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Journal articles on the topic 'Soprano'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Camargo, Thatiana Francisco de, Daniela Aparecida Barbosa, and Lídia Cristina da Silva Teles. "Características da fonetografia em coristas de diferentes classificações vocais." Revista da Sociedade Brasileira de Fonoaudiologia 12, no. 1 (March 2007): 10–17. http://dx.doi.org/10.1590/s1516-80342007000100004.

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OBJETIVO: Caracterizar a dinâmica vocal por meio da fonetografia em coristas de diferentes classificações vocais. MÉTODOS: Participaram 44 indivíduos, de 19 a 75 anos (média=51,9 anos) membros de um coral profissional; sendo, oito sopranos, 20 mezzo-sopranos, quatro tenores, sete barítonos e cinco baixos. Realizou-se a fonetografia, em sala acusticamente tratada. RESULTADOS: Foram obtidas as médias das freqüências mínimas e máximas, respectivamente: soprano 36st (130 Hz) e 72st (1084 Hz), mezzo-soprano 35st (124 Hz) e 68st (878 Hz); tenor 28st (85 Hz) e 65st (709 Hz), barítono 26st (74 Hz) e 59 (524 Hz) e baixo 26st (75 Hz) e 59st (513 Hz). Quanto às médias das intensidades mínimas e máximas, encontrou-se, respectivamente: soprano 64 dB e 131 dB, mezzo-soprano 75 dB e 123 dB, tenor 82 dB e 126 dB, barítono 75 dB e 121 dB e baixo 75 dB e 120 dB. Na análise estatística (Teste t de Student), observou-se diferença estatisticamente significante entre as vozes femininas: soprano apresentou maior freqüência máxima que mezzo-soprano. CONCLUSÃO: Tais achados indicam que a fonetografia permite o registro das características vocais relevantes para a classificação vocal de coristas, podendo auxiliar em uma classificação vocal adequada.

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2

Schreiber, Melvyn H. "Soprano." Academic Radiology 7, no. 12 (December 2000): 1142–43. http://dx.doi.org/10.1016/s1076-6332(00)80070-7.

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3

Lee, Hyung K., and Dong S. Ha. "An Efficient Automatic Test Pattern Generator for Stuck-Open Faults in CMOS Combinational Circuits." VLSI Design 2, no. 3 (January 1, 1994): 199–207. http://dx.doi.org/10.1155/1994/71941.

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In this paper, we describe a highly efficient automatic test pattern generator for stuck-open (SOP) faults, called SOPRANO, in CMOS combinational circuits. The key idea of SOPRANO is to convert a CMOS circuit into an equivalent gate level circuit and SOP faults into the equivalent stuck-at faults. Then SOPRANO derives test patterns for SOP faults using a gate level test pattern generator. Several techniques to reduce the test set size are introduced in SOPRANO. Experimental results performed on eight benchmark circuits show that SOPRANO achieves high SOP fault coverage and short processing time.

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4

Van Winckel, Nance. "Boy Soprano." Iowa Review 19, no. 3 (October 1989): 104–5. http://dx.doi.org/10.17077/0021-065x.3807.

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5

Wunderlich, Mark. "Soprano Authority." Yale Review 91, no. 3 (July 2003): 145–46. http://dx.doi.org/10.1111/0044-0124.00741.

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6

Forbes, Elizabeth, and Galina Vishnevskaya. "Committed Soprano." Musical Times 126, no. 1712 (October 1985): 605. http://dx.doi.org/10.2307/964920.

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7

McCauley, John, Robert L. Larsen, and John Glenn Paton. "Arias for Soprano." Notes 49, no. 2 (December 1992): 816. http://dx.doi.org/10.2307/897978.

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8

Sataloff, Robert Thayer, Joseph R. Spiegel, Linda M. Carroll, and Reinhardt J. Heuer. "Male Soprano Voice." Laryngoscope 102, no. 1 (January 1992): 90???93. http://dx.doi.org/10.1288/00005537-199201000-00018.

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9

Green, L. "Favourite Soprano Arias." Opera Quarterly 14, no. 2 (January 1, 1997): 176–77. http://dx.doi.org/10.1093/oq/14.2.176.

