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Articles de revues sur le sujet « OpEpA »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Gagliardi, Bruna, Tereza Cristina de Carvalho, Túlio Lourenço Pupim, et al. "Efeito de fungicidas para controle da ferrugem asiática na qualidade de sementes de soja." Revista Brasileira de Sementes 31, no. 4 (2009): 120–25. http://dx.doi.org/10.1590/s0101-31222009000400014.

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Para avaliar o efeito residual de fungicidas para o controle da ferrugem asiática (Phakopsora pachyrhizi) em sementes de soja do cultivar BRS-133 utilizaram-se 13 tratamentos (Testemunha, Priori + Nimbus, Aproach + Nimbus, Priori Xtra + Nimbus, Sphere + Aureo, Opera, Stratego + Aureo, Nativo + Aureo, Impact Duo + Oppa, Celeiro + Iharol, Battle + Oppa, Aproach Prima + Nimbus, Folicur ). O experimento foi conduzido em campo experimental em Paulínia-SP, em delineamento em blocos ao acaso, com quatro repetições. O efeito residual dos fungicidas nas sementes foi analisado pelos testes de germinação

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2

Barroso da Silva, Fernando Luís, Fabio Sterpone, and Philippe Derreumaux. "OPEP6: A New Constant-pH Molecular Dynamics Simulation Scheme with OPEP Coarse-Grained Force Field." Journal of Chemical Theory and Computation 15, no. 6 (2019): 3875–88. http://dx.doi.org/10.1021/acs.jctc.9b00202.

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3

Donington, Robert. "Opera as Opera Is." Musical Times 128, no. 1732 (1987): 314. http://dx.doi.org/10.2307/1193723.

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4

McEwen, Mitch, and Marcelo López-Dinardi. "House Opera | Opera House." ARQ (Santiago), no. 91 (December 2015): 26–31. http://dx.doi.org/10.4067/s0717-69962015000300004.

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5

Nurmuxamedov, Beknazar Bahodir o'g'li, Muhammadali Sherzodbek o'g'li Jo'rayev, and Gulmira Komiljonovna Normuminova. "HISTORICAL DESCRIPTION OF THE PLACE AND STAGES OF DEVELOPMENT OF THE ART OF OPERA IN UZBEKISTAN." GOLDEN BRAIN 1, no. 12 (2023): 80–82. https://doi.org/10.5281/zenodo.7902200.

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Helman, Alicja. "Opera w filmie — opera filmowa." Literatura i Kultura Popularna 24 (April 18, 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.

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Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.

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7

Kim, Katalin. "A National Opera Abroad Ferenc Erkel's Opera Hunyadi László Performed Outside of Hungary." Musicologica Olomucensia 35, no. 2 (2024): 79–107. http://dx.doi.org/10.5507/mo.2023.011.

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8

Anderson, Robert. "Opera." Musical Times 127, no. 1717 (1986): 155. http://dx.doi.org/10.2307/965500.

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9

Osmond-Smith, David, and Rudy Shackelford. "Opera..." Musical Times 129, no. 1746 (1988): 405. http://dx.doi.org/10.2307/965970.

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10

FRANK, EDWIN. "OPERA." Yale Review 98, no. 4 (2010): 80–87. http://dx.doi.org/10.1353/tyr.2010.0084.

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11

Kirsch, Adam. "Opera." Hopkins Review 11, no. 1 (2018): 20. http://dx.doi.org/10.1353/thr.2018.0004.

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12

Buckley, Christopher. "Opera." Iowa Review 26, no. 1 (1996): 160–61. http://dx.doi.org/10.17077/0021-065x.4555.

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13

FRANK, EDWIN. "OPERA." Yale Review 98, no. 4 (2010): 80–87. http://dx.doi.org/10.1111/j.1467-9736.2010.00668.x.

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14

Clum, John M., Wayne Koestenbaum, and John Dizikes. "Opera without Queens/ Queens without Opera." Performing Arts Journal 16, no. 2 (1994): 107. http://dx.doi.org/10.2307/3245765.

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15

Gilman, Todd. "The Beggar's Opera and British Opera." University of Toronto Quarterly 66, no. 3 (1997): 539–61. http://dx.doi.org/10.3138/utq.66.3.539.

