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Journal articles on the topic 'Sopranos'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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

Sumerags, Dins, Mara Pilmane, and Gunta Sumeraga. "THE USE OF AIRFLOW TESTS AND ANTHROPOLOGICAL MEASUREMENTS IN ASSESSING THE VOICE RANGE OF PROFESSIONAL SINGERS." SOCIETY. TECHNOLOGY. SOLUTIONS. Proceedings of the International Scientific Conference 1 (April 17, 2019): 13. http://dx.doi.org/10.35363/via.sts.2019.9.

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INTRODUCTION In the vocal arts, it is difficult to determine the exact type of human voice, and it is particularly challenging to identify the voice category of vocalist-beginners because the diapason of the voice has not fully developed. A vocalist often develops his or her voice in an unsuitable tessitura (sings in a wrong voice type) resulting in a loss of sound quality and damage to the voice. An objective metric-based system for the determination of the human voice is needed. The detection for the correlation between the airflow and vital capacity of the lungs, anthropometric data of the singers and the type of the human voice. MATERIALS AND METHODS Sixty vocalists (ten sopranos, ten mezzo-sopranos, ten altos, ten tenors, ten baritones, and ten basses) were examined during this experimental research. All participants were professional singers who have been very successful singing in their voice category for more than five years. The Jaeger spirograph was used to investigate the volume of the peak expiratory flow of representatives of various voice categories, i.e. by measuring the speed of airflow in a time unit (per second). Measurements were made of height, body weight, vital lung capacity, and volume of the air flow per second in the big, middle and small bronchial tubes. To analyse the results, leading indicators of descriptive statistics were calculated, and one-factor disperses analysis (ANOVA) was used in equivalence testing calculations of the average values of morphological qualities. All statistical calculations were performed with the “Statistics” programme (7.0 edition). RESULTS The average height of the vocalists: sopranos – 165,8; mezzo-sopranos – 168,1; altos – 175,8; tenors – 180,5; baritones – 187,5; basses – 188,2. The average weight of the singers (kg): sopranos – 60,2; mezzo-sopranos – 70,5; altos – 74,1; tenors - 87,7; baritones – 91,4; basses – 92,6. The average vital lung capacity of the singers (L): sopranos – 3,79; mezzo-sopranos – 3,96; altos – 4,35; tenors 5,13; baritones – 6,06; basses – 6,12. The average peak expiratory flow of the singers per second (L/s): sopranos – 7,44; mezzo-sopranos – 7,43; altos – 8,19; tenors – 9,80; baritones - 11,49; basses – 11,2. The average volume of the air flow per second in the big bronchial tubes of the singers(L/s): sopranos – 6,49; mezzo-sopranos – 9,29; altos – 7,42; tenors – 7,91; baritones – 10,07; basses – 9,77. The average volume of the air flow per second in the middle bronchial tubes of the singers (L/s): sopranos – 4,60; mezzo-sopranos – 4,02; altos – 4,96; tenors 4,46; baritones – 5,79; basses – 5,73. The average volume of the air flow per second in the small bronchial tubes of the singers (L/s): sopranos – 1,98; mezzo-soprano – 1,49; altos – 1,99; tenors – 1,69; baritones – 2,24; basses – 2,17. There was a correlation between the airflow results e.a. Vital capacity, MEF 75 MEF 50 and PEF and the type of human voice, but there was no correlation between PEF 25 and the type of human voice. There was a positive correlation between anthropometric data like weight and height and the pitch of the voice. CONCLUSION There is a correlation between the type of human voice and a person's height, weight as well as their vital lung capacity and peak expiratory flow. According to our research data, an algorithm could be made for the determination of the type of human voice to avoid voice damage and health problems related to the forced use of the voice in a wrong pitch.

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3

Hamour, Omer, and Akeem Sule. "Treating Through “The Sopranos”: A Biopsychosocial Approach." BJPsych Open 9, S1 (July 2023): S24. http://dx.doi.org/10.1192/bjo.2023.133.

