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Journal articles on the topic 'Singers, europe'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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 Based on historical documents, the article compares the nature of Glinka's work with young musicians with the training the Russian chorister N.K. Ivanov received in Europe, where he later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

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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

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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 nati

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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

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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 a

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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 ex

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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 artis

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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 w

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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 bri

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Broude, Ronald. "To Sing Upon the Book: Oral and Written Counterpoint in Early Modern Europe." Textual Cultures 13, no. 1 (2020): 75–105. http://dx.doi.org/10.14434/textual.v13i1.30071.

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During the fifteenth century, many musici thought of counterpoint as an improvisational practice in which certain procedures were employed to produce a musical texture in which interest lay in the interplay of two or more melodic lines. The improvisational practice was called singing upon the book (cantare super librum): it required one singer to realize a pre-existing melody (called a cantus firmus) inscribed in a text while one or more other singers (called concentors), reading from that same text, devised, ex tempore, a countermelody or melodies that obeyed the rules of counterpoint with re

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Berisha, Labinot. "Albanian songs of frontier warriors and their antiquity." Technium Social Sciences Journal 35 (September 9, 2022): 637–41. http://dx.doi.org/10.47577/tssj.v35i1.7166.

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Albanian heroic songs with a range of values and peculiarities, with the thematic and poetic world, as rich as independent and ancient, and with different layers, could not be created immediately and only in one period. It took time and skill for singers and oral conductors to create, spread and carry from one individual to another, from one generation to the next. Albanian heroic songs are not only important for the many linguistic expressive values that the rich thematic and motivational world has, but they also enable the best knowledge of the oral epic of the peoples of Southeast Europe an

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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linke

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Coelho, Rafael Senra. "Sou do mundo, sou Minas Gerais: o ser da experiência em "Para Lennon e McCartney"." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 53–65. http://dx.doi.org/10.35921/jangada.v0i10.81.

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RESUMO: A canção “Para Lennon e McCartney” imagina um diálogo entre músicos latino americanos e anglo-saxões. Os dois cantores citados no título tornam-se uma metonímia de toda a indústria musical do eixo Europa/EUA. Nessa composição, a condição simultânea rural e urbana que compõe o espaço da periferia permite que o sujeito da experiência persista na modernidade. A voz do narrador experiente confronta todo o projeto de identidade supostamente coerente da metrópole, baseado no acúmulo de informação. PALAVRAS-CHAVE: Identidade, Globalização, Experiência, Música Popular. ____________

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Storey, Tessa. "The Lament of the Melons." Nuncius 36, no. 2 (2021): 325–55. http://dx.doi.org/10.1163/18253911-03602005.

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Abstract Regimens advising on the management of the non-naturals constituted a significant proportion of the vernacular medical texts in sixteenth and seventeenth century Europe. Scholars however are divided as to the extent to which such medical advice was familiar to the majority of the population. This article shows that cheap Italian 8vo song pamphlets, sung in the streets and sold by cantastorie and peddlers, provide evidence for the widespread circulation of preventive medical advice. Street singers were not deliberately transmitting medical knowledge but assumed it was already common kn

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Morin, Edgar, Peter Hawkins, and Barbara Lebrun. "The Salut les copains generation." Popular Music 39, no. 3-4 (2020): 393–400. http://dx.doi.org/10.1017/s0261143020000598.

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In Paris on 22 June 1963, the French youth magazine Salut les copains celebrated its first year in print by organising a free outdoor concert on the Place de la Nation. The artists headlining the gig were young male and female pop singers who had been propelled to the top of the French charts thanks to the regular broadcasting of their music on the show Salut les copains (on private radio station Europe 1 since 1959), and extensive coverage in the weekly magazine of the same name (since 1962). The 150,000-strong crowd at the concert exceeded all expectations, but also generated a sense of mora

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PLANCHART, ALEJANDRO ENRIQUE. "What the Beneventans heard and how they sang." Plainsong and Medieval Music 22, no. 2 (2013): 117–52. http://dx.doi.org/10.1017/s0961137113000028.

