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Articles de revues sur le sujet « Intermezzi »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 18 février 2022

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1

RICE, JOHN. "The Roman intermezzo and Sacchini's La contadina in corte." Cambridge Opera Journal 12, no. 2 (July 2000): 91–107. http://dx.doi.org/10.1017/s0954586700000914.

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The origins of the Roman intermezzo, an important and influential sub-genre of Italian comic opera, can be traced back to the 1730s, when the composer and librettist Benedetto Micheli wrote several two-part intermezzi for the Teatro Valle and other theaters in Rome for performance during the intermissions of spoken plays. The Valle cultivated the intermezzo with particular consistency during the next six decades, presenting works by many distinguished composers, including Sacchini, Paisiello, and Cimarosa. Sacchini's La contadina in corte, on a libretto derived from Giacomo Rust's three-act co

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Howell, Tim. "Brahms, Kierkegaard and Repetition: Three Intermezzi." Nineteenth-Century Music Review 10, no. 1 (June 2013): 101–17. http://dx.doi.org/10.1017/s1479409813000050.

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Schoenberg's ideas about ‘Brahms the progressive’ involve the close study of the composer's use of ‘developing variation’ technique, yet Brahms's music also contains a high incidence of repetition. In 1843, the Danish philosopher Søren Kierkegaard published a book called Repetition under the pseudonym, ‘Constantin Constantius’. As an encryption of his underlying philosophy, this pseudonym encapsulates both the constant nature of repetition – and its more subtle element of change. Thus stasis and dynamism, similarity and difference, are equally (and visibly) represented here. Kierkegaard's idea

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Bye, Antony, Emma Johnson, Malcom Martineau, RPO, and Groves. "Stanford: Clarinet Concerto; Three Intermezzi Finzi: Clarinet Concerto; Five Bagatelles." Musical Times 134, no. 1799 (January 1993): 46. http://dx.doi.org/10.2307/1002649.

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Newman, Karen. "The Politics of Spectacle: La Pellegrina and the Intermezzi of 1589." MLN 101, no. 1 (January 1986): 95. http://dx.doi.org/10.2307/2905518.

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Gaakeer, A. M. P. (Jeanne). "‘A Person’s a Person, No Matter How Small’: enige literaire intermezzi." Boom Strafblad 1, no. 1 (May 2020): 4–6. http://dx.doi.org/10.5553/bsb/266669012020001001002.

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Milhous, Judith. "WHAT ARE YOU READING?" Theatre Survey 51, no. 2 (October 18, 2010): 291–94. http://dx.doi.org/10.1017/s0040557410000359.

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What might one read for an opera course? I teach an occasional survey that looks at opera in the context of theatre. It is intended to demystify opera for those who have no experience of it but also to explore some nooks and crannies that even fans might not know well. The general layout is chronological, but local production schedules may mean that we start out of order or that there are interruptions. My concern is that students be somewhat prepared when they go to see an opera on the syllabus. Rather than choose warhorses for their own sake, I seek out pieces that offer historical, politica

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7

Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No

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Rietveld, ABM, and John D. Macfarlane. "Oefening Baart Kunst—“Exercise Bears (Gives Birth To) Art”: Symposium for and by the Allied Health Professions of the NVDMG, Medisch Centrum Haaglanden, Den Haag, February 5, 2011." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 108–13. http://dx.doi.org/10.21091/mppa.2011.2017.

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On Saturday, February 5th, 2011, the Dutch Performing Arts Medicine Association (Nederlandse Vereniging voor Dans- en MuziekGeneeskunde, NVDMG) organized a Symposium for and by allied health care professionals, held in the Medisch Centrum Haaglanden (MCH, Medical Centre of The Hague). Allied health care professionals, such as physiotherapists, manual therapists, Mensendieck therapists, speech therapists, and foot therapists, form a vital and indispensable link in the chain of healthcare and cure for dancers, musicians, and singers. The intention of the symposium was to highlight the practical

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Quinziano, Franco. "Ecos cervantinos en los escenarios italianos del XVIII. Baretti y Corsetti: dos modelos de apropiación e inversión." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 111. http://dx.doi.org/10.17811/cesxviii.26.2016.111-135.