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AimsTelevision is a medium through which an audience can gain insight into the nuances of psychiatric practice. Nonetheless, the psychoeducational benefits are dependent on accurate portrayals. “The Sopranos” has received critical acclaim from various professional psychiatric bodies for its artistic depiction of psychoanalysis and the psychotherapeutic relationship. The series follows Tony Soprano, a middle-aged Italian-American male engaged in organized crime. He is referred to his psychiatrist, Dr Melfi, by his family physician after suffering debilitating panic attacks. Melfi accepts the referral despite Tony's chequered past, employing a holistic approach to his care. We aimed to analyse the psychotherapeutic relationship between Tony Soprano and his psychiatrist, using a biopsychosocial approach.MethodsSeason 1 of “The Sopranos” was identified by a facilitator and utilized for discussion. The season was viewed individually and virtual case-based dialogues took place between the author and facilitator examining the psychotherapeutic relationship using the biopsychosocial model.ResultsThe Sopranos coincided with the popularity of the serotonin theory of depression in the US, promoted by the pharmaceutical industry. Tony Soprano is pharmacologically treated for panic attacks, anxiety and depression. This sparked thematic discussion around symptom control, medication efficacy and adverse effects. Melfi balances the application of medication alongside understanding the psychological roots of symptoms, deprescribing when necessary.Themes pertaining to conflict between Freud's id, ego and superego persisted, manifesting cognitive dissonance most prominently in relation to Tony's line of work. Symbolism of ducks guided understanding of Tony's biggest fear – losing his family. Projective testing was explored, alluding to the Rorschach test. Scenes depicting transference and countertransference were present, the former representing Tony's unmet needs from female figures in his life. Eventually, Tony's distress induces internally generated pseudohallucinations.Tony's tender treatment of his children offsets his volatile relationship with his parents, particularly his mother who habitually antagonizes her son. His personal and professional life are intertwined, with mental health stigma evident in both realms as Tony seeks help surreptitiously to maintain his credibility.Conclusion“The Sopranos” depicts the psychotherapeutic relationship between a man suffering from mental illness and his therapist. This layered and accurate portrayal can provide a case-based reference for psychoeducational discussion, and give rise to further discussions of psychiatric themes within film and television.

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4

Frontani, Michael R. "The Sopranos." Italian American Review 1, no. 2 (July 1, 2011): 194–95. http://dx.doi.org/10.5406/italamerrevi.1.2.0194.

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5

Soares, Michael. "The Sopranos." Historical Journal of Film, Radio and Television 34, no. 3 (July 3, 2014): 484–86. http://dx.doi.org/10.1080/01439685.2014.942966.

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6

Kuehn, John L. "‘The Sopranos’." Psychiatric News 36, no. 17 (September 7, 2001): 26. http://dx.doi.org/10.1176/pn.36.17.0026.

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7

Herman, Barry K. "‘The Sopranos’." Psychiatric News 36, no. 17 (September 7, 2001): 26. http://dx.doi.org/10.1176/pn.36.17.0026a.

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8

Scheurer, Maren. "Psychoanalytic Psychotherapy and the Aesthetics of Serial Narration in The Sopranos (1999–2007)." Zeitschrift für Anglistik und Amerikanistik 72, no. 2 (June 1, 2024): 127–40. http://dx.doi.org/10.1515/zaa-2024-2009.

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Abstract Against the backdrop of the difficult therapeutic relationship between Tony Soprano and Jennifer Melfi and its embeddedness in the series’ dramaturgy, this article explores what psychoanalysis accomplishes for the US TV series The Sopranos (1999–2007), in particular for its perspectives on serial narratives and their reception. It analyses how select tenets of psychoanalysis (in particular, the psychoanalytic setting, countertransference, and its interminability) self-reflexively interrogate the aesthetics of serial narration and the ethical underpinnings of the audience’s attachment to the series.

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9

Miller, David H. "Singing Webern, Sounding Webern: Bethany Beardslee, Grace-Lynne Martin, and Marni Nixon, 1950–1957." Journal of the American Musicological Society 75, no. 1 (2022): 81–127. http://dx.doi.org/10.1525/jams.2022.75.1.81.