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10

Bialosky, Marshall, John Harbison, Mirabai, Robert Bly, and Rabindranath Tagore. "Mirabai Songs for Soprano (Or Mezzo-Soprano) and Piano (1982)." Notes 48, no. 2 (December 1991): 691. http://dx.doi.org/10.2307/942095.

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11

Weiner, Howard. "The Soprano Trombone Hoax." Historic Brass Society Journal 13 (2001): 138–60. http://dx.doi.org/10.2153/0120010011008.

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12

Parker, Martin. "‘TONY SOPRANO ON MANAGEMENT’." Journal of Cultural Economy 2, no. 3 (November 2009): 379–92. http://dx.doi.org/10.1080/17530350903345645.

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13

Matthews, Wallace. "Who Shot Tony Soprano?" Neurology Now 2, no. 3 (May 2006): 26–30. http://dx.doi.org/10.1097/01222928-200602030-00013.

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14

McTyre, Ruthann Boles. "Training Soprano Voices (review)." Notes 58, no. 3 (2002): 606–7. http://dx.doi.org/10.1353/not.2002.0030.

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15

Koda, Hiroki, Takeshi Nishimura, Isao T. Tokuda, Chisako Oyakawa, Toshikuni Nihonmatsu, and Nobuo Masataka. "Soprano singing in gibbons." American Journal of Physical Anthropology 149, no. 3 (August 24, 2012): 347–55. http://dx.doi.org/10.1002/ajpa.22124.

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16

McDermott, John V. "Ionesco's the Bald Soprano." Explicator 55, no. 1 (October 1996): 40–41. http://dx.doi.org/10.1080/00144940.1996.9937316.

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17

Bush, Elizabeth. "The Queen's Soprano (review)." Bulletin of the Center for Children's Books 59, no. 10 (2006): 449. http://dx.doi.org/10.1353/bcc.2006.0381.

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18

RUDOLF, MAX. "Soprano of the House." Opera Quarterly 7, no. 1 (1990): 81–88. http://dx.doi.org/10.1093/oq/7.1.81.

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19

Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).

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20

Petersen, Barbara A., and Iain Hamilton. "Prometheus, for Soprano, Mezzo-Soprano, Tenor, and Baritone Soloists, Chorus, and Orchestra." Notes 46, no. 1 (September 1989): 243. http://dx.doi.org/10.2307/940790.

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21

Handel, Stephen, and Molly L. Erickson. "A Rule of Thumb: The Bandwidth for Timbre Invariance Is One Octave." Music Perception 19, no. 1 (2001): 121–26. http://dx.doi.org/10.1525/mp.2001.19.1.121.

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Listeners were unable to determine whether two different notes separated by an octave or more were played by the identical or a different wind instrument and similarly were unable to determine whether a vowel sung at different pitches separated by an octave or more was sung by the identical or a different soprano or mezzo-soprano.

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22

Joncus, Berta. "Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive." Journal of the Royal Musical Association 131, no. 2 (2006): 179–226. http://dx.doi.org/10.1093/jrma/fkl013.

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Handel's music was a key source for Drury Lane entertainments from 1728 to 1745. Ballad-opera writers regularly deployed Handel tunes, generating multiple performances of his music in low-style, native works that long preceded his oratorios. The soprano Kitty Clive, the biggest star of this genre, initially performed Handel airs both in ballad operas and as additional songs. From 1737, Handel compositions helped bolster Clive's ‘high-style’ reputation, while Handel benefited from Clive's audience-drawing power. In its politics, narratives and musical forms, the design of music Handel composed for Clive shows him adhering closely to the soprano's already established star persona.