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ABSTRACTSingers from the area south of Rome kept the Gregorian repertory received in the ninth century, including a few early tropes and proses, and their traditional Old Beneventan repertory alive side by side with remarkable consistency in oral tradition for nearly two hundred years. This might explain why the received Gregorian repertory retained its archaic traits in Benevento rather than in northern Europe. For the ‘new music’ of the tenth and eleventh centuries, mostly locally composed tropes, proses, and Latin Kyrieleison, south Italian singers adopted the musical surface of Gregorian c

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Fedotova, Sofia. "DEFINITION OF A TIMBRE OF A SINGING VOICE: FACH VOICE CLASSIFICATION." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 10 (2020): 112–22. http://dx.doi.org/10.17223/26188929/10/11.

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Timbre of a singing voice is a multifaceted and difficult concept considered by researchers in aspects of acoustics, physiology, specifics of opera singing and expressiveness of an opera image. Vocal methodical literature contains certain criteria for definition of type of voice. However, due to the variety of voices, timbres and physical capacities of singers, the individual approach to each voice is necessary. In addition, the voice definition problem can be complicated by defects of sound formation, which only can avoid few beginner vocalists. The main classification of voices was formed gr

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Ujvárosi, Andrea. "Foreign Language Interpretation in Teaching Soloist Singing." Central European Journal of Educational Research 3, no. 1 (2021): 75–89. http://dx.doi.org/10.37441/cejer/2021/3/1/9354.

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The problems of singing in the original language have become a special feature of the soloist training in the Central and Eastern Europe. The linguistic aspects of soloist training is put to the test by international expectation that regards authentic singing in the original language as a natural part of professional efficiency. In this present paper we are looking for the answers to two questions. First, we examined what factors determine the choice of the language for vocal interpretation. Our second goal is to give an overview of a specific segment of today’s Hungarian students’ population

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MUELLER, ADELINE. "Youth, Capitivity and Virtue in the Eighteenth-CenturyKindertruppen." Eighteenth Century Music 10, no. 1 (2013): 65–91. http://dx.doi.org/10.1017/s147857061200036x.

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ABSTRACTThis article uses Mozart's unfinished singspielZaide(k336b, 1780) and its source singspielDas Serailto reconsider the eighteenth-centuryKindertruppen: wandering troupes of young singers, actors and dancers who performed in the court and commercial theatres of Europe. These troupes' repertoire often self-consciously addressed the blend of charm and impropriety that lay behind their controversial appeal. I consider the subgenre of seraglio opera – popular with both youth and adult troupes – and in particular the motifs of the audition scene and the captive's lament as metatheatrical comm

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Procházková, Martina. "Songs of Dominick Argento and Their Use for the Teaching of Voice at Faculties of Education." Paedagogia Musica, no. 4 (2023): 21–36. http://dx.doi.org/10.24132/zcu.musica.2023.04.21-36.

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The study will aim to characterize the songwriting of Dominick Argento (1927−2019), a leading American composer and Pulitzer Prize winner, and to outline the possibilities of its application in the education of solo singers in faculties of education. Argento’s songwriting is rich (he composed cycles for every voice except bass) but not well known and rarely performed in Europe. It may be due to the difficulty of some cycles and the fact that not all sheet music is readily available. Part of the study presents the musical compositions of Dominik Argento with a focus on songwriting, the characte

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Platoff, John. "Sarti's Fra i due litiganti and Opera in Vienna." Journal of the American Musicological Society 73, no. 3 (2020): 535–81. http://dx.doi.org/10.1525/jams.2020.73.3.535.

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Abstract Giuseppe Sarti's opera Fra i due litiganti, premiered in Milan in 1782, was the first great success of the reconstituted Italian opera company in Vienna in 1783. The opera sustained its enormous Viennese popularity for years, while also being performed in over one hundred other European cities by 1800. Mozart's quotation of the work in Don Giovanni testifies to its continuing appeal. But the version of the opera that was so successful in many parts of Europe differed substantially from the Milanese original. The surviving manuscript scores and printed librettos reveal that a standardi

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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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Xiong, Yahuan. "Soprano as a phenomenon of artistic representation of the human image in European and Chinese traditions." Aspects of Historical Musicology 33, no. 33 (2023): 86–110. http://dx.doi.org/10.34064/khnum2-33.05.

