Academic literature on the topic 'Students of opera'
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Journal articles on the topic "Students of opera"
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Drago, Marganne. "Presenting Opera to College Students." Music Educators Journal 79, no. 6 (February 1993): 40–42. http://dx.doi.org/10.2307/3398549.
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Tager, Michele. "Soap opera viewing in a communal context." Communicare: Journal for Communication Studies in Africa 23, no. 2 (October 24, 2022): 1–20. http://dx.doi.org/10.36615/jcsa.v23i2.1757.
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This paper presents some of the findings of an ethnographic audience study of the soapopera viewing patterns and interpretations of Zulu-speaking students living in residencesat a South African university (Natal University’s Durban campus) who watch The Boldand the Beautiful (an American soap opera) and Generations (a South African soapopera). Although the research undertaken covered various aspects of the soap operaviewing experience and the consumption of an international vs a local soap opera, thispaper will focus specifically on the nature of the viewing process and the ways in whichthe respondents relate to both soap operas, and it touches briefly on how the viewingpatterns of the students and their motivations for watching compare with audiencestudies conducted elsewhere in the world.
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Yanko, Yu V. "Performing interpretation of the opera in the spectacles of the Opera Studio of the Kharkiv National I. P. Kotlyarevsky University of Arts in the late 20th – the early 21st century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 92–107. http://dx.doi.org/10.34064/khnum2-14.07.
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Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.
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Speake, Constance J. "Create an Opera with Elementary Students." Music Educators Journal 79, no. 6 (February 1993): 22–26. http://dx.doi.org/10.2307/3398545.
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Gong, Hongmin. "Problems and Countermeasures of the Popularization of Cantonese Opera Culture in Colleges." SHS Web of Conferences 151 (2022): 01006. http://dx.doi.org/10.1051/shsconf/202215101006.
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As a treasure of Lingnan art, Cantonese opera audience is mostly among the elderly, and young people today know very little about it, which has a serious impact on the inheritance and development of Cantonese opera art. Although the government and society have been paying more and more attention to Cantonese opera, the results have been limited. As the last stop for students to study, colleges shoulder the important mission of learning professional skills and completing values. Incorporating the art of Cantonese opera into the study and life of colleges, so that students can understand and like Cantonese opera, has a certain positive significance for the development of Cantonese opera.
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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (September 14, 2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.
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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.
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Hautsalo, Liisamaija. "The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera1." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 71–88. http://dx.doi.org/10.23865/nrme.v2.3024.
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This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.
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Rustandi, Ridwan, and Khoiruddin Muchtar. "EFFECTS OF EXPOSURE TO MASS MEDIA MESSAGES ON TEENAGE VEILED PERCEPTIONS." INJECT (Interdisciplinary Journal of Communication) 4, no. 2 (January 14, 2020): 153–74. http://dx.doi.org/10.18326/inject.v4i2.153-174.
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The purpose of this study was to determine the impact on the soap opera Aisyah Putri that aired on the private television station RCTI. This study uses a qualitative approach by relying on George Gebner's theory of states that television shows affect the audience. Data collection techniques through observation and interviews are three main aspects, namely cognitive, affective and conative, related to the effects of exposure to mass media messages. Female students of Al-Biruni High School in Bandung consisting of classes X, XI, and XII. The results of the study showed that the process of perception of teenagers on Aisyah Putri soap opera shows the stages of sensation, perception, and confirmation (memory and thinking). The motive for the use of headscarves for teenagers. The headscarf perception among adolescents, especially for students at Albiruni Cerdas Mulia Bandung High School has a strong influence on exposure to "Aisyah Putri" religious soap operas in terms of cognitive, affective and conative.
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Liu, Fen, Pravina Manoharan, and Wen Li. "A comparative study of college students’ attitudes before and after the introduction of Fuzhou tea-picking opera into course." International Journal of Education and Practice 11, no. 1 (January 20, 2023): 94–105. http://dx.doi.org/10.18488/61.v11i1.3264.