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Abstract Anton Webern’s vocal music has long been overshadowed by the aphoristic miniatures and rigorously organized twelve-tone works—both largely instrumental genres—for which the composer is best known. Yet over half of Webern’s output consists of vocal works. During the 1950s, as composers and intellectuals celebrated the “instrumental” Webern, an alternative view of the composer was emerging through the performances of three soprano soloists. Bethany Beardslee gave posthumous premieres of three of Webern’s works in New York and recorded his Four Songs op. 12 for Dial Records. On the other side of the country, Grace-Lynne Martin and Marni Nixon performed works by Webern at the Evenings on the Roof in Los Angeles, and collaborated with Robert Craft on Columbia Records’ Anton Webern: The Complete Music. Beardslee, Martin, and Nixon adopted a variety of approaches to learning Webern’s famously difficult works, and their work paid off: all three sopranos earned praise for weathering the extreme technical challenges of Webern’s soprano lines while also delivering musically satisfying performances. Yet these performances have been largely forgotten in the decades since, as a consequence of changing attitudes toward postwar performance practices as well as the sometimes sexist views of male music critics. Nevertheless, the performances of these sopranos constituted a crucial step toward perspectives on Webern that are now current among contemporary performers and scholars, and understanding their contributions is essential to understanding the vocal side of Webern.

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10

Pearce, Joe. "Two Vintage Sopranos." Opera Quarterly 11, no. 3 (1995): 157–64. http://dx.doi.org/10.1093/oq/11.3.157.

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Green, L. "Three Incomparable Sopranos." Opera Quarterly 14, no. 1 (January 1, 1997): 158–62. http://dx.doi.org/10.1093/oq/14.1.158.

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12

Bruce, D. "Quarterly Quiz: Sopranos." Opera Quarterly 20, no. 3 (July 1, 2004): 435–40. http://dx.doi.org/10.1093/oq/kbh060.

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13

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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14

Possidente Jr., B. P. "Genetics and The Sopranos." Science 317, no. 5838 (August 3, 2007): 596b. http://dx.doi.org/10.1126/science.317.5838.596b.

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15

Nirmalarajah, Asokan. "The Sopranos, Dana Polan." Historical Journal of Film, Radio and Television 29, no. 4 (December 2009): 582–83. http://dx.doi.org/10.1080/01439680903343695.

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Nirmalarajah, Asokan. "The Essential Sopranos Reader." Historical Journal of Film, Radio and Television 32, no. 3 (September 2012): 470–71. http://dx.doi.org/10.1080/01439685.2012.699166.

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17

Schulman, A. "The Sopranos: An American Existentialism?" Cambridge Quarterly 39, no. 1 (March 1, 2010): 23–38. http://dx.doi.org/10.1093/camqtly/bfp023.

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18

Frosch, William A. "The sopranos: post‐op virtuosi." FASEB Journal 20, no. 6 (April 2006): 595–97. http://dx.doi.org/10.1096/fj.06-0402ufm.

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Edgerton, Gary R. "The Sopranos by Dana Polan." Journal of American Culture 34, no. 2 (February 2011): 213–14. http://dx.doi.org/10.1111/j.1542-734x.2011.00775_13.x.

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20

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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UÇAR, Semra, and Sümeyye DERİN. "Professional Ethics in Counselor Education: Ethical and Unethical Situations from The Sopranos TV Series." Cukurova University Faculty of Education Journal 52, no. 3 (December 31, 2023): 983–1017. http://dx.doi.org/10.14812/cuefd.1192891.

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The aim of this study was to present examples of ethical and unethical situations through therapy scenes and therapy-related scenes of The Sopranos TV series and to create a supportive teaching material for ethical decision-making processes. The ethical codes of American Counseling Association (ACA) and Turkish Counseling and Guidance Association (TCGA) were taken as reference in the evaluation of ethical situations. Document analysis, one of the qualitative research methods, was used in the study. Research data were collected from therapy scenes and therapy-related scenes in all episodes of The Sopranos series (6 seasons and 86 episodes). As a result of this research; ethical and unethical behavior examples were determined in counseling relationships, multiple relationships, boundaries, confidentiality, dangerous clients and professional competence. This study shows that the therapy and scenes related to therapy in The Sopranos can be used as experiential learning materials while teaching professional ethics in counselor education.