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Statement of the problem. The study of the singing voice is a “point of reference” for the scientific cognition of vocal art, which is relevant both in the historical and the modern aspects. In particular, it has turned out that its history and status such voice as soprano in modern performance culture is not obvious, even for experts. The specificity of the timbre and pitch range of soprano singers, their demand on the stage remains an actual topic that has not yet been fully covered. Objectives, methods, and novelty of the research. The purpose of the article is to highlight the history of t

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Vad, Mikkel. "“Very Female, with the Allure of a Foreign Aura”: Vocality, Gender, and European Exoticism in the US Careers of Alice Babs and Caterina Valente." Journal of the Society for American Music 15, no. 4 (2021): 424–46. http://dx.doi.org/10.1017/s1752196321000304.

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Abstract“How can America import ‘American’ jazz?,” asked the music editor of Good Housekeeping, George Marek, in 1956. Marek answered, “Singers, particularly if they are very female, give the home-grown music the allure of a foreign aura.” Taking these statements as a starting point, this article gives an account of the US careers of Alice Babs and Caterina Valente. Gender, class, and ethnicity were key elements in the US construction of Babs's and Valente's musical personae, which was especially heard in their vocality, with an emphasis on high-pitched vocal stylings, melismas, and “white” ti

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Babich, I. L. "Professional Adaptation of North Caucasians in Emigration (1920–1930s, France)." Modern History of Russia 10, no. 4 (2020): 1005–18. http://dx.doi.org/10.21638/11701/spbu24.2020.412.

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This article considers models of the professional arrangement of North Caucasian émigrés in France in the 1920s and 1930s. Using new archival and field ethnographic materials, we explore the social and political activities of North Caucasians as a profession and as a view of life; and the activities of the Caucasian group of oil owners (leader — Nobel), who before the Revolution were engaged in oil production in the Caucasus or owned shares of oil firms. France had the most cars in Europe for the 1920s and 1930s. Therefore, it was not surprising that many emigrants from Russia, including North

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McClendon, Aaron D. "Harmonizing the Nation: Margaret Fuller and the Music of Antebellum America." Nineteenth-Century Music Review 6, no. 1 (2009): 47–63. http://dx.doi.org/10.1017/s1479409800002895.

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In August of 1846, Margaret Fuller – one of the most influential feminist intellectuals in American history – sailed from New York City to Europe prepared to continue her work as the lead columnist for theNew-York Tribune. As it was planned by Fuller and Horace Greeley – theTribune'seditor – while abroad, Fuller would work as an international correspondent and send to theTribuneletters of her travels that recorded her thoughts about Europe, which she did from late 1846 until late 1849, with her final piece appearing in the 6 January 1850 edition of the paper. In ‘Letter No. XI’ (1847) of Fulle

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Sorjonen, Jorma. "Factors Affecting the Structure of Song and the Singing Behaviour of Some Northern European Passerine Birds." Behaviour 98, no. 1-4 (1986): 286–304. http://dx.doi.org/10.1163/156853986x01017.

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AbstractIn this study the effects of bird size, genus, habitat, song community and geographical distribution on song structure and singing behaviour of some passcrine species in northern Europe were simultaneously studied. Most species tend to improve their long distance song propagation in their specific habitat and song community. Song propagation correlates strongest with the use of low-pitched elements but not all birds are able to use these because of size limitation. In forest habitats whistles and modulated elements were used to improve song propagation. In open habitats high-pitched el

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Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a

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TÜRKMENOĞLU, Ömer, and Hande YILMAZ. "LIFE OF SAADET İKESUS ALTAN AND REVIEW OF "VOCAL EDUCATION" BOOK." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (2021): 273–92. http://dx.doi.org/10.46291/zfwt/130114.

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Not much research has been done on Saadet Ikesus Altan, a successful artist who created firsts in the art life in opera in addition to being an educator who broke grounds in music education. For this reason, this research was carried out in order to introduce Altan, to pass on her achievements and the firsts she made throughout his life, to transfer them to future generations, and to reveal the results by examining the first book written in the field of vocal education. In the research, Altan's life was investigated using the literature review method and the book “Vocal Education and Conservat

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Yefremova, Liudmyla. "Folk Songs of the Central Ukraine: Surprising Cherkashchyna." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 126–33. http://dx.doi.org/10.15407/mue2021.20.126.