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23

WYNN, NEIL A. "Counselling the Mafia: The Sopranos Regina Barreca, ed., A Sitdown with the Sopranos: Watching Italian American Culture on TV's Most Talked-About Series (New York: Palgrave Macmillan, 2002). 0 312 29528 6 David Bishop, Bright Lights, Baked Ziti: The Unofficial, Unauthorised Guide to The Sopranos (London: Virgin Books, 2001). 0 7535 0584 3 David Chase, The Sopranos Scriptbook (London: Channel 4 Books, 2001). 0 7522 6157 6 Glen O. Gabbard, The Psychology of the Sopranos: Love, Death, and Betrayal in America's Favorite Gangster Family (New York: Basic Books, 2002). 0 465 02735 0 The New York Times, The New York Times on the Sopranos, introduction by Stephen Holden (New York: ibooks, 2000). 0 7434 4467 1 Allen Rucker, The Sopranos: A Family History (London: Channel 4 Books, 2000). 0 752 26177 0 Allen Rucker (Recipes by Michele Scicolone), The Sopranos Family Cook Book As Compiled by Artie Bucco (London: Hodder and Stoughton, 2002). 0 340 82724 6 David R. Simon, Tony Soprano's America: The Criminal Side of the American Dream (Boulder, CO, and Oxford: Westview, 2002). 0 8133 4036 5 David Lavery, ed., This Thing of Ours: Investigating the Sopranos (New York: Columbia University Press, 2002). 0 231 12781 2." Journal of American Studies 38, no. 1 (April 2004): 127–32. http://dx.doi.org/10.1017/s0021875804007947.

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The HBO television series The Sopranos, produced by David Chase, achieved unprecedented critical acclaim and quickly established itself on both sides of the Atlantic as cult viewing. The fourth series, shown in the UK on Channel 4 in spring 2003, had already attracted record audiences in America and received 13 Emmy Award nominations. Not surprisingly, The Sopranos has generated several web sites and a considerable amount of literature, ranging from the usual spin-offs of television series, cds, scripts, collected reviews, and a number of more academic studies ranging from cultural studies through to explorations of the psychological aspects of the programme. At least one MA has been written dealing with the portrayal of psychotherapy in this series and in films. This is not as remarkable as it might seem given that therapy is central to the whole story. The main character, Tony Soprano (played by James Gandolfini), is the head of an Italian–American family living in New Jersey. However, like his name itself, “family” has a double meaning. Tony is also the head of a Mafia-style gang of mobsters, operating a “waste management company” and night club (The Bada Bing!). The two roles of family head are explored when Tony talks (or “sings”) to a psychiatrist (in addition to his gang-land counsellors) as a result of his anxiety attacks and depression. Thus, Tony Soprano, mobster, is presented as a troubled family man – troubled by his relationships with his wife, daughter, and son, and their futures, but also troubled by business rivalries and problems that arise from the nature of his “work” and colleagues. As one commentator writes, Tony is the subject of “profound moral ambiguity” and it is his struggle to come to terms with this that makes it possible for viewers to identify with him. It is also the focus of his sessions with the therapist, Dr Melfi (played by Lorraine Bracco).

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24

Oliveira, Katya Beatriz de, and Laura Rónai. "A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita." Per Musi, no. 24 (December 2011): 151–66. http://dx.doi.org/10.1590/s1517-75992011000200016.

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Na busca da sonoridade histórica e estilisticamente embasada para a interpretação vocal da música sacra mineira da segunda metade do século XVIII e início do XIX, tornase necessário um paralelo com a música realizada em Portugal durante o século XVIII, que constate a influência desta sobre a música mineira setecentista. Neste artigo pretendemos investigar as similaridades estilísticas entre a música do compositor mineiro José Joaquim Emerico Lobo de Mesquita, particularmente no solo de soprano de sua Missa em Mi bemol, com o solo de soprano de uma Missa a cinco vozes do compositor David Perez e o primeiro movimento do moteto Care Deus si respiro, para soprano solo e cordas, de Niccolò Jommelli, compositores italianos da escola napolitana atuantes em Portugal na segunda metade do século XVIII. Temos como objetivo justificar a utilização de tratados europeus para a fundamentação dos aspectos interpretativos da música mineira.

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25

Theil, Gordon, Michael Tippett, and Michael Tillett. "Byzantium for Soprano and Orchestra." Notes 49, no. 2 (December 1992): 818. http://dx.doi.org/10.2307/897979.