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RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figu

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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on it

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11

Chachulski, Jakub. ""Echo w lesie" Józefa Elsnera i Wojciecha Pękalskiego – późny pogłos włoskiego intermezza na warszawskiej scenie narodowej?" Muzyka 65, no. 2 (July 15, 2020): 105–46. http://dx.doi.org/10.36744/m.449.

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Przedmiotem artykułu jest jednoaktowa opera Echo w lesie Józefa Elsnera z tekstem Wojciecha Pękalskiego, rozpatrywana w kluczu określenia gatunkowego „intermezzo” nadanego jej oryginalnie przez obu twórców, podobnie jak kilku innym – dziś zaginionym – utworom Elsnera powstałym w latach 1808–1810, w większości z myślą o małżeństwie aktorów-śpiewaków Janie Nepomucenie i Joannie Szczurowskich. Tło historyczne uzasadnia uznanie tego określenia za sygnalizujące intencje nawiązania dla włoskich intermezzów buffa z końca XVIII w.; pod tym kątem zanalizowane zostają fragmenty opisywanego utwóru, ujawn

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12

. "Intermezzo." Huisarts en Wetenschap 44, no. 13 (December 2001): 42. http://dx.doi.org/10.1007/bf03082323.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 138. http://dx.doi.org/10.1007/bf03082367.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 139. http://dx.doi.org/10.1007/bf03082368.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 142. http://dx.doi.org/10.1007/bf03082370.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 144. http://dx.doi.org/10.1007/bf03082372.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 145. http://dx.doi.org/10.1007/bf03082373.

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18

Brenner, Miriam. "Intermezzo." Magma 1, no. 5 (December 6, 1998): 141. http://dx.doi.org/10.11606/issn.2448-1769.mag.1998.87440.

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19

Blei, Andres T. "Intermezzo." Hepatology 44, no. 1 (2006): 2. http://dx.doi.org/10.1002/hep.21278.

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20

Клименко, Олена. "Intermezzo." Дніпро, no. 10 (2009): 102–22.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 5 (May 2002): 570. http://dx.doi.org/10.1007/bf03083020.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 623. http://dx.doi.org/10.1007/bf03083046.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 635. http://dx.doi.org/10.1007/bf03083049.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 655. http://dx.doi.org/10.1007/bf03083054.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 728. http://dx.doi.org/10.1007/bf03083090.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 729. http://dx.doi.org/10.1007/bf03083091.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 730. http://dx.doi.org/10.1007/bf03083092.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 731. http://dx.doi.org/10.1007/bf03083093.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 2 (February 2002): 791. http://dx.doi.org/10.1007/bf03083123.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 2 (February 2002): 798. http://dx.doi.org/10.1007/bf03083125.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 1 (January 2002): 856. http://dx.doi.org/10.1007/bf03083152.

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Zaat, Joost. "Intermezzo." Huisarts en Wetenschap 47, no. 9 (September 2004): 365. http://dx.doi.org/10.1007/bf03083791.

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. "Intermezzo." Huisarts en Wetenschap 47, no. 7 (July 2004): 501. http://dx.doi.org/10.1007/bf03083859.

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34

Hart, B. "Intermezzo (1924)." Opera Quarterly 15, no. 3 (January 1, 1999): 608–12. http://dx.doi.org/10.1093/oq/15.3.608.

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35

Kuschel, Frank. "Das Straßburger Intermezzo." Nachrichten aus der Chemie 66, no. 7-8 (July 2018): 758–60. http://dx.doi.org/10.1002/nadc.20184071569.

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36

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko

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37

Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Music Theory Forum 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.15571/mtf.2015.22.2.57.

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Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Yonsei Music Research 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.16940/ymr.2015.12.57.

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Ковальчук, О. ""Intermezzo" (Імпресіонізм + експресіонізм + сюрреалізм? )". Дивослово, № 9 (672) (2015): 51–55.