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This paper takes the music class of Fuzhou Preschool Normal College, Jiangxi Province, China as a case study to analyze the different attitudes of students to the traditional Chinese opera—Fuzhou tea-picking opera which has been introduced into the music class of the school, thus affecting the cultural inheritance effect. A total of 150 non-music major local college students were selected from three classes to carry out the music course inheritance practice for four months in Fuzhou Preschool Normal College. This study was divided into three stages, (a) student assessment, (b) teaching the lesson, (c) feedback and assessment. The aim of this study was to study the perceptions of students from Fuzhou Preschool Normal College, Jiangxi Province, China towards the art from of Fuzhou tea-picking opera, and to explore the factors affecting the learning attitudes of these students. Mixed-methods design was employed within the study. The study found that the implementation of the course significantly improved students’ positive attitude towards Fuzhou tea-picking opera. The implementation of the course played a positive role in promoting the inheritance of the tea-picking opera. Although this is a study on the inheritance of traditional Chinese music course, the ideas of course design and research results are applicable to other traditional Chinese music, and even to other countries which have needs for the inheritance of traditional music.
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Ni, Yuqi, Jiayi Lou, Yaxuan Wang, Congcong Yu, Yutong Li, Tianyu Xia, Yiting Xu, Xinlan Ru, and Shihua Cao. "A study on the current situation and countermeasures of the communication and development of college students' opera culture ---- A case study of universities in Hangzhou." Advances in Education, Humanities and Social Science Research 1, no. 3 (February 1, 2023): 180. http://dx.doi.org/10.56028/aehssr.3.1.180.
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Traditional Chinese opera is one of the outstanding traditional cultures and has a significant role in cultivating moral sentiments and enhancing cultural confidence. The effect of opera is gradually decrease among the contemporary university community, and there are widespread flaws in the cultural literacy of opera. The transmission and development of opera culture in universities is facing great challenge, so the popularisation of opera in the scale of campuses has become an urgent issue for improvement. This paper investigates the current situation of Chinese opera popularization in universities in Hangzhou city China, explores inherent problems and puts forward corresponding countermeasures and suggestions. In order to help universities to improve the education and popularisation of Chinese opera.
Dissertations / Theses on the topic "Students of opera"
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Boyes, Sandra Elizabeth. "Opera through drama, an integrated approach for secondary school students." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0019/MQ28699.pdf.
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Bhebhe-Mpofu, Adilaid. "An investigation into the popularity of Zimbabwe's first health communication soap opera, Studio 263 : a qualitative reception study of Bulawayo students aged between 15 and 20 years." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1013310.
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Within the context of debates concerning the reception and interpretation of media texts by television audiences, this qualitative reception study explores how a sample of Bulawayo students negotiate meanings from Zimbabwe's first health communication soap opera, Studio 263. The study thus examines the reasons behind the popularity of this programme with this target audience. The findings of the study reveal that meaning making is a complex process that is dependent on a variety of factors which include, among others, the socio-cultural context of media consumption, gender, economic disposition and age. It particularly maintains that gender and lived realities influence the interpretation and negotiation of meanings in this particular study.Adobe Acrobat Pro 11.0.0 Paper Capture Plug-in
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Andersson, Joakim. "Opera i Stockholm, Galärvarvet." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-35072.
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Molnar, Lee Marc. "Guide to Opera Stage Management for the Aspiring Theatrical Stage Manager." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428349593.
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Isaac-Johnson, Dianna. "Creating culturally relevant techonological operas in an urban school." Diss., St. Louis, Mo. : University of Missouri--St. Louis, 2007. http://etd.umsl.edu/r1841.
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O'Shea, Catherine Mary. "Making meaning, making a home: students watching Generations." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1002934.
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This thesis is a reception analysis using qualitative interviews to investigate black students' watching of a South African soap opera, Generations, taking into account the context of a largely white South African university campus. The findings of this study are that students find pleasure in talking about Generations and hold seemingly contradictory views on whether it is 'realistic' or not. The analysis concludes that watching Generations does serve to affirm these students' black identity, since there is a particular need to do so on a campus where black students witness and experience racial discrimination.