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Cherkasy Oblast, formed in 1954 from various districts of neighboring oblasts, is an important center of folk songs existence of Central Ukraine, covering a part of the ethnographic territories of Eastern Podillia and Middle Over Dnipro Lands. The history of recording folk songs with melodies on the territory of modern Cherkasy Oblast goes back more than a century and a half. Cherkashchyna is the region where Ukraine has been conceived as a state. The southwestern regions of the oblast belong to the ethnographic territory of Eastern Podillia, the rest belong to the Middle Over Dnipro Lands. Ch

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Sirutavičius, Vladas. "Stalinizmas ir etnokultūros institucionalizavimas. Pirmoji Dainų šventė sovietinėje Lietuvoje 1946 m." Lietuvos istorijos metraštis 2019/1 (September 1, 2019): 127–44. http://dx.doi.org/10.33918/2019/1/5.

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decided to re-establish the tradition of song festivals and organize the first such festival in 1946; and to what extent the implementation of the said idea was successful. Analysis of the history of the first Soviet song festival and circumstances surrounding the preparation for the event is based on the little known or practically unknown documents kept in the archives of Lithuania and the Russian Federation. The government of Lithuania viewed the organization of the “first Soviet song festival” as a possibility to demonstrate its concern with Lithuanian folk culture, its development, and pr

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Mahl, Marcelo Lapuente, and Raquel Discini de Campos. "Alain Barbero: uma reconstrução do noir." Revista Alterjor 25, no. 1 (2022): 192–210. http://dx.doi.org/10.11606/issn.2176-1507.v25i1p192-210.

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O fotógrafo francês Alain Barbero, nascido na cidade de Annecy em 1960, tem se destacado no cenário artístico europeu com uma obra singular e inventiva, marcada pela grande diversidade temática, aliada à busca pelos aspectos mais singelos da vida social, especialmente nos espaços urbanos das principais capitais da Europa. Sua utilização original do preto e branco envolve suas imagens em uma sedutora plasticidade romântica, ecoando uma melancolia frágil, por vezes perturbadora, mas que revela aspectos constitutivos pouco explorados das paisagens e pessoas por ele retratadas, durante suas andanç

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Leopold, Silke. "Europa cantat." Artes 2, no. 2 (2023): 212–33. http://dx.doi.org/10.30965/27727629-20230009.

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Abstract This paper attempts to show how, at the turn of the 16th and 17th centuries, not only the relationship between text and music changed, but also and above all how the perception of language and speech established itself as a constituting medium for the musical invention. During the 16th century, when the content of the text guided the musical invention and polyphony created an emotional distance to the message of the text, it was still considered possible to compose in different textual and musical idioms (e.g. Orlando di Lasso’s Viersprachendruck). Later, musicians – composers as well

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Albuquerque, Juliana de. "várias funções do demoníaco e do sobrenatural em contos de Isaac Bashevis Singer." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 16, no. 31 (2022): 31–48. http://dx.doi.org/10.35699/1982-3053.2022.42279.

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Este artigo objetiva delinear algumas das funções que os demônios cumprem nos contos de Isaac Bashevis Singer. Para tanto, pretende-se analisar textos em que o demônio aparece ora como personagem, ora como narrador, em uma tentativa de compreender o que há de propriamente moderno na maneira como Bashevis Singer desenvolve a sua literatura a partir de uma apropriação de temas marcadamente pertencentes ao folclore judaico do leste europeu. Nos contos de Singer, encontramos desde demônios domésticos, que vivem atrás do fogão ou da lareira, a pregar peças nos moradores de uma determinada residênci

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Baroni, Timothy J., and Graham Mattock. "Rhodocybe roseiavellanea (Murr.) Singer, a new record for Britain and Europe." Mycologist 15, no. 4 (2001): 151–52. http://dx.doi.org/10.1016/s0269-915x(01)80003-3.