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Statham, Simon. "‘A guy in my position is a government target … You got to be extra, extra careful’: Participation and strategies in crime talk in The Sopranos." Language and Literature: International Journal of Stylistics 24, no. 4 (November 2015): 322–37. http://dx.doi.org/10.1177/0963947015605442.

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This article reflects the trend within the stylistics of drama towards the analysis of film and television discourse by examining dialogue from HBO’s popular organised crime drama The Sopranos. A major theme of the series focuses on the consistent attempts of the authorities to bring Soprano gang members to justice for their crimes. To gather evidence, investigators rely on electronic surveillance and surreptitious listening devices worn by collaborating witnesses who agree to testify for the government against their former associates. FBI agents are additional participants in recorded conversations and they perform a range of discourse roles in these encounters. Cooperating witnesses employ a range of conversational strategies to accommodate FBI ‘eavesdroppers’, whilst the major criminal characters adopt tactics of conversational vigilance in their ‘crime talk’. Gangsters exercise a level of caution in their interactions which has important implications for conversational cooperation. This article will use Goffman’s (1981) participation framework to analyse how recorded crime talk is affected by the presence of investigating authorities and cooperating witnesses. The divergent conversational intentions of targets and cooperators also affect adherence to Grice’s (1975) conversational maxims. These seminal models will be applied to selective dialogue extracts from The Sopranos in order to demonstrate that criminal topics of conversation can have a significant effect on the structure and strategies of interactions in a television drama. Characters employ conversational caution when addressing incriminating acts which they consider it unwise to discuss explicitly. In many cases the external television audience is accommodated by being shown these crimes whilst internal overhearers are frustrated by the tactical vigilance adopted in characters’ talk.

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23

Abel, Ernest L., Michael M. Kruger, and Kalyani Pandya. "Sopranos but not tenors live longer." Aging Male 15, no. 2 (October 31, 2011): 109–10. http://dx.doi.org/10.3109/13685538.2011.626820.

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LeBesco, Kathleen. "Disability, Gender and Difference onThe Sopranos." Women's Studies in Communication 29, no. 1 (April 2006): 39–58. http://dx.doi.org/10.1080/07491409.2006.10757627.

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25

PORISS, HILARY. "A madwoman's choice: aria substitution in Lucia di Lammermoor." Cambridge Opera Journal 13, no. 1 (March 2001): 1–28. http://dx.doi.org/10.1017/s0954586701000015.

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Shortly following the premiere of Lucia di Lammermoor in 1835, performances of this opera often featured a strange substitution: sopranos performed the rondò-finale from one of Donizetti's earlier operas, Fausta, in place of the now-famous mad scene aria. At least four productions were affected and this alteration was performed by some of the most famous sopranos of the time. This article explores the brief tradition of altering the mad scene by looking carefully at its origin and subsequent appearances, discussing its effects on the experience of hearing Lucia di Lammermoor as a whole, and investigating the possible reasons why this substitution lasted only for a brief period of time.

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26

Nochimson, Martha P. "Waddaya Lookin' At?: Re-reading the Gangster Genre Through "The Sopranos"." Film Quarterly 56, no. 2 (2002): 2–13. http://dx.doi.org/10.1525/fq.2002.56.2.2.

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"Waddaya Lookin' At?" challenges both current thinking about the genre of the gangster film and simplistic moralizing about "The Sopranos." Establishing the gangster genre as one of five discrete categories of crime entertainment, Nochimson proposes that "The Sopranos" brings to the surface the moral dilemmas and emotional melodrama of the screen mobster that have hitherto been masked because of Production Code restrictions and macho evasions. Far from glamorizing gangsters and/or insulting Italian Americans, the series is founded on a sophisticated exploration of the gangster's charm. It provokes audiences to exchange their unquestioning delight in intense and spontaneous energy and immediate solutions for a mature form of ethics.

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Frontani, Michael R. "The Sopranos: Born under a Bad Sign." Italian American Review 5, no. 1 (January 1, 2015): 50–52. http://dx.doi.org/10.5406/italamerrevi.5.1.0050.