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Chuang, Ya-Ling, and 莊雅玲. "The Study of Noise Exposure for the Students in Traditional Opera School." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/06745329792652705040.
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碩士中國文化大學
勞工關係學系
104
This investigation studied the effect to hearing for Department of Traditional Music by the sound level of learning environment, personal noise dose, hearing threshold, and questionnaire. The sound levels of group performance and personal performance were measured. The average equivalent energy sound level of the instrumental ensemble course is 76.7 - 87.0 dB(A), the accompany Peking Opera course is 78.9 - 95.8 dB(A) and the luo-gu-jing course is 80.6-89.9 dB(A). The measurements to 10 instruments of personal performance are pipa, ruan, sanxian(three string guitar), guzheng, di(bamboo flute), sheng(reed pipe), suona(woodwind horn), dulcimer, piano and two-stringed huqin. There are 2 instruments including di and suona whose average equivalent energy sound level(Leq) are over 85 dB(A). Moreover, the average equivalent energy sound level from corridor is louder than that of the practice room. The average personal noise doses(8 hours) of the instrumental ensemble course is 20.4-95.1%, the accompany Peking Opera course is 90.5-535.4%, and the luo-gu-jing course is 21.4- 125.6%. The average personal noise doses (8 hours) of ten instruments from large to small order, are di(214%), suona(208.5%), dulcimer(156.5%), sheng (93.0%), erhu(86.2%), pipa(74.9%), sanxian(50.6%), ruan(45.7%), guzheng(17.0%) and piano (6.6%) during individual practice. From the hearing threshold and questionnaire, the students of compound school of ten-year system, more than 30 minutes of talking on cell phone per day, more than 1 hour of listening music by headset, and non-use earplugs show poorer hearing. According to the standard of occupational hearing loss in Taiwan, only one student raise hearing threshold. Moreover, based on the standard from American Academy of Otolaryngology, 12 students and 11 students raise hearing threshold respectively in low frequency range and high frequency range among 18 students. Furthermore, the audiograms pattern shows a typical notch in 4000 and 6000 Hz. It means the students might emerge early symptom of noise-induced hearing loss.
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Hung, Shin-I., and 洪心怡. "The research on how drama teaching affects junior high school students'' ability of appreciation of opera-take example by W.A.Mozart opera"Die Zauberflote"." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/09534929390620074040.
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碩士國立臺灣師範大學
音樂研究所
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For application of the theory of multiple intelligences in art and humanities education, one of the teaching methods is to integrate drama teaching into music teaching. Operas are a comprehensive expression of various kinds of arts. They can be used as the best teaching materials to help students experience the beauty of different arts at the same time. This study probed into the effects of the integration of drama teaching with opera appreciation through discussion of literature, analysis of learning surveys as well as analysis and study of the teaching results of “leading students to appreciate operas through drama teaching”. The purposes of this study were: (1) to understand junior high school students’ attitude toward opera appreciation, (2) to discuss factors affecting students desire for opera appreciation, (3) to investigate into the significance and value of drama teaching in art education, (4) to know junior high school students’ acceptance psychology toward drama teaching and the feasibility of implementing drama teaching in music courses, and (5) to discuss students’ aesthetic perception of the operas through drama teaching In this study, six classes of Yang Min Junior High School, Kaohsiung City were used as subjects. They were divided into three groups: A, B, and C. Group A consisted of one class (the 2nd grade students). All students of the class were responsible for presentation of an opera in a manner of play. Group B included three classes (the 1st grade students). The students of each class were further divided into small groups. Each group was responsible for a small part of an opera and presented the opera in the form of play. Group C consisted of one class of each the 1st grade and the 2nd grade. For group C, teachers made a brief introduction of operas in class. From analysis of the learning surveys and observation in class, the researcher founded that: 1. The effects of “drama teaching” received favorable comments from students. 2. In the aspect of design in drama teaching, the contents of drama teaching for Group B could be regarded as a better design. 3. The drama teaching was able to increase students’ interest in appreciation of operas. 4. The drama teaching could enhance students’ aesthetic ability through appreciation of operas. 5. The drama teaching helped the junior high school students’ to have a further understanding of the stories and characters of the dramas they saw. According to the results of this study, the researcher put forward the following suggestions: 1. To help students develop their active thinking and creative spirit. 2. To pay attention to the creation of a learning atmosphere emphasizing mutual help and cooperation. 3. To assign each group moderate tasks upon implementation of drama teaching. 4. To enhance the maintenance of classroom order. 5. To provide music teachers with opportunities of advanced study and training in the field of performance arts. 6. To increase equipment and resources of the music classroom. 7. To hold large performance activities. From the results of the study on how to lead students to appreciate operas through drama teaching, the researcher worked out a feasible plan for reference in implementing drama teaching and submitted the said suggestions for future studies.