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Percino, Eziel Belaparte. "Bashevis Singer: tradição e modernidade." Cadernos de Língua e Literatura Hebraica, no. 10 (July 1, 2021): 121–32. http://dx.doi.org/10.11606/issn.2317-8051.cllh.2012.53656.

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Este artigo discorre sobre uma ambivalência presente nos contos de Bashevis Singer. Partindo do fato de que uma tensão entre tradição e modernidade, no contexto das produções literárias mais evidentemente marcadas pelo pano de fundo sociocultural judaico, está presente em muitos contistas desde o século XIX, embora sempre realizada de maneiras muito diferentes, e buscando o substrato teórico voltado à especificidade do conto judaico contemporâneo, são tomados aqui, especialmente, os contos de Bashevis Singer em que o schtetl, a aldeia judaica da Europa Oriental, aparece como cenário. A breve a

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Hidayat, Muslim, Jihan Nurrizki Ahmadiyati, Ratna Sulistiyani, et al. "KEBERAGAMAN PADA KELOMPOK PENGGEMAR K-POP DI INDONESIA." Abrahamic Religions: Jurnal Studi Agama-Agama 2, no. 2 (2022): 106. http://dx.doi.org/10.22373/arj.v2i2.12194.

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Hallyu or Korean cultural wave has become a cultural force in Asia and began to export its cultural products widely to the Middle East, Europe, South America, Africa and North America. Korean pop music or better known as K-pop has now succeeded in placing it self in the global market and producing a new musical sensation. K-pop has the characteristics of music that can provide its own pleasure for the audience, so that this type of music is increasingly favored and consumed by many people regardless of gender or age range. Individuals in early adulthood tend to have a strong attraction to cele

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Singer, André. "Antropologia, ludobójstwo i obrazowanie." Kwartalnik Filmowy, no. 93-94 (June 30, 2016): 214–34. http://dx.doi.org/10.36744/kf.2243.

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Wydaje się, że antropologia długo dojrzewała do podjęcia tematu ludobójstwa albo – patrząc na to z drugiej strony – długo ten temat omijała. Przemiany, jakie zaszły w tej dziedzinie w drugiej połowie XX w. i później, wraz z coraz bardziej znaczącym oddziaływaniem antropologii zaangażowanej, zmieniły tę sytuację. André Singer, antropolog i filmowiec, był w ostatnich latach w różnym charakterze zaangażowany w produkcję trzech filmów – Scena zbrodni (reż. Joshua Oppenheimer, 2012), Scena ciszy (reż. Joshua Oppenheimer, 2014) i Ciemności skryją ziemię (reż. André Singer, 2014) – które wykorzystały

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Judensnaider, Ivy. "No tribunal de Isaac Bashevis Singer." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 9, no. 17 (2015): 132–52. http://dx.doi.org/10.17851/1982-3053.9.17.132-152.

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Este artigo analisa a vida familiar que o escritor polonês Isaac Bashevis Singer encena em No tribunal de meu pai. A partir da perspectiva autobiográfica, o autor narra casos levados para julgamento de seu pai no Beit Din que funcionava em Varsóvia, e reconstrói a vida nessa cidade e em Bilgoray, para onde a família se transferiu durante a Primeira Guerra Mundial. Por meio do passado resgatado por Singer, pretendemos explorar a vida da comunidade judaico-polonesa nos primeiros anos dos Novecentos e levantar subsídios que nos permitam compreender o contexto no qual ela estava imersa. Singer não

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Allert, Tilman. "Dreimal Japan. Missionsort, Einzelfall und Gestaltideal." Zeitschrift für Ideengeschichte 13, no. 2 (2019): 45–52. http://dx.doi.org/10.17104/1863-8937-2019-2-45.

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Als der Nationalökonom, Philosoph und Georgeanter Kurt Singer im Sommer 1931 zur Schiffsreise nach Japan aufbricht, ahnt er nicht, dass bald darauf seine Karrierechancen in Deutschland zerstört werden würden und der Wunsch nach einer Rückkehr nach Europa für ein Vierteljahrhundert unerfüllt bleiben sollte. Mit seinem Schritt verbindet er vielmehr die Hoffnung, seine ungersicherte Position als Wissenschaftler zu konsolidieren, wobei er sich des Reputationsgewinns durch die Einladung an eine anerkannte Traditionsuniversität, in Nachfolge der Gelehrten Karl Rathgen und Emil Lederer, gewiss sein k

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RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.