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26

Radulescu, G. "Prosopagnosia--The Bald Soprano Syndrome." Archives of Ophthalmology 105, no. 1 (January 1, 1987): 32. http://dx.doi.org/10.1001/archopht.1987.01060010038022.

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27

Abbott, Carl. "Jim Rockford or Tony Soprano." Pacific Historical Review 83, no. 1 (February 1, 2014): 1–23. http://dx.doi.org/10.1525/phr.2014.83.1.1.

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Both in television shows such as The Rockford Files and The Sopranos and in the fiction of writers such as John Updike, Richard Ford, and Douglas Coupland, popular culture draws a distinction between Atlantic Coast and Pacific Coast suburbs. The differences revolve around two themes. The first concerns the roles of place and space. The second is the varying weight of history, often as manifested through families and social ties. Eastern suburbs and suburbanites are commonly depicted as embedded in place, rooted in time, and entangled in social networks. Western suburbs and suburbanites are often imagined as the opposite—isolated in space, atemporal, and free (or bereft) of social bonds.

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28

Phillips, Peter. "Treble or soprano? Performing Tallis." Early Music 33, no. 3 (August 1, 2005): 495–502. http://dx.doi.org/10.1093/em/cah106.

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29

BRUDER, H. "Margarethe Siems Strauss's Ideal Soprano?" Opera Quarterly 15, no. 3 (January 1, 1999): 391–400. http://dx.doi.org/10.1093/oq/15.3.391.

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30

Kirby, David. "More Soprano, Please, More Tenor." Hopkins Review 12, no. 3 (2019): 311–15. http://dx.doi.org/10.1353/thr.2019.0049.

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31

Napoles, Jessica, Sandra L. Babb, Judy Bowers, Steven Hankle, and Adam Zrust. "The Effect of Piano Playing on Preservice Teachers’ Ability to Detect Errors in a Choral Score." Journal of Music Teacher Education 26, no. 2 (July 24, 2016): 39–49. http://dx.doi.org/10.1177/1057083716639724.

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The purpose of this study was to examine and empirically test the pedagogical claim that playing the piano while listening to choral singers impedes error detection ability. In a within-subjects design, participants ( N = 55 preservice teachers) either listened to four excerpts of choral hymns or played a single part (soprano/bass) on the piano while listening. They were asked to locate the errors that occurred in these excerpts. Each excerpt contained a pitch and a rhythm error, in the soprano and bass voice parts. Results of an analysis of covariance (with years of piano study as the covariate) indicated significant main effects for condition and voicing. There were more errors detected in the soprano voicing than in the bass voicing, and more errors detected in the listen condition than in the playing condition. Implications for music teacher education are discussed, including adding practice in error detection activities to methods and conducting courses.

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32

Yu Chan, May Pik, and Youngah Do. "Vowel Modification (Aggiustamento) in Soprano Voices." Music & Science 4 (January 2021): 205920432110551. http://dx.doi.org/10.1177/20592043211055168.

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Singers convey meaning via both text and music. As sopranos balance tone quality and diction, vowel intelligibility is often compromised at high pitches. This study examines how sopranos modify their vowels against an increasing fundamental, and in turn how such vowel modification affects vowel intelligibility. We examine the vowel modification process of three non-central vowels in Cantonese ([a], [ɛ] and [ɔ]) using the spectral centroid. Acoustic results suggest that overall vowel modification is conditioned by vowel height in mid-ranges and by vowel frontness in higher ranges. In a following perception task, listeners identified and discriminated vowels at pitches spanning an octave from A4 (nominally 440 Hz) to G♯5 (nominally 831 Hz). Results showed that perceptual accuracy rates of the three vowels’ match their acoustic patterns. The overall results suggest that vowels are not modified in a unified way in sopranos’ voices, implying that research on sopranos’ singing strategies should consider vocalic differences.

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33

Putri, Bevi Sinda, and Jagar Lumbantoruan. "ANALISIS STRUKTUR LAGU BUNGONG JEUMPA ARANSEMEN PAUL WIDYAWAN." Jurnal Sendratasik 8, no. 4 (April 1, 2019): 1. http://dx.doi.org/10.24036/jsu.v7i4.105102.