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SU, JUI-JU, and 蘇瑞儒. "The Effects of Teaching about Taiwanese Opera on Attitudes of Wu Jiang Primary School Students." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7m7a3h.
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碩士大仁科技大學
休閒事業管理研究所
106
Taiwanese Opera is a comprehensive art that combines music, drama, dance, and art. It plays an important role in local opera. In the early days of traditional agricultural society in Taiwan, watching an opera at temple used to be the most popular leisure and entertainment for people. However, with the changes of the times and the impact of diversified entertainment, it is a pity that Taiwanese operas are gradually declining. How we can demonstrate the local color and spirit and explore the identity and mainstream value for this land is critical. This is one of the motivations for this study. Through the performance and appreciation of traditional operas, the study is going to explore whether Taiwanese opera will promote the attitudes of students in learning about cultural and leisure activities. This is the second motivation. The study investigated part of students from grade 4 to 6 in Wu Chiang Primary School where I work. The study takes the teachers as researchers, activities related to teaching as research materials, daily teaching situation as research situation, and improvement of teaching activities as research purpose. The author would head for the teaching site performing operas to implement the teaching methods, taking Taiwanese opera music as major teaching material and Taiwanese opera as supplementary material for appreciation. In this study, Qualitative Research of Action Research was conducted, and the results of the study were found as follows: 1. The “school-based” and “comprehensive field” courses integrated into the design philosophy of Taiwanese opera music teaching can change school-children’ attitude towards the appreciation of Taiwanese opera. 2. Taiwanese opera music teaching can facilitate the implementation of traditional art and leisure culture education among school-children. 3. Taiwanese opera music teaching can promote primary students’ interest in traditional art and leisure culture. Their attitudes towards the traditional art and leisure cultures can unconsciously be changed as well. Suggestions: 1. Taiwanese opera teaching requires the method of team teaching. Teachers who seek common ideas for traditional art should enrich themselves with the qualities of the traditional art and leisure culture. 2. Provide teachers wishing to teach traditional art with the opportunity for further study, make up for the expenses to increase the school tour, and enrich the classroom equipment and resources.
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彭心晏. "The Learning Process and Effectiveness of Using WebQuest for Beijing Opera Appreciation for Sixth-Grade Elementary Students." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/78653347295999200147.
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碩士臺北市立教育大學
音樂學系教學碩士學位班
98
The aim of this study was to investigate the learning process and effectiveness of sixth-grade elementary students in the WebQuest for Beijing Opera appreciation program. Specific research purposes included the studying of students’ participation situation and their problem encountered in such appreciation activities, as well as the examining of their learning effects in Beijing Opera cognition and appreciating attitudes. An exploratory case study was conducted, in which the researcher designed 8 lessons of the WebQuest for learning activities. Before the lessons, the researcher looked for appropriate internet information to build up linkages in the researched-designed WebQuest teaching web pages to allow for students’ exploring learning activities. Small groups among students were formed to facilitate the progressing of curriculum activities. In addition to appreciating Beijing Opera in the web pages, students had to collect and synthesize information on the teaching web pages, and to make oral reports on the stage. Three Beijing Opera repertoires of “San Cha Kou,” “The Monkey King” and “The legend of the White Snake: On the West Lake” were appreciated respectively, followed by the exposition to the brief history of Beijing Opera, performing art, role categories, Beijing Opera facial design, Beijing Opera costumes, and the Beijing Opera band. Participating observation, videotaping and documents collection were used by the researcher to achieve the research purposes. The findings of this study are stated as follows: 1. The WebQuest for Beijing Opera appreciation activities no only helped students to learn more about Beijing Opera, but also, led them to actively take part in classroom activities. 2. The related problems observed in the WebQuest for Beijing Opera appreciation activities included students’ sense of difficulty for certain terminology, their lack of self-control to internet, and the curriculum’s lack of appeal for them. 3. The WebQuest for Beijing Opera appreciation activities significantly enhanced students’ Beijing Opera cognition and appreciating attitudes.