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AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that f

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Moriah, Kristin. "On the Record: Sissieretta Jones and Black Feminist Recording Praxes." Performance Matters 6, no. 2 (2021): 26–42. http://dx.doi.org/10.7202/1075797ar.

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In this article, I examine how Sissieretta Jones (frequently described as America’s first Black superstar, among other superlatives) strategically leveraged her European performance reviews in order to increase her listenership and wages in the United States. Jones toured Europe for the first (and only) time from February until November in 1895. According to clippings that she provided to African American newspapers, the singer performed at the renowned Winter Garden in Berlin for three months. Sissieretta Jones also claimed that she performed for Wilhelm II, the last German Emperor and King o

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Salsabilla, Salma Falista. "Interpretasi dan Bentuk Penyajian Lagu Habanera Dalam Opera Carmen Karya George Bizet Oleh Heny Janawati." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, no. 2 (2020): 97. http://dx.doi.org/10.26740/vt.v3n2.p97-109.

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AbstractHabanera, one of the most famous songs in Opera Carmen, tells the love life of Carmen as the main role. Interestingly, the song Habanera was sung by an Indonesian mezzo-soprano singer from Bali, Heny Janawati, who has perform the Opera Carmen while singing in Europe and Indonesia with different interpretations and performance of song Habanera. The purpose of this study was to analyze the interpretation and performance form of the Habanera Opera Carmen song when it was performed in Jakarta in 2016 in order to become a knowledge. This research process used qualitative methods. The data i

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Fortoul van der Goes, Teresa I. "El sendero que marca el destino." Revista de la Facultad de Medicina 63, no. 4 (2020): 60–61. http://dx.doi.org/10.22201/fm.24484865e.2020.63.4.08.

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Donna Summer was in the places that allowed her reaching the goals she had set for herself: her debut as a singer in her church choir at the age of 10 where she replaced the vocalist who didn't show up; the role for which she auditioned and that led her to success in Europe and later to her death, as fate took her back to the United States, particularly when established her residence in New York City at the time of the fateful 9/11, an event that probably influenced the cause of her death: an aggressive lung cancer.

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Hulubaş, Adina. "Taking Hold of the Future: Active Childbirth Practices and Beliefs in Romania (in the Home Country and in Migration)." Folklore: Electronic Journal of Folklore 80 (December 2020): 191–214. http://dx.doi.org/10.7592/fejf2020.80.hulubas.

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The relatively recent urbanization process in Romania allowed traditional knowledge to be transmitted, despite industrialization and technology diffusion. Childbirth is still a mysterious event, and magic thinking fills in the gaps of science in order to keep parents confident and at peace. Taboos are obeyed after birth and before christening, only to reach the phase when the future can be moulded: specific elements are chosen for the ritual bath, the child has to touch several objects that would make them smart, a good singer, etc. A year later, their future occupation will be predicted in a

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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.

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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied conce

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Ge, Zai-Wei, Jian-Yun Wu, Yan-Jia Hao, Qingying Zhang, Yi-Feng An, and Martin Ryberg. "The genus Catathelasma (Catathelasmataceae, Basidiomycota) in China." MycoKeys 62 (February 3, 2020): 123–38. http://dx.doi.org/10.3897/mycokeys.62.36633.

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Two new species, Catathelasma laorentou and C. subalpinum, are described on the basis of morphological characters, phylogenetic evidence, host preferences and geographic distributions. A taxonomic key to the known species in China is also provided to facilitate identification. Based on samples from temperate Asia, Europe and North America, the phylogeny of Catathelasma was reconstructed using the internal transcribed spacer (ITS) region, the large subunit (LSU) of the ribosomal DNA and the translation elongation factor 1-α (TEF1).The phylogenetic results showed that Catathelasma contains two m

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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.

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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicolog

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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.

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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distor

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