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Abstract The purpose of this study is to analyze and describe the Bungong Jeumpa song that arranged by Paul Widyawan based on melodic and harmonic principles. This type of research was qualitative with an approach to analyzing the content of objectivity of generalization structures. The theory used was the theory of understanding analysis, song structure, arrangements, choir arrangement techniques, (chord progression) and contrapung. Data in this study was taken from literature studies, interviews and experiment. The results of the study obtains that the Bungong Jeumpa song has two-part of song form, namely period A which is built two phrases, namely a and x phrases and period B which is built two phrases, namely b and a phrases'. Bungong Jeumpa song is arranged based on the structure of the song including the intro, the core part of the song and coda. In arranging, Paul Widyawan is not only based on the initial chord progression, but also developing the chord become more varied and added non harmonic tones. Cadence in Bungong Jeumpa is authentic half, imperfect authentic, perfect authentic and picardie third cadences. Patternically, the movement of the tones in the four octaves of the melody moves in a non-parallel manner. Motus is between soprano and alto tends to be parallel (motus rectus), motus is between soprano and tenor tends to deviate (motus obliqus) and motus is between soprano and bass also tends to deviate (motus obliqus). Besides, Paul Widyawan adopts the contrapung (counterpoint) theory of conventional western music which the sound on cantus firmus is not always be in the soprano (keep moving). Keywords: Analysis, song structure, chord and cadence progression, motus and contrapung.

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34

Miranda, Eduardo Reck. "The role of speech synthesis in Requiem per una veu perduda." Organised Sound 3, no. 3 (December 1998): 235–40. http://dx.doi.org/10.1017/s1355771898003070.

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Requiem per una veu perduda (Requiem for a lost voice in Catalan) is a piece for mezzo-soprano with on-stage effects processing and recorded electroacoustic material. The electroacoustic material consists mainly of synthesised vocal sounds and the pitches for the mezzo-soprano part were defined based upon the functioning of the speech synthesis methods used. This paper outlines the basics of one of the speech synthesis methods used to compose the piece and introduces the scheme for the definition of the pitch material for the singing. The relationship between the speech synthesis methods and the pitch material establishes the structural foundations of the piece.

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35

Ahn, Jung-Ho, and Hyoung-Joo Kim. "The Soprano Extensible Object Storage System." Journal of Database Management 13, no. 1 (January 2002): 15–24. http://dx.doi.org/10.4018/jdm.2002010102.

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36

Prag, R. "Magda Olivero: The Last Verismo Soprano." Opera Quarterly 14, no. 2 (January 1, 1997): 125–27. http://dx.doi.org/10.1093/oq/14.2.125.

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37

Bateman, Laura Anne. "Soprano and source: A laryngographic analysis." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2478. http://dx.doi.org/10.1121/1.4787628.

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38

Apsari, Made Sri Ayu, and I. Made Widiartha. "Classification of Women's Voices Using Fast Fourier Transform (FFT) Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 10, no. 1 (August 6, 2021): 59. http://dx.doi.org/10.24843/jlk.2021.v10.i01.p08.

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Everyone has a different kind of voice. Based on gender, voice type is divided into six parts, namely soprano, mezzo soprano, and alto for women; and tenor, baritone, and bass in men. Each type of sound has a different range and with different frequencies. This study classified the type of voice in women using the Fast Fourier Transform (FFT) method by recording the voices of each user which would then be processed using the FFT method to obtain the appropriate sound range. This research got results with an accuracy of up to 80%.The results obtained from this study are quite appropriate and it is proven that the FFT method can be used in digital signal processing.

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39

Sánchez Rodríguez, Virginia. "María Barrientos y sus inicios fonográficos." Cuadernos de Investigación Musical, no. 6 (January 16, 2019): 313. http://dx.doi.org/10.18239/invesmusic.v0i6.1949.

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<p><span><span style="font-size: medium;">En este trabajo realizamos un acercamiento a la figura de María Barrientos (1884-1946), que no solo destacó por su calidad como soprano de coloratura sino por haber sido una de las primeras artistas españolas en participar en la industria discográfica. En concreto, proponemos un estudio de su legado discográfico para Fonotipia a través de su catálogo y de la prensa internacional de la época. A este respecto, no solo tenemos en cuenta las particularidades de estas grabaciones sino además, a través de las fuentes expuestas, el mutuo impacto de la relación profesional para la compañía discográfica y para la carrera de la joven soprano.</span></span></p>

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40

Ichwan, Muhammad, Milda Gustiana, and Arief Syafiudin. "IMPLEMENTASI METODA UNIT SELECTION SYNTHESIZER DALAM PEMBUATAN SPEECH SYNTHESIZER SUARA SULING RECORDER." MIND Journal 3, no. 1 (January 10, 2019): 77–92. http://dx.doi.org/10.26760/mindjournal.v3i1.77-92.

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Speech synthesizer adalah sebuah kemampuan menyerupai bicara manusiadimana komputer dapat merubah suatu kata dalam tulisan menjadi ucapan atausuara (text to speech). Speech synthesizer juga dikenal dengan teknologi Text-toSpeech. Namun, speech synthesizer tidak selamanya memerlukan text sebagaidata. Unit Selection Synthesizer didasarkan dengan penggabungan segmensegmen dari pembicaraan yang sudah direkam. Selama proses sintesis, metoda inimenggunakan suatu algoritma The Hunt and Black yang memilih salah satu unitdari beberapa pilihan dalam menemukan barisan unit yang memenuhi spesifikasiyang dikehendaki. Berdasarkan penelitian speech synthesizer dapat digunakanuntuk pembuatan suara suling recorder yang berjenis soprano dan mempunyainada dasar G. Speech synthesizer untuk suling recorder menggunakan nada dasar“La” sebagai nada dasar utama karena memiliki selisih terkecil yaitu 11,875. Hasilperhitungan frekuensi nada dasar mendekati frekuensi asli dari nada dasar Gsehingga penelitian yang dilakukan dapat membuktikan bahwa suling recorderberjenis soprano memiliki nada dasar G.

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41

Borowiecki, Artur. "Zmieniający się paradygmat opowiadania we współczesnych serialach grozy." Media - Kultura - Komunikacja Społeczna 2, no. 17 (January 5, 2021): 11–20. http://dx.doi.org/10.31648/mkks.6286.

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Od czasu emisji serialu Rodzina Soprano (The Sopranos, 1999–2007) można zaobserwować nowy etap w historii kinematografii, popularnie nazywany „złotym okresem telewizji”. Główną jego cechą są seriale złożone narracyjnie. Twórcy tych utworów korzystają z nowych środków stylistycznych, a także eksperymentują z ukonstytuowanymi od początku istnienia telewizji schematami narracyjnymi. W artykule podjęto tematykę serialowych horrorów, które zalicza się właśnie do produkcji złożonych narracyjnie. Na przykładzie wybranych sezonów popularnych amerykańskich seriali grozy: Buffy, postrach wampirów (Buffy the Vampire Slayer, 1997–2003), Żywe trupy (The Walking Dead, 2010–), American Horror Story (2011–) i Channel Zero (2016–2018) oraz serialu amerykańsko-angielskiego Dom grozy (Penny Dreadful, 2014–2016) omówiono kwestię zmian w strategiach narracyjnych tychże seriali. Szukano odpowiedzi na następujące pytania: czy współczesne seriale grozy przeszły podobną metamorfozę jak dramaty jakościowe i na czym ta zmiana polega? Czy występują postmodernistyczne kolaże, zakłócenia w warstwie temporalnej linii narracyjnych? Czy twórcy wplatają nowatorskie rozwiązania, podążając za myślą formalistów rosyjskich, w struktury narracyjne? I w końcu czy można mówić o nowym typie seriali horrorów, czy są to jedynie powielone wzorce, które wcześniej występowały w serialowym dyskursie grozy?

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42

Dános, Valér, and Csaba Szabó. "A hűség és a szabadság városának különös rendészeti aspektusai." Belügyi Szemle 70, no. 3 (March 21, 2022): 649–54. http://dx.doi.org/10.38146/bsz.2022.3.12.