Books on the topic "Students of opera"
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Becker, Meryl Robin. Samantha: A soap opera and vocabulary book for students of English as a second language. Ann Arbor: University of Michigan Press, 1993.
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Becker, Meryl Robin. Samantha: A soap opera and vocabulary book for students of English as a second language, teacher's manual. Ann Arbor: University of Michigan Press, 1993.
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Daniel, Wallace. Star Wars: The Jedi Path: A manual for students of the force. San Francisco, Calif.]: [Chronicle Books], 2011.
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Surico, Giuseppe, ed. 1913-2013. Florence: Firenze University Press, 2014. http://dx.doi.org/10.36253/978-88-6655-492-9.
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Cento anni e il cammino continua. Questa opera realizzata da un gruppo di professori della (ex)Facoltà di Agraria di Firenze ha l’unico intento di raccontare, attraverso pochi e significativi argomenti, i primi cento anni (1913-2013) di una istituzione che con i suoi ricercatori, tecnici e amministrativi, ha contribuito, come un solo corpo, all’avanzamento delle conoscenze nelle Scienze Agrarie e, in ambito territoriale, al successo del comparto agroalimentare toscano. Ma i veri protagonisti di questa opera non sono solo i Maestri della Scuola Agraria e Forestale fiorentina bensì le migliaia di studenti che in cento anni hanno frequentato, prima l’Istituto Nazionale Forestale e poi la Facoltà e che hanno portato in Italia e nel mondo i frutti degli insegnamenti ricevuti a Firenze.
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Xie, Yaolong. Da xue sheng zhi sheng huo xing tai yu guo ju guan shang xing wei zhi yan jiu. Taipei: s.n., 1986.
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Singher, Martial. An interpretive guide to operatic arias: A handbook for singers, coaches, teachers, and students. University Park, PA: Pennsylvania State University Press, 1995.
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Venezia, Gallerie dell'Accademia di, ed. '900 all'Accademia: Opere per il Nuovo museo. Venezia: Marsilio, 2001.
Find full textBook chapters on the topic "Students of opera"
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"Talks with Opera and Acting Students." In Stanislavski's Legacy, 32–39. Routledge, 2015. http://dx.doi.org/10.4324/9781315059792-12.
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Wilson, Alexandra. "Repertories." In Opera in the Jazz Age, 125–53. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190912666.003.0005.
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This chapter establishes that different types of opera were classified differently during the 1920s and considers questions of contemporary canon formation. Early opera and some modern operas were acceptable to highbrow tastes; German opera was preferable to Italian. The chapter begins by establishing what the 1920s British operatic repertoire was and considering the ways in which it was perceived to be ossifying into a ‘museum culture’. It considers the repertoire performed by the touring companies and how they adjusted their programming to suit the tastes of different cities. Innovative attempts by Oxford students to revive early opera are discussed. The chapter examines why nineteenth-century Italian opera was deemed so problematic by highbrow commentators, before considering how Wagner’s works cut across highbrow–middlebrow categories in surprising ways. It concludes by considering operatic topics that were deemed particularly well-suited to British tastes, and whether Britain could properly be called an operatic nation at all.
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Stock, Jonathan P. J. "Introduction." In Huju. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262733.003.0001.
