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1
Oliveira, Katya Beatriz de, and Laura Rónai. "A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita." Per Musi, no. 24 (December 2011): 151–66. http://dx.doi.org/10.1590/s1517-75992011000200016.
Анотація:
Na busca da sonoridade histórica e estilisticamente embasada para a interpretação vocal da música sacra mineira da segunda metade do século XVIII e início do XIX, tornase necessário um paralelo com a música realizada em Portugal durante o século XVIII, que constate a influência desta sobre a música mineira setecentista. Neste artigo pretendemos investigar as similaridades estilísticas entre a música do compositor mineiro José Joaquim Emerico Lobo de Mesquita, particularmente no solo de soprano de sua Missa em Mi bemol, com o solo de soprano de uma Missa a cinco vozes do compositor David Perez e o primeiro movimento do moteto Care Deus si respiro, para soprano solo e cordas, de Niccolò Jommelli, compositores italianos da escola napolitana atuantes em Portugal na segunda metade do século XVIII. Temos como objetivo justificar a utilização de tratados europeus para a fundamentação dos aspectos interpretativos da música mineira.
2
Teixeira, Thiago Plaça. "Recepção e influência de Lorenzo Perosi (1872-1956) na música religiosa de Alberto Nepomuceno (1864-1920)." Revista Música 19, no. 2 (November 24, 2019): 17–43. http://dx.doi.org/10.11606/rm.v19i2.160085.
Анотація:
O presente artigo visa analisar a possível influência musical do compositor italiano Lorenzo Perosi (1872-1956) na música sacra e religiosa do brasileiro Alberto Nepomuceno (1864-1920). Após contextualizar a recepção da música de Perosi no Brasil entre o final do século XIX e as primeiras décadas do século XX, apresenta-se uma análise de diferentes aspectos musicais de obras de Nepomuceno que evidenciam uma influência direta de Perosi, via intertextualidade musical, ou uma comum referência estilística para ambos os compositores. Verificou-se este último tipo de influência no tratamento dado à harmonização do canto gregoriano e no uso de tópicas e elementos representativos em obras instrumentais e corais de Nepomuceno; e a intertextualidade musical na sua Missa a duas vozes, sobretudo no Sanctus.
3
Yáñez Navarro, Celestino. "Música para pianoforte, órgano y clave, en dos cuadernos zaragozanos de la primera mitad del siglo XIX." Anuario Musical, no. 62 (December 30, 2007): 291. http://dx.doi.org/10.3989/anuariomusical.2007.62.27.
Анотація:
El presente artículo versa sobre el estudio y análisis de dos cuadernos de música de tecla que fueron copiados por el entonces propietario -el organista, violinista y compositor- Benigno Cariñena Salvador (*Calahorra -La Rioja-, 13-II-1829; †Zaragoza, 27-VII-1886) y que actualmente se encuentran depositados en el Archivo de Música de las Catedrales de Zaragoza (E: Zac). Los manuscritos recopilan una tipología heterogénea de obras destinadas a diversos instrumentos de tecla: órgano, clave y pianoforte, con un evidente carácter “funcional”. El repertorio está constