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Letteratura scientifica selezionata sul tema "Operas"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "Operas"

1

Xue, Chulan, Ruicong Ma, Zongchen Hou, and Shan Wang. "Study on accompaniment of dulcimer in Shandong Lv Opera and Wuyin Opera." SHS Web of Conferences 159 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202315902015.

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Shandong art is deeply influenced by Confucianism. As a big province of culture and drama, it has given birth to various kinds of operas and has strong local characteristics. Among various kinds of operas, dulcimer plays an important role as an accompaniment instrument, and is the primary instrument for many kinds of operas. Lv opera and Wuyin opera are two of the most important operas in Shandong, so this paper summarizes the characteristics and causes of the dulcimer accompaniment in Shandong local operas by analyzing the characteristics of the dulcimer accompaniment in Lv opera and Wuyin op

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2

Wang, Ziying. "The Interaction of Media and Wagner's Ring in A Modern Perspective." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 771–75. http://dx.doi.org/10.54097/vc50ay40.

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The research comprehensively explores the profound impact of media advancements on opera, particularly focusing on Richard Wagner's Der Ring des Nibelungen. It reveals how recording technology has revolutionized opera's accessibility and experience. This transformation has democratized the art form, extending its reach beyond elite circles to a global audience. In terms of production and promotion, the study highlights how Wagner's operas have adeptly utilized evolving media forms, ranging from print to digital platforms. This approach has significantly expanded the operas' global presence, fo

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3

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these

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4

Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.

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The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus&rsquo;. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI &ndash; XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. Th

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5

尚昱辰, 三明学院教育与音乐学院. "Fiction and Reality: Aesthetic Implication of the Love Ghost Opera in the Late Ming Dynasty." Sinology 2 (2019) 2 (2019): 81–108. https://doi.org/10.12906/9781682025222_004.

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As one of the main categories of ancient Chinese operas, ghost opera plays an important role in the opera history. And the love ghost subject opera, which contains the two themes of love and death, becomes more and more popular among the dramatists and audiences. The cultural imagination of the “ghost” in ancient Chinese opera is of great importance in the aspects of artistic function, opera adaptation, and image building, especially the “female ghost” images, realizing the ideal realization and aesthetic imagination for the dual-image of human and ghost in an “imaginary reality”. In the late

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6

Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.

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“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work

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Lin, Xu, Somkhit Sukerb, and Yingfeng Li. "Min Opera: Embodiment of Cultural Values and Educational Inheritance of Chinese Local Operas in the New Media Era." International Journal of Education and Literacy Studies 13, no. 2 (2025): 173–79. https://doi.org/10.7575/aiac.ijels.v.13n.2p.173.

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In the context of the digital age, the preservation and transmission of traditional Chinese operas face both challenges and opportunities, particularly with the rise of new media technologies. This study explores Min Opera as an embodiment of cultural values and a medium for educational inheritance, emphasizing the transformative role of new media in enhancing its dissemination, innovation, and audience engagement. By analyzing the characteristics of new media—such as fragmented communication, bidirectional interaction, and multi-platform integration—alongside the integration of digital techno

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8

BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.

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ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like

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Park, Chang-min. "A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts." Academic Association of Global Cultural Contents 57 (November 30, 2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.

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Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Fa

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10

Xue Chen, Zheng. "The System of Dominant Themes in the Operas of Jin Xiang." Университетский научный журнал, no. 76 (October 24, 2023): 101–9. http://dx.doi.org/10.25807/22225064_2023_76_101.

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The article’s author considers the system of dominant themes in the operas of the Chinese composer of the 20th century Jin Xiang, close to the principle of the end-to-end development of thematism in European and Russian classical opera. The author reveals the specifi cs of working with thematism in the operas “Savage Land”, “Yang Guifei” and “Eight Women Jump Into the River”. The research methods were a holistic and comparative analysis of the thematism of operas in terms of expressiveness, imaginative-semantic content, dramatic function, and symphonic development. The analysis of the “dominan

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Più fonti

Tesi sul tema "Operas"

1

Friedman, Arnold Jacob. "A Different Drummer: A Chamber Opera." Thesis, view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses.

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Evans, Anne Megan. "The evolving role of the director in Xiqu innovation." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=764745581&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233276975&clientId=23440.

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3

Salfen, Kevin McGregor. "Paintings and Palaces, or the Lament of the Burger Flipper." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2186/.

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The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food

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Asplund, Christian T. "Two chamber operas /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/15513.

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Bergström, Gunnel. "In search of meaning in opera : an opera singer's approach to the dialetics of words, music, & myth in opera from Monteverdi to Verdi /." Online version, 2000. http://bibpurl.oclc.org/web/26209.

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Marx, Hannelie. "Narrative and soap opera a study of selected South African soap operas /." Diss., Connect to this title online, 2007. http://upetd.up.ac.za/thesis/available/etd-05192008-162153/.

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O'Keefe, Patricia Beatrice. "Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699840/.

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Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work

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8

McKellar, Shannon Colwyn. "Institutional voices : five Britten operas." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267084.

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Artemas-Polak, Natalie. "The operas of Gustav Holst." Thesis, University of Surrey, 2006. http://epubs.surrey.ac.uk/843193/.

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Gustav Holst was a contributor to the genre of English opera throughout his career. His name is not usually associated with opera, and yet he composed thirteen in all; five were published, three are lost, and the remaining five exist solely in manuscript. The dissertation begins with Holst's background and influences, the most important of which were the music of Sullivan and Wagner, and the ways in which Holst's music of his early period imitated those styles. Other aspects with which Holst came into contact are discussed here; namely Sanskrit literature, the English folksong movement, and th

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Seinen, Nathan Christopher. "Prokofiev's Soviet operas : four essays." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283904.

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Più fonti

Libri sul tema "Operas"

1

Stanley, Sadie, ed. The New Grove book of operas. Macmillan, 1996.

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2

Paul, Driscoll F., ed. Fantastic opera: The great operas. Abrams, 1997.

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S, Gilbert W. The Savoy operas. Wordsworth Edns., 1994.

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Paul, Gruber, and Metropolitan Opera Guild, eds. The Metropolitan Opera book of Mozart operas. HarperCollins, 1991.

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5

1857-1918, Kobbé Gustav, ed. Kobbé's illustrated opera book: Twenty six of the world's best-loved operas. Putnam, 1989.

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1857-1918, Kobbé Gustav, ed. Kobbé's illustrated opera book: Twenty-six of the world's best-loved operas. Bodley Head, 1989.

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Ponte, Lorenzo Da. The Met Opera presents Wolfgang Amadeus Mozart's Così fan tutte. Amadeus Press, 2014.

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1635-1688, Quinault Philippe, and Duron Jean, eds. Cadmus & Hermione (1673). Mardaga, 2008.

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Knapp, J. Merrill. The magic of opera. Da Capo Press, 1985.

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Hubert, Reitterer, ed. Theodor Veidl und sein Opernwerk. Národní divadlo, 2005.

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Capitoli di libri sul tema "Operas"

1

Montgomery, Alan. "Baroque Operas." In Opera Coaching. Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-11.

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2

Matelski, Marilyn J. "Soap Operas." In Daytime Television Programming. Routledge, 2023. http://dx.doi.org/10.4324/9781032621890-4.

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Stevenson, David. "Stellar Soap Operas." In The Complex Lives of Star Clusters. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-14234-0_6.

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Smaczny, Jan. "Dvořák: The Operas." In Dvorak and His World, edited by Michael Beckerman. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.104.

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"Operas." In Unheard Of. Wilfrid Laurier Press, 2012. http://dx.doi.org/10.51644/9781554583980-014.

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"Operas." In Sing Musicals. WORLD SCIENTIFIC, 2023. http://dx.doi.org/10.1142/9789811279515_0005.

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"Operas." In Building Acoustics. CRC Press, 2015. http://dx.doi.org/10.1201/b18219-18.

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"Operas." In Meinrad Schütter. Boydell and Brewer, 2024. https://doi.org/10.1515/9781805434382-021.

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Pasler, Jann. "1.Narrative and Narratively in Music." In Writing Through Music. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195324891.003.0002.

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Abstract Beginning in the 1980s, the number of contemporary operas increased dramatically by comparison with the rest of the twentieth century, and the diversity of styles ranges across the entire field of musical thought. For example, with Donne stag as Light in 1981, Stockhausen began a series of seven operas, one for each day of the week. Two years later Messene finished his first opera, Saint François daisies. Philip Glass completed two operas, Satyagraha in 1980 and Akhenaten in 1984. In 1986 the English National Opera premiered the second of Harrison Birtwistle’s three operas, The Mask o

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Link, Dorothea. "A Neapolitan Prima Donna and the End of Josephine Opera, 1791–92." In The Italian Opera Singers in Mozart's Vienna. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044649.003.0012.

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The chapter illustrates how, with the Neapolitan singer Irene Tomeoni Dutillieu now the sole prima donna, the repertoire of the Italian opera company at the Viennese court changed almost entirely to imported Neapolitan operas. All the successful mixed-genre Viennese operas from the days of Joseph II were dropped. The book concludes with the observation that, notwithstanding the vicissitudes of the seasons, the opera’s directors knew enough to engage two equals prime donne for the company. Their presence encouraged the composition or adaptation of operas to feature two prima-donna roles, which

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Atti di convegni sul tema "Operas"

1

Bonardi, Alain, and Francis Rousseaux. "Composing interactive virtual operas." In the third conference. ACM Press, 1999. http://dx.doi.org/10.1145/317561.317586.

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Bulancea, Gabriel. "FEMININE TYPOLOGIES IN WAGNER�S OPERAS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s23.012.

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"Creation Style and Artistic Features of Verdi’s Operas." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.125.

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Li, Bin, and Chung-Nin Choi. "Singing tones in Cantonese operas and pop songs." In Speech Prosody 2016. ISCA, 2016. http://dx.doi.org/10.21437/speechprosody.2016-66.

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Sobakina, Olga. "A Study on the Operas of Jan Cikker." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.136.

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Wang, Xu, and Xinhui Song. "Education of Chinese Traditional Operas in Colleges from the Perspective of Cultural Identity–A Case Study of Lv Opera." In International Conference on Mental Health and Humanities Education (ICMHHE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200425.025.

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Henein, Naeim A., I. P. Singh, and Walter Bryzik. "“OPERAS” In Advanced Diesel Engines for Commercial and Military Applications." In SAE 2006 World Congress & Exhibition. SAE International, 2006. http://dx.doi.org/10.4271/2006-01-0927.

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Kashihara, Shuntaro, Masanori Miyazawa, and Michiaki Hayashi. "OPERAS': Generating and improving network operational workflows on-the-fly." In 2012 14th Asia-Pacific Network Operations and Management Symposium (APNOMS). IEEE, 2012. http://dx.doi.org/10.1109/apnoms.2012.6356099.

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Chen, Qi, and Hui Xu. "Typical Female Images in Chinese Operas and their Singing Style." In 2015 International Conference on Management, Education, Information and Control. Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.290.

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Chen, Xuemei. "Discussion on Importance of Local Operas in Vocal Music Teaching." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.32.

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Rapporti di organizzazioni sul tema "Operas"

1

Chong, Alberto E., Eliana La Ferrara, and Suzanne Duryea. Soap Operas and Fertility: Evidence from Brazil. Inter-American Development Bank, 2008. http://dx.doi.org/10.18235/0010891.

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This paper focuses on fertility choices in Brazil, a country where soap operas (novelas) portray families that are much smaller than in reality, to study the effects of television on individual behavior. Using Census data for the period 1970-1991, the paper finds that women living in areas covered by the Globo signal have significantly lower fertility. The effect is strongest for women of lower socioeconomic status and for women in the central and late phases of their fertility cycle. Finally, the paper provides evidence that novelas, rather than television in general, affected individual choi

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Nakasone, Eduardo. Soap Operas for Female Micro Entrepreneur Training. Inter-American Development Bank, 2014. http://dx.doi.org/10.18235/0011672.

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This paper analyzes the impact of the Strengthening Women Entrepreneurship in Peru (SWEP) program. SWEP trained female micro entrepreneurs in business management practices (such as accounting and marketing). The training, which was provided in 4- to 5-hour sessions, used soap operas and practical exercises specifically designed for the program. A field experiment was conducted among a group of micro entrepreneurs based in two Peruvian cities (Lima and Piura) to investigate whether SWEP had a positive impact on its beneficiaries. The results show that the program positively affected the adoptio

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Gulesci, Selim, María Lombardi, and Alejandra Ramos. Telenovelas and Attitudes toward the LGBTIQ Community in Latin America. Inter-American Development Bank, 2023. http://dx.doi.org/10.18235/0004719.

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How does exposure to soap operas with LGBTIQ characters affect attitudes toward the LGBTIQ community? To answer this question, we construct a novel database of 175 telenovelas (soap operas) with LGBTIQ characters airing in 14 countries in Latin America and the Caribbean between 2002 and 2019. Exploiting variation in the introduction of new soap operas with LGBTIQ characters within country and survey-waves, we find that individuals exposed to more soap operas with LGBTIQ characters are less tolerant toward the LGBTIQ community. This short-term backlash is driven by exposure to telenovelas with

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Harlow, Bob, Thomas Alfieri, Aaron Dalton, and Anne Field. Cultivating the Next Generation of Arts Lovers: How Boston Lyric Opera Sought to Create Greater Opportunities for Families to Attend Opera. Bob Harlow Research and Consulting, LLC, 2011. http://dx.doi.org/10.59656/a-ad3889.001.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a

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Leandre, Remi. Random Spheres and Operads. Journal of Geometry and Symmetry in Physics, 2012. http://dx.doi.org/10.7546/jgsp-6-2006-67-84.

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Giesa, Aaron. SATOR / AREPO / TENET / OPERA / ROTAS. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.3030.

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von Balthasar, Hans Urs. Uno sguardo d’insieme sulla mia opera. Saint John Publications, 2022. http://dx.doi.org/10.56154/ud.

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Stubrin, Lilia, Anabel Marín, Enrique Carreras, Rocío Palacín, and Lucía Mauro. Caso de estudio Don Mario: una empresa Argentina que gana el mercado global de semilla de soja. Inter-American Development Bank, 2023. http://dx.doi.org/10.18235/0004765.

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Abstract (sommario):

El grupo Don Mario (GDM) es una empresa que desarrolla semillas de Argentina que se ha convertido en un jugador importante en el mercado global proveyendo el 20% de las variedades de soja que se utilizan en el mundo. La empresa exporta actualmente a más de 11 países. El crecimiento e internacionalización del grupo Don Mario es un fenómeno de enorme interés ya que se produjo en un período en el que el mercado global de semillas se concentró masivamente en unas pocas empresas internacionales a través de un proceso de fusiones y adquisiciones sin precedentes, que involucró la desaparición de cien

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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, 1997. http://dx.doi.org/10.18235/0007926.

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