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Sopront a rendszerváltoztatás előtti időszakban évtizedekig a titokzatosság és a bezártság jellemezte. Bátran állíthatjuk, hogy az elmúlt harminc év bizonyította, hogy Sopron az egyik legvendégszeretőbb és legbarátságosabb városa Magyarországnak. Akinek csak egyszer is megsimogatja arcát a soproni szél, és fülében hallja zúgni a város harangjait, annak örökre szívébe és lelkébe vésődik a város iránti szeretet, amellyel örök hűséget fogad Sopronnak. Sopron hazánk nyugati kapuja, amely „kapunak” az őrzése és védelme rendkívüli kihívások elé állították a rendészeti szakterületen dolgozó elődjeinket és teszi ezt napjaink szakembereivel is. „Civitas Fidelissima” – a leghűségesebb város. Az 1921. évi népszavazás emlékére adományozta az ország Sopron városának ezt az örökérvényű jelzőt. A hűség és a szabadság városának biztonságát ugyanúgy hűséggel, szakértelemmel és odaadással lehet biztosítani. A hűség és a szabadság városának különös rendészeti aspektusairól, a jelenkor kihívásairól és a jövőbeni tervekről beszélgetett dr. Dános Valér főszerkesztő és dr. Szabó Csaba felelős szerkesztő dr. Herczeg Zoltán r. alezredes úrral, a Soproni Rendőrkapitányság vezetőjével.

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Toscano, Aaron A. "Tony Soprano as the American Everyman and Scoundrel: How The Sopranos (re)Presents Contemporary Middle-Class Anxieties." Journal of Popular Culture 47, no. 3 (June 2014): 451–69. http://dx.doi.org/10.1111/jpcu.12140.

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Wong, J., and D. Waters. "The synchronisation of signal emission with wingbeat during the approach phase in soprano pipistrelles (Pipistrellus pygmaeus)." Journal of Experimental Biology 204, no. 3 (February 1, 2001): 575–83. http://dx.doi.org/10.1242/jeb.204.3.575.

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Previous studies have shown that, during search flight in bats, wingbeat, respiration and echolocation are synchronised in a 1:1 relationship. An efficiently integrated locomotor-respiratory system enables bats to produce intense echolocation signals at little or no cost above that required for flight. In this study, we investigated the coupling of wingbeat with echolocation in the laboratory during approach flight in soprano pipistrelles (Pipistrellus pygmaeus) using high-speed digital video at 250 and 500 frames s(−)(1). We found that soprano pipistrelles most commonly produce single or double pulses per wingbeat. Single pulses per wingbeat occurred in two alternative positions: immediately before the end of the upstroke or after the start of the downstroke. Double pulses per wingbeat were emitted in the same wingbeat positions on the upstroke and the downstroke, as in single pulses per wingbeat. We suggest that, during approach flight, the coupling of more than one echolocation signal with a single wingbeat and expiratory cycle allows echolocation to remain energetically economic. When soprano pipistrelles approached a Perspex disc target, an increase in mean repetition rate was achieved by producing an extra pulse per wingbeat. Finally, we hypothesise that the bat's approach to potentially interesting targets in the same horizontal plane as it's flight path, i.e. during flapping flight, may be characterised by the production of double pulses per wingbeat, resulting in a unique pattern of echolocation pulse intervals.

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45

Rowden, Clair. "Deferent Daisies: Caroline Miolan Carvalho, Christine Nilsson and Marguerite, 1869." Cambridge Opera Journal 30, no. 2-3 (November 2018): 237–58. http://dx.doi.org/10.1017/s0954586719000089.

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AbstractThis article explores a slice of the careers of two ‘rival’ coloratura singers – the Swedish soprano Christine Nilsson and the French soprano Caroline Miolan Carvalho – during the period 1867 to 1870, and considers the internationalisation of singing careers, women's choices and negotiation of their career paths, and fortunes made and lost. With both singers employed at the Paris Opéra from November 1868 onwards as Gounod's Faust went into rehearsal, the focus falls on the ‘Battle of the Marguerites’ in the Parisian press in spring 1869, which raised heated questions of dramatic and vocal interpretation and style, often linked to cultural stereotypes, as well as artistic legitimacy and stature. Through examination of previously overlooked archival financial and legal records, this article also reveals for the first time that Miolan Carvalho was indentured to the director of the Opéra Emile Perrin during this period.