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40

Schmit, Sabine. "Kurzes Intermezzo der Dentisten." Der Freie Zahnarzt 58, no. 2 (February 2014): 34–35. http://dx.doi.org/10.1007/s12614-014-1898-6.

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41

Asztalos, Bence. "Richard Strauss’ Forewords to Intermezzo." Studia Universitatis Babeş-Bolyai Musica 62, no. 1 (June 20, 2017): 233–43. http://dx.doi.org/10.24193/subbmusica.2017.1.16.

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42

Schuster, Heidi. "Der Hackerparagraph — ein kurzes Intermezzo?" Datenschutz und Datensicherheit - DuD 33, no. 12 (December 2009): 742–46. http://dx.doi.org/10.1007/s11623-009-0195-z.

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Garber, Thorsten. "Vorstandschef-Wechsel nach kurzem Intermezzo." return 6, no. 6 (December 2019): 9. http://dx.doi.org/10.1007/s41964-019-0179-0.

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Mrdeža Antonina, Divna. "Scenski kontekst "Komedija" Nikole Nalješkovića." Croatica et Slavica Iadertina, no. 1 (January 18, 2017): 195. http://dx.doi.org/10.15291/csi.268.

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Mnogim se tekstovima različite generičke pripadnosti u starijoj hrvatskoj književnosti prepoznaju žanrovski poticaji iz talijanske književnosti. Kad je riječ o Nalješkovićevim pastirskim prizorima, jednostavnim pastoralnim podvrstama (u rukopisima naslovljenim "Komedije", s rednom oznakom od I. do IV.) književna povijest uglavnom spominje kao izvore eklogu i pastoralu. Postojanje brojnih i pastoralnih i ekloških elemenata u Nalješkovićevim tekstovima pruža dovoljno opravdanja za takvo gledanje, ali zagledanje na teatarsku scenu susjedne nam Italije, koja je, znamo, u to vrijeme nudila novine c

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Mirosnicenko, Svetlana. "The genesis of the genre intermezzo." Godisnjak Uciteljskog fakulteta u Vranju, no. 6 (2015): 391–98. http://dx.doi.org/10.5937/gufv1506391m.

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Bergsjo, Per. "African intermezzo: Home birth, Masai style." Acta Obstetricia et Gynecologica Scandinavica 72, no. 8 (January 1993): 597–98. http://dx.doi.org/10.3109/00016349309021148.

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Nikoriak, Nataliia. "Original Minority: The Screenplay Based on the Literary Text (“Intermezzo” by Serhii Parajanov)." Pitannâ lìteraturoznavstva 95 (November 27, 2017): 160–74. http://dx.doi.org/10.31861/pytlit2017.95.160.

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Roche, E. "Intermedii, cantata and oratorio." Early Music 36, no. 3 (August 1, 2008): 485–87. http://dx.doi.org/10.1093/em/can086.

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49

Pavlov, Michael Y., Anders Liljas, and Måns Ehrenberg. "A recent intermezzo at the Ribosome Club." Philosophical Transactions of the Royal Society B: Biological Sciences 372, no. 1716 (March 19, 2017): 20160185. http://dx.doi.org/10.1098/rstb.2016.0185.

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Two sets of ribosome structures have recently led to two different interpretations of what limits the accuracy of codon translation by transfer RNAs. In this review, inspired by this intermezzo at the Ribosome Club, we briefly discuss accuracy amplification by energy driven proofreading and its implementation in genetic code translation. We further discuss general ways by which the monitoring bases of 16S rRNA may enhance the ultimate accuracy ( d -values) and how the codon translation accuracy is reduced by the actions of Mg 2+ ions and the presence of error inducing aminoglycoside antibiotic

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FRIEDSON, STEVEN M. "The unbearable weight of music: The intermezzo." Anthropology Today 35, no. 5 (October 2019): 11–15. http://dx.doi.org/10.1111/1467-8322.12528.

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