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Joliveau, Elodie, John Smith, and Joe Wolfe. "Tuning of vocal tract resonance by sopranos." Nature 427, no. 6970 (January 2004): 116. http://dx.doi.org/10.1038/427116a.

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Goodman, Eliorah. "Listen: For Three Sopranos and Three Altos." Women and Music: A Journal of Gender and Culture 24, no. 1 (2020): 96–106. http://dx.doi.org/10.1353/wam.2020.0015.

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Weiss, Rudolf, W. S. Brown, and Jack Moris. "Singer's Formant in Sopranos: Fact or Fiction?" Journal of Voice 15, no. 4 (December 2001): 457–68. http://dx.doi.org/10.1016/s0892-1997(01)00046-7.

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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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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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Galo, Gary A., and Helena Matheopoulos. "Diva: Great Sopranos and Mezzos Discuss Their Art." Notes 50, no. 4 (June 1994): 1445. http://dx.doi.org/10.2307/898343.

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Rishoi, N. "Two Preeminent Italian Sopranos of the Twentieth Century." Opera Quarterly 16, no. 4 (January 1, 2000): 668–73. http://dx.doi.org/10.1093/oq/16.4.668.

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Welsh, Jim. "All The Essentials of HBO and The Sopranos." Journal of American Culture 31, no. 4 (October 29, 2008): 393–95. http://dx.doi.org/10.1111/j.1542-734x.2008.00686.x.

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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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Buonanno Foley, Elda. "Franco Ricci, The Sopranos, Born Under a Bad Sign." Forum Italicum: A Journal of Italian Studies 50, no. 3 (November 2016): 1236–38. http://dx.doi.org/10.1177/0014585816678793.

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Bruder, H. "Three American Sopranos Lillian Nordica, Ada Adini, Olive Fremstad." Opera Quarterly 19, no. 4 (October 1, 2003): 795–800. http://dx.doi.org/10.1093/oq/kbg099.

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Wenzell, Tim. "Ecocriticism, The Sopranos, and the Wasteland of North Jersey." Ecopsychology 9, no. 3 (September 2017): 154–60. http://dx.doi.org/10.1089/eco.2016.0032.

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Nieschlag, E., U. Kramer, and S. Nieschlag. "Androgens Shorten the Longevity of Women: Sopranos Last Longer." Experimental and Clinical Endocrinology & Diabetes 111, no. 04 (July 7, 2003): 230–31. http://dx.doi.org/10.1055/s-2003-40468.

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Hendin, Josephine Gattuso. "Tony and Meadow: The Sopranos as father-daughter drama." Lit: Literature Interpretation Theory 14, no. 1 (January 2003): 63–67. http://dx.doi.org/10.1080/10436920306623.

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Almer, Christian, and Timo Goeschl. "The Sopranos Redux: The Empirical Economics of Waste Crime." Regional Studies 49, no. 11 (November 28, 2013): 1908–21. http://dx.doi.org/10.1080/00343404.2013.854323.

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Lowe, Shannon. "MADDness and Psychoanalysis in the Space of Literature:The Sopranos." Journal for Cultural Research 12, no. 4 (October 2008): 365–88. http://dx.doi.org/10.1080/14797580802579812.

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Babbiotti, Paolo. "A Missed Education. Avoiding the Ordinary in The Sopranos." Rivista di estetica, no. 83 (August 1, 2023): 5–15. http://dx.doi.org/10.4000/estetica.9145.

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Hutagalung, Roy J. M. "Komparasi Efektivitas Pelatihan Metode Drill Dengan Pelatihan Metode Solfegio Untuk Meningkatkan Kemampuan Vokal Paduan Suara Naposo Bulung HKBP Pardomuan Silangkitang." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 19, no. 2 (September 30, 2021): 154–69. http://dx.doi.org/10.46965/ja.v19i2.698.