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46

Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.

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47

Carías Picón, Diamela, Elso Molina, Paulina Ananías, Vitoria Halabí, and Constanza Neira. "Estado nutricional y composición corporal de cantantes líricos chilenos en relación con la tesitura de la voz." Perspectivas en Nutrición Humana 22, no. 2 (December 4, 2020): 151–61. http://dx.doi.org/10.17533/udea.penh.v22n2a03.

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Antecedentes: algunos estudios sugieren que el estado nutricional y la composición corporal pueden afectar la voz. Objetivo: comparar el estado nutricional y la composición corporal de cantantes líricos con la tesitura de la voz. Materiales y métodos: se realizó un estudio transversal y descriptivo en cantantes líricos sanos de ambos sexos de la ciudad de Concepción, Chile. Los cantantes se clasificaron en soprano, mezzosoprano y contralto (mujeres), y en tenor, barítono y bajo (hombres). Se determinó el IMC y la circunferencia de cintura y se realizó una evaluación de la composición corporal: masa grasa, masa muscular, masa ósea, piel y masa residual. Resultados: el 73,5 % de los cantantes presentó exceso de peso, mientras que el 47 % mostró obesidad abdominal. Las cantantes con voz más grave (contraltos) mostraron valores mayores de circunferencia de cintura y grasa corporal que las sopranos y mezzosopranos. Entre los hombres, no se encontraron diferencias en el estado nutricional o la composición corporal asociadas a la tesitura de la voz. Conclusión: los datos muestran una posible relación entre el estado nutricional y la composición corporal con la tesitura de voz en las cantantes, relación que podría ser evaluada en futuros estudios.

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Gidwitz, Patricia Lewy. "Mozart's Fiordiligi: Adriana Ferrarese del Bene." Cambridge Opera Journal 8, no. 3 (November 1996): 199–214. http://dx.doi.org/10.1017/s0954586700004729.

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Mozart's ability to craft music closely suited to his singers took a remarkable turn with the soprano Adriana Ferrarese del Bene. This singer's career, from sporadic prominence in serious opera to notoriety as a prima donna in Viennese opera buffa in the late 1780s, was capped by her association with Mozart and Da Ponte in Così fan tutte (1790). Certain reports notwithstanding, Ferrarese seems to have been far from a great artist; her successes were modest and she never before or after attained the artistic triumph she achieved in the Mozart–Da Ponte opera. Reviews and contemporary comments suggest that her comic and dramatic skills were uneven, her vocal equipment impressive but incomplete and her performances less than inspiring. Mozart's achievement was to transform a particular set of vocal skills and limitations into something of exceptional artistic value; Fiordiligi was fashioned out of the temperament, vocal style and dramatic abilities – and limitations – of his soprano.

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49

Rotiroti, Giovanni. "L’acte manqué dans La Cantatrice chauve : un discours réussi." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 153–68. http://dx.doi.org/10.24193/subbdrama.2021.1.09.

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"The Parapraxis in The Bald Soprano: a Successful Speech. This paper is about Parapraxis in the Cantatrice chauve, which Ionesco associates with politics. The unconscious knowledge of the Cantatrice chauve (The Bald Soprano) is the knowledge of comedy and tragedy; it is a form of knowledge which leads man towards an empty word which can no longer be articulated in meaningful speech. The nagging antinomies of common life emerge in the background. There is an endless dialectic that crosses time and history, life and death, joy and pain. There is an unsolved conflict that the Cantatrice chauve holds together, thus repeating the trauma of separation and the breakdown of community ties. The tragedy of language is that you can only live in a subjective way. It is a communication which affirms the absence of communication, opening up the tragicomic horizon of language and disintegrating the power which underlies the language of communication. Keywords: parapraxis, speech, language, communication, knowledge, enigma. "

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50

Hall, Michael. "Birtwistle's ‘Pulse Shadows’." Tempo, no. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.

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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.

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