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16

Ferrari, Gabrielle. "Opera Archeology,  Opera Apocalypse." PAJ: A Journal of Performance and Art 46, no. 2 (2024): 61–67. http://dx.doi.org/10.1162/pajj_a_00713.

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17

Nicoleta, Mirza. "The Work of Art in Jung’s Approach." Incursions into the Imaginary 9, no. 1 (2018): 279–88. http://dx.doi.org/10.29302/inimag.2018.9.19.

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18

Apter, Ronnie, and Mark Herman. "Opera Translation: Turning Opera Back into Drama." Translation Review 59, no. 1 (2000): 29–35. http://dx.doi.org/10.1080/07374836.2000.10523755.

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19

Nicholls, D. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/129.1.100.

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20

Nicholls, David. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/fkh004.

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A number of authors, including John Covach and especially Edward Macan, have investigated the links between art music and progressive rock. This article builds on and extends such work by positing, defining, discussing and dissecting a hybrid genre I term virtual opera. Exemplified by such albums as The Who's Tommy (1969) and Quadrophenia (1973), Genesis's The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979), each of which is subjected to detailed examination, virtual operas find their ideal site of performance between the ears of individual listeners, rather than on sta

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21

Hutcheon, Linda, and Michael Hutcheon. "Opera and National Identity: New Canadian Opera." Canadian Theatre Review 96 (September 1998): 5–8. http://dx.doi.org/10.3138/ctr.96.001.

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Much has changed on the Canadian stage since 1969, when composer Barbara Pentland lamented to Musicanada that “[w]hat comes from outside the country must de facto be superior. Prime example: the opening of our multi-million-dollar ‘National’ Arts Centre with an imported French ballet company dancing to a score by a Greek composer conducted by an American born in Germany” (qtd. in Kallmann and Potvin 1033). In fact, by 1969 things were already changing – at least on the operatic stage. The centennial year 1967 had made government money available for commissions, and as a result there was an exp

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22

Dilara, Çelik. "Opera Sanatının Tarihçesi ve Tanzimat'tan Günümüze Opera." Premium e-Journal of Social Sciences 7, no. 35 (2023): 1300–1310. https://doi.org/10.5281/zenodo.10029098.

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Yunan mitolojisini tekrar canlandırmak üzere bir araya gelen Camerata topluluğundan Jacopo Peri'nin bestelediği ve İtalyan şair Ottavio Rinucci'nin librettosunu yazdığı "Daphne" isimli opera tarihteki ilk opera olarak kabul edilmektedir. 1594 yılında İtalya'nın Floransa kentinde ortaya çıkan opera sanatı, günümüze kadar çeşitli dönemlerden geçmiştir. Daphne'nin ardından opera sanatını geliştiren ilk besteci Claudio Monteverdi olmuştur. 1607'de sahneye koyulan "La Favola d'orfeo" operası, opera tarihinin gelişiminde önemli bir dönüm noktası olarak kabul edilmiştir. Klasik batı müziğinde Rönesan

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23

Posavec, Stjepan, Karlo Beljan, Nina Herceg, and Špela Pezdevšek Malovrh. "Contingency Valuation of Croatian Arboretum Opeka." South-east European forestry 3, no. 2 (2012): 97–101. http://dx.doi.org/10.15177/seefor.12-11.

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24

Tomof, Kiril. "Italian opera in Stalin’s Soviet Union." Contemporary Musicology, no. 3 (2019): 107–49. http://dx.doi.org/10.56620/2587-9731-2019-3-107-149.

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This article explores the role of Italian opera in Soviet musical life from the end of World War II through the beginning of the Cold War. Italian opera provided inspiration for Soviet musical careers, exemplars against which Soviet musical development was measured, and simple musical enjoyment for Soviet audiences. The article analyzes two archival source bases that shed light on these dynamics. One source is box office data from the opera and ballet theaters in Moscow, Leningrad, and the Soviet Union's national republics. Analysis of this data demonstrates that operas by Italian composers pr

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25

Stothart, Robert. "Opera House." Missouri Review 44, no. 1 (2021): 42–59. http://dx.doi.org/10.1353/mis.2021.0005.

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26

Forbes, Elizabeth, and John W. Freeman. "Repertory Opera." Musical Times 126, no. 1711 (1985): 538. http://dx.doi.org/10.2307/964464.

