheid and has become a leading voice in the post-apartheid black opera scene. This chapter also discusses black opera singers and the Isango Ensemble.
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"Vienna Kärntnertortheater Singers in the Letters from Georg Adam Hoffmann to Count Johann Adam von Questenberg Italian Opera Singers in Moravian Sources c. 1720-1740 (Part II)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839435045-015.

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Perutková, Jana. "Vienna Kärntnertortheater Singers in the Letters from Georg Adam Hoffmann to Count Johann Adam von Questenberg Italian Opera Singers in Moravian Sources c. 1720-1740 (Part II)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839435045-015.

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Stoye, John. "Europe and the Revolution of 1688." In The Revolutions of 1688. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198229209.003.0006.

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Abstract Amid much that is serious in these lectures let me begin convivially. A wonderful—even a stunning—musical party was given in Rome on 2 February 1687. Many guests were there, above all the guest of honour Lord Castlemaine, English ambassador to the Pope. So was a large chorus of singers, with soloists who impersonated the city of London, the River Thames, and other muses. So were a hundred string players led by the great Corelli. So was the hostess, Queen Christina, the senior royal convert to Rome alive, offering her felicitations on this symbolic occasion to the junior, King James of England. The words said that day, as distinct from words sung or recited, were not recorded, but the event itself is a reminder that Christina, James, and a fair number of other princes or members of princely families, Protestant by upbringing, became Catholic during this period. The business of conversion, the strenuous efforts made to shift people from one confession to another, or to resist these efforts, was of course a characteristic element in both the popular and the intellectual culture of Europe after the Protestant Reformation; but changes of this kind in the dynastic network, in the cluster of sovereign families, were of particular importance.
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Conference papers on the topic "Singers, europe"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Buda, Andrzej, and Andrzej Jarynowski. "Exploring Patterns in European Singles Charts." In 2015 Second European Network Intelligence Conference (ENIC). IEEE, 2015. http://dx.doi.org/10.1109/enic.2015.27.

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Bondzev, Asen. "The life of Orpheus – Contributions to European culture." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.09125b.

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Orpheus is one of the greatest historical contributions of the Thracians in European culture. He is much more than a talented poet and singer. He is a religious reformer, a priest, a teacher. This study aims to present his life and influence on later philosophers as Pythagoras and Plato, and analyze some Orphic tablets of eschatological nature. The roots of Orphic teachings are so deep, that missionaries of the new Christian faith were forced to use the image of Orpheus in their desire to baptize the local population in Thrace and even Rome. Orpheus comes to walk the most difficult path – spreading the doctrine of salvation of the human soul, which remains one of the highest achievements of European culture and hope for its humane future.
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Santos, Fernando, and Vicenzo Castro Cardeles. "Automação na Drenagem Urbana: Hoje x Futuro." In III SIMPÓSIO NACIONAL DE GESTÃO E ENGENHARIA URBANA [SINGEURB 2021]. Antac, 2021. http://dx.doi.org/10.46421/singeurb.v3i00.921.

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Automação na drenagem urbana é um tema que soa como futurista, mas mostraremos neste revisão bibliográfica que já é um assunto abordado há décadas, com início na Europa, Estados Unidos e Ásia. Serão apresentados sistemas e métodos inovadores que atuam sobre soluções clássicas da engenharia melhorando o desempenho da drenagem urbana e reduzindo impactos das crescentes inundações urbanas. Mostraremos tanques de captação de águas de chuvas, reservatórios de controle de cheias, bueiros inteligentes, robôs autônomos para inspeção e desobstrução de tubulações e outros exemplos de soluções diretas para drenagem urbana e controle de inundações. Novos modelos de análise probabilística processam de imagens via satélite e dados de sensoriamento local refinam a previsão meteorológica e as estimativas de impactos de eventos climáticos extremos, levando à melhoria do planejamento contra desastres, de ações de pronta resposta e desenvolvimento de soluções integradas de longo prazo no planejamento urbano.
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Grozdeva, Svetlana. "Ranissus Scytha (Oshanin, 1913) (Hemiptera, Fulgoromorpha, Dictyopharidae) in the fauna of the Republic of Moldova." In Xth International Conference of Zoologists. Institute of Zoology, Republic of Moldova, 2021. http://dx.doi.org/10.53937/icz10.2021.35.

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The article contains new data on the cicada Ranissus scytha Oshanin, 1913 (Hemiptera, Dictyopharidae) from the Republic of Moldova. The first evidence of this species on the territory of the country can be found in 1966. This cicada species was rediscovered in 2015 in ”Flamînda” Reserve (Pelinei, Cahul), and in 2016 in the steppe area (Vrănești, Singerei). No information about the presence of this species on the territory of the Republic of Moldova was included in the site Fauna Europaea
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Bahar Aydın, Kâmile. "Model of Autonomous-Related Singles Counseling in Collectivistic Cultures: The Turkey Model." In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2020. http://dx.doi.org/10.4087/ezin5166.