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Abstract:This study aims to compare the effectiveness of using the drill method with the solfegio method in vocal training for the “Naposo Bulung Choir” HKBP Pardomuan Silangkitang, North Tapanuli Regency. The number of Naposo Bulung who participated in the drill method training was 30 people consisting of 12 Sopranos, 8 Altos, 5 Tenors and 5 Bassers, and the Solfegio method training with 30 participants consisting of 10 Sopranos, 8 Altos, 6 tenors, and 6 bass people. The data analysis technique used is descriptive qualitative and quantitative analysis with data collection through pre-test and post-test. The assessment components used are Vocal Techniques (Pitch, Phrasing, Harmonization, Articulation, and Intonation) and Expression (Tempo, Dynamic, Interpretation, Rhythm, and Resonance). Based on the results of the training research, it is known that the pre-test score is 733, while the post-test score is 836. From the pre-test and post-test scores, it is known that there was an increase in the vocal ability of the Naposo Bulung Choir of HKBP Pardomuan Silangkitang, North Tapanuli Regency. Research shows that the use of the sofegio method is 18.9% effective while the drill method is 14%, it can be concluded that choral vocal training using the sofegio method is more effective because it can increase vocal ability by 18.9%.Keywords: vocal ability, choir, Application of drill and solfegio method Abstrak:Penelitian ini bertujuan untuk mengetahui komparasi efektivitas penggunanaan metode drill dengan metode solfegio dalam pelatihan vokal paduan suara naposo bulung HKBP Pardomuan Silangkitang Kabupaten Tapanuli Utara. Jumlah naposo bulung yang mengikuti pelatihan metode drill sebanyak 30 orang terdiri dari Sopran 12 orang, Alto 8 orang, Tenor 5 orang dan Bass 5 orang, dan pelatihan metode solfegio dengan jumlah peserta sebanyak 30 orang yang terdiri dari 10 orang sopran, 8 orang alto, 6 orang tenor, dan 6 orang bas. Teknik analisis data yang digunakan adalah analisis deskriptif kualitatif dan kuantitatif dengan pengumpulan data melalui pre-test dan post-test. Komponen penilaian yang digunakan adalah Teknik Vokal (Pitch, Phrasering, Harmonisasi, Artikulasi, dan Intonasi) dan Ekspresi (Tempo, Dinamik, Interpretasi, Irama, dan Resonansi). Berdasarkan hasil penelitian pelatihan, diketahui skor pre-test sebesar 733, sedangkan skor post test sebesar 836. Dari nilai pre-test dan post test diketahui terjadi peningkatan kemampuan vokal paduan suara naposo bulung HKBP Pardomuan Silangkitang Kabupaten Tapanuli Utara. Penelitian menunjukkan, penggunaan metode sofegio efektif 18,9% sedangkan metode drill 14%, dapat disimpulkan pelatihan vokal paduan suara menggunakan metode solfegio lebih efektif karena dapat meningkatkan kemampuan vokal sebesar 18,9%.Katakunci : kemampuan vokal, Paduan suara, Penerapan metode drill dan solfegio

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Barrientos Sandoval, Luis Eduardo, and Edson Luiz Cataldo Ferreira. "Synthesis of Sung Spanish Vowels in Lyrical Singing by Sopranos." IEEE Latin America Transactions 19, no. 12 (December 2021): 2139–46. http://dx.doi.org/10.1109/tla.2021.9480157.

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Lucamante, Stefania. "Hollywood Italians: Dagos, Palookas, Romeos, Wise Guys, and Sopranos (review)." Italian Culture 23, no. 1 (2005): 208–14. http://dx.doi.org/10.1353/itc.2006.0016.

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Vanacker, Bastiaan. "Don't Shoot the Messenger: Journalism and Mass Media inThe Sopranos." Journal of Popular Film and Television 40, no. 1 (February 29, 2012): 32–41. http://dx.doi.org/10.1080/01956051.2011.578171.

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Renga, Dana. "The Sopranos: Born under a Bad Sign by Franco RicciFranco Ricci. The Sopranos: Born under a Bad Sign. University of Toronto Press. x, 326. $29.95." University of Toronto Quarterly 85, no. 3 (August 2016): 491–93. http://dx.doi.org/10.3138/utq.85.3.491.

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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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