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27

Forbes, Elizabeth, William R. Moran, Roger Blanchard, Roland de Cande, and Robert H. Cowden. "Opera Voices." Musical Times 128, no. 1727 (1987): 28. http://dx.doi.org/10.2307/964636.

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28

Banfield, Stephen. "British Opera." Musical Times 127, no. 1726 (1986): 693. http://dx.doi.org/10.2307/964675.

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29

Millington, Barry. "Producer's Opera." Musical Times 128, no. 1735 (1987): 476. http://dx.doi.org/10.2307/964839.

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30

Cross, Eric, and A. Scarlatti. "Scarlatti Opera." Musical Times 126, no. 1714 (1985): 735. http://dx.doi.org/10.2307/965207.

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31

Keys, Ivor, and Ian Kemp. "Grand Opera." Musical Times 130, no. 1760 (1989): 612. http://dx.doi.org/10.2307/965584.

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32

Forbes, Elizabeth, Robert Turnbull, Ethan Mordden, and Rupert Christiansen. "Opera Compendia." Musical Times 129, no. 1747 (1988): 462. http://dx.doi.org/10.2307/965670.

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33

Brown, David, and Nicholas John. "Opera Guide." Musical Times 129, no. 1747 (1988): 464. http://dx.doi.org/10.2307/965673.

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34

Roseberry, Eric, Prokofiev, and Shostakovich. "Russian Opera." Musical Times 132, no. 1786 (1991): 614. http://dx.doi.org/10.2307/965796.

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35

Steane, John, Henry Pleasants, and Earl of Harewood. "Opera Surveyed." Musical Times 131, no. 1765 (1990): 147. http://dx.doi.org/10.2307/966004.

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36

Donington, Robert, and Nicholas John. "Opera Guides." Musical Times 130, no. 1756 (1989): 349. http://dx.doi.org/10.2307/966037.

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37

Donington, Robert, and Joseph Kerman. "Opera Revisited." Musical Times 130, no. 1762 (1989): 749. http://dx.doi.org/10.2307/966765.

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38

Dean, Winton, and George Martin. "Opera Surveyed." Musical Times 130, no. 1762 (1989): 750. http://dx.doi.org/10.2307/966766.

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39

Potter, Keith, Philip Glass, and Robert T. Jones. "Opera Glass." Musical Times 129, no. 1749 (1988): 602. http://dx.doi.org/10.2307/966792.

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40

Chater, James, Hubert Naich, and Don Harran. "Opera Omnia." Notes 44, no. 3 (1988): 559. http://dx.doi.org/10.2307/941537.

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41

Susskind, Charles, and John Tyrrell. "Czech Opera." Notes 47, no. 4 (1991): 1158. http://dx.doi.org/10.2307/941649.

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42

Autexier, Philippe A., and John Tyrrell. "Czech Opera." Revue de musicologie 75, no. 1 (1989): 117. http://dx.doi.org/10.2307/928979.

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43

Koprowski, Richard, and Ethan Mordden. "Opera Anecdotes." Notes 42, no. 4 (1986): 787. http://dx.doi.org/10.2307/897799.

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44

Harwood, Gregory W., David Kimbell, and Deirdre O'Grady. "Italian Opera." Notes 49, no. 2 (1992): 561. http://dx.doi.org/10.2307/897913.

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45

Chater, James, Alfonso Ferrabosco, and Richard Charteris. "Opera Omnia." Notes 44, no. 4 (1988): 807. http://dx.doi.org/10.2307/941041.

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46

de Toledo, Benedito Lima, and Elza B. de Oliveira Marques. "Opera Houses." Journal of Decorative and Propaganda Arts 21 (1995): 42. http://dx.doi.org/10.2307/1504131.

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47

Graham, Stephen. "Opera Resources." Music Educators Journal 79, no. 3 (1992): 6. http://dx.doi.org/10.2307/3398469.

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48

Larkin, Fiona. "[Tesco Opera]." Circa, no. 111 (2005): 41. http://dx.doi.org/10.2307/25564266.

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49

Lysloff, René T. A. "Opera Jawa." Visual Anthropology 28, no. 5 (2015): 451–53. http://dx.doi.org/10.1080/08949468.2015.1086216.

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50

AGOL, A. W. "Opera Krostik." Opera Quarterly 16, no. 2 (2000): 257–59. http://dx.doi.org/10.1093/oq/16.2.257.

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