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This introductory chapter first sets out the purpose of the book, which is to present the history and music of Shanghai opera to students and scholars of ethnomusicology. Chinese music, despite being much researched by a large body of scholars, sometimes seems to remain in a peripheral position within the discipline as a whole. This study also aims to re-evaluate certain aspects of current ethnomusicological theory and practice. The chapter considers the use of the term ‘opera’ in the Chinese context followed by a discussion of Shanghai opera. An overview of the subsequent chapters is also presented.
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Joncus, Berta. "‘When Farce and when Musick can eke out a Play’: Ballad Opera and Theatre’s Commerce." In The Edinburgh Companion to Literature and Music, 296–303. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0029.
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Ballad opera, fathered by John Gay in 1728 and propelled forward by Henry Fielding until 1736, capitalised on tensions rampant in eighteenth-century theatre. Its music joined with the literary and theatrical traditions of pastoral, satire, burlesque and sentimental comedy in riotous, heterodox works connected not by similar content but by shared practice. John Ralph, lampooning the genre in his ballad opera The Fashionable Lady (1730), succinctly articulated the practices and critical reception of current ballad opera productions in ways illuminating for students of the genre. A close reading of Ralph’s burlesque will allow us to identify how Gay, Fielding and others first formulated, and then brilliantly exploited, ballad opera’s curious dramatic syntax, crucial to which were the manipulation of generic formulae and the introduction of musical numbers to interrupt the narrative flow.
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Mordden, Ethan. "To Love Another Person Is To See the Face Of God." In Pick a Pocket Or Two, 170–77. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0012.
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This chapter discusses the emergence of the through-song British musical, also known as “pop opera.” This can be dated from the afternoon of March 1, 1968, when parents (mainly mothers) of students at Colet Court School watched an end-of-term performance of a twenty-minute version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. By 1991, Lloyd Webber and Rice had officially created the first performance in the history of pop opera which was Jesus Christ Superstar (1971). Lloyd Webber's ability to compose consistently in a single voice, or to eclecticize, in other words, to teach the audience to navigate the action through musical signifiers is not appreciated enough. Tim Rice's ease in “conversationalizing” the bigger-than-life figures that pop opera delights in is similarly underrated, because he makes it look easy. The biggest hit in this period of musical history is Les Misérables (1985). This show's saga started when Alain Boublil sees Superstar and decides to write something comparable. It was written with composer Claude-Michel Schönberg.
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Bryan, Simms. "Helene Berg and the Management of Berg’s Legacy, 1936–76." In Berg, 401–42. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.003.0012.
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Following Berg’s death the most pressing problem was the completion of the opera Lulu. Universal Edition contracted with Arnold Schoenberg to complete the work but Schoenberg subsequently declined. The opera was premiered in a two-act version in Zurich in 1937. Helene Berg’s involvement with anthroposophy shaped her contention that Berg was still in communication with her and that Lulu’s third act should never be completed. Universal Edition commissioned the completion by Friedrich Cerha, and the premiere of the three-act version was held in Paris in 1979, after Helene Berg’s death. Helene Berg undertook a publication of her husband’s letters to herself, created the Alban Berg Foundation, and donated Berg’s manuscripts and papers to the Austrian National Library. Helene Berg died in 1976. Biographies of Berg were first written by his friends and students, including Willi Reich and Soma Morgernstern, later by those outside of his circle such as Hans F. Redlich.
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"Interview with Renato Garavaglia." In Nostalgia for the Future, edited by Angela Ida De Benedictis and Veniero Rizzardi, 247–62. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291195.003.0030.
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This chapter presents an interview with Renato Garavaglia. The interview covered a variety of topics including Nono's trip to the United States and meeting with Zubin Mehta, students, and the organization of American musical life; his relationship with Varès; his trip to Darmstadt; his study of Giovanni Gabrieli; his relationship with Bruno Maderna and his first studies with him. It also covered his writing of La fabbrica illuminata and how he spent three days with the workers of Italsider of Genoa discussing his work with them, recording their words, and the acoustic environment in which they worked. Finally, it referred to his new works, particularly a string quartet and Prometeo, and what importance writing an opera has today.