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In this paper the Model of Autonomous-Related Singles Counseling (MARSC) is introduced. MARSC is based on Kağıtçıbaşı's (1996) Autonomous-Related Self Model (ARSM) and on Aydın’s (2017, 2019) Singles Counseling Theory which have been developed in Turkey, a country that scores high on collectivism (Hofstede, 1980). In both models, the basic psychological needs of autonomy and relatedness are the key concepts. ARSM is a supplementary synthesis model that integrates two constructs assumed to be conflicting, and it is based on cross-cultural diversity: autonomy and relatedness. ARSM is prevalent in collectivistic cultures. Research conducted on diverse national and ethnic groups in Brazil, Estonia, Turkey, China, the Canadian Inuit, and immigrants in the United States of America and Europe, provides scientific evidence with regard to the ARSM. ARSM develops in the family model of psychological interdependence (FMPI) in collectivistic cultures. It involves a healthier combination of both autonomy and relatedness, which are essential psychological needs rather than relying on single autonomy or relatedness. Autonomy infers agency (social and cognitive) and volition, while relatedness infers emotional relations and support. Intervention is needed for ARSM to develop in a collectivistic culture. A single individual at MARSC is defined as someone who never married, got divorced, lives separately, or is widowed. MARSC has been developed to inspire prevention and intervention programs to develop the ARSM and related structures and functions (such as FMPI and autonomous-related single lifestyle). However, some environmental problems have become widespread and important in Turkey, therefore, the effectiveness of these psychological counseling programs also requires these problems to be resolved. Within the scope of Turkey-MARSC, these programs should be prepared to enhance efforts on developing autonomy in single individuals.
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Matsuo, A., Y. Nagano, K. Ueno, and S. Ise. "Room Acoustics Preference of Solo Singers for Mastering a Piece -Experiments Using “Sound Cask”: A 3D Sound Field Simulation System." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.0686.

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Bessarab, O. V., and Yu V. Reznik. "Features of Gary Chapman’s novel «The Five Love Languages Singles Edition»." In PHILOLOGICAL SCIENCES AND TRANSLATION STUDIES: EUROPEAN POTENTIAL. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-261-6-11.

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Tsai, Wei-Ho, Hsin-Min Wang, and Dwight Rodgers. "Automatic singer identification of popular music recordings via estimation and modeling of solo vocal signal." In 8th European Conference on Speech Communication and Technology (Eurospeech 2003). ISCA, 2003. http://dx.doi.org/10.21437/eurospeech.2003-767.

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Calinescu, Iudit. "Literatura în limba română ‒ o marcă identitară a comunității românești din Ungaria." 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.2021.15.08.

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Literatura în limba română din Ungaria s-a dezvolat în interiorul comunității românești de aici. Fiind o literatură minoritară, tematica ei este marcată de criza identitară, de dorința de întoarcere în satul tradiţional, de teama pierderii identităţii și de tragismul crizei valorilor general umane. După ce în perioada interbelică românii din Ungaria au rămas aproape fără intelectuali, singura formă de manifestare literară fiind literatura populară, după 1960 încep să apară primele creații culte, în principal poezie și proză scurtă. Scriitorii români din Ungaria publică în revistele care sunt editate în comunitate, lipsindu-le un cenaclu literar sau reviste de literatură, creațiile lor devenind în ultimele decenii o marcă identitară și o formă de prezervare a limbii materne.
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Reports on the topic "Singers, europe"

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Russo, Margherita, Fabrizio Alboni, Jorge Carreto Sanginés, et al. The Changing Shape of the World Automobile Industry: A Multilayer Network Analysis of International Trade in Components and Parts. Institute for New Economic Thinking Working Paper Series, 2022. http://dx.doi.org/10.36687/inetwp173.

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In 2018, after 25 years of the North America Trade Agreement (NAFTA), the United States requested new rules which, among other requirements, increased the regional con-tent in the production of automotive components and parts traded between the three part-ner countries, United States, Canada and Mexico. Signed by all three countries, the new trade agreement, USMCA, is to go into force in 2022. Nonetheless, after the 2020 Presi-dential election, the new treaty's future is under discussion, and its impact on the automo-tive industry is not entirely defined. Another significant shift in this industry – the acceler-ated rise of electric vehicles – also occurred in 2020: while the COVID-19 pandemic largely halted most plants in the automotive value chain all over the world, at the reopen-ing, the tide is now running against internal combustion engine vehicles, at least in the an-nouncements and in some large investments planned in Europe, Asia and the US. The definition of the pre-pandemic situation is a very helpful starting point for the analysis of the possible repercussions of the technological and geo-political transition, which has been accelerated by the epidemic, on geographical clusters and sectorial special-isations of the main regions and countries. This paper analyses the trade networks emerg-ing in the past 25 years in a new analytical framework. In the economic literature on inter-national trade, the study of the automotive global value chains has been addressed by us-ing network analysis, focusing on the centrality of geographical regions and countries while largely overlooking the contribution of countries' bilateral trading in components and parts as structuring forces of the subnetwork of countries and their specific position in the overall trade network. The paper focuses on such subnetworks as meso-level structures emerging in trade network over the last 25 years. Using the Infomap multilayer clustering algorithm, we are able to identify clusters of countries and their specific trades in the automotive internation-al trade network and to highlight the relative importance of each cluster, the interconnec-tions between them, and the contribution of countries and of components and parts in the clusters. We draw the data from the UN Comtrade database of directed export and import flows of 30 automotive components and parts among 42 countries (accounting for 98% of world trade flows of those items). The paper highlights the changes that occurred over 25 years in the geography of the trade relations, with particular with regard to denser and more hierarchical network gener-ated by Germany’s trade relations within EU countries and by the US preferential trade agreements with Canada and Mexico, and the upsurge of China. With a similar overall va-riety of traded components and parts within the main clusters (dominated respectively by Germany, US and Japan-China), the Infomap multilayer analysis singles out which com-ponents and parts determined the relative positions of countries in the various clusters and the changes over time in the relative positions of countries and their specialisations in mul-tilateral trades. Connections between clusters increase over time, while the relative im-portance of the main clusters and of some individual countries change significantly. The focus on US and Mexico and on Germany and Central Eastern European countries (Czech Republic, Hungary, Poland, Slovakia) will drive the comparative analysis.
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