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Nesmann-Aas, Inga Marie. "Contextual In-Depth Knowledge as a Liberating Force in Artistic and Pedagogical Communication of Early Modern Material." In Views on Early Music as Representation, 97–118. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch3.
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How are essential parts of early modern material communicated in our present-day context? This chapter addresses the issue of how the historical is expressed in artistic contexts, and presents examples showing that this also applies in a pedagogical context. The argument asserts that in-depth study and knowledge result in greater freedom when making informed choices in relation to the material itself, and communicating it to students and audiences. Through various historical sources, in-depth analysis of text structure, rhetoric, and early modern references, this chapter presents a possible way forward. The case used is Henry Purcell’s Dido and Aeneas, with libretto by Nahum Tate. This work is part of a larger whole in the author’s doctoral dissertation. For the first time, a topomorphological analysis of the opera is presented, shedding light on rhetorical structures within the work, thus adding fascinating layers of meaning to the understanding of it. Using this material in pedagogical and artistic work expands the potential for interpretation. Bridging the gap between theory and practise enables us to access both a deeper and wider foundation for our pedagogical and artistic communication of early modern material.
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Garafola, Lynn. "Amazon of the Avant-Garde." In La Nijinska, 31–71. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0002.
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Nijinska and her husband spend the 1914–1915 theatrical season in St. Petersburg (renamed Petrograd after Russia enters the war), where they are engaged by Narodny Dom. The following year they settle in Kiev, where they are hired to stage opera dances at the City Theater but soon begin producing evenings of ballet. In 1917 Nijinska tries to join her brother in Western Europe but because of the Russian Revolution is unable to secure travel papers. With Kochetovsky, she spends several months in Moscow, where she meets the avant-garde painter Alexandra Exter and drafts the first iteration of her treatise on movement. The family returns to Kiev where Nijinska opens the School of Movement in February 1919, only weeks after the birth of her son, Lev, and the Bolshevik invasion of the city. In the next two years Nijinska transforms her students into a performing group allied with the city’s left-wing arts community. Galvanized by her vision of a new dance, they applaud her first modernist solos and dance in her first plotless group works. Nijinska also collaborates with the avant-garde stage directors Les Kurbas and Marko Tereshchenko and with the artist Vadim Meller, whose paintings leave vivid impressions of her dancing. In 1921, with her mother and two children, Nijinska flees Ukraine and joins thousands of Russians in emigration.
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"The Emergence of the Assemblea operai e studenti." In The Weight of the Printed Word, 193–205. BRILL, 2021. http://dx.doi.org/10.1163/9789004471542_016.
Full textConference papers on the topic "Students of opera"
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Pirjo, Suvilehto. "“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.
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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. A method called Pritney has been created to realize the project. The theoretical background consists of puppetry and literary arts. The paper will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with kindergarten children. There is a need for collaborative encounters during the processes of puppetry and opera. Based on the observations and remarks of university students doing their puppetry and opera project, this paper considers the value of conveying puppetry and opera to a child audience as a stimulation for curiosity and emotions. All this reflection is followed by the examples of practice in ECE studies. Performing opera with puppets is beneficial. In summary, the artistic experiments created by puppetry and opera are valuable in transferring cultural heritage and creating aesthetic and pedagogical moments. There is also a short consideration of a project called “Rinnalla−Hand in Hand” (2018−2020) funded by Finnish ministry of education, in which the Pritney method is further developed (see also Suvilehto 2019).
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Klimenko, Elena. "Teaching Opera Singing to Visually Challenged Students. As a Way of Sociocultural Rehabilitation." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.343.
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Klimenko, Elena, Peter Gluboky, Ekaterina Kovalyova, and Irina Brodskaya-Karelina. "Methodological Specifics of Teaching the Art of Opera Singing to Students with Visual Impairments and Musculoskeletal System Disorders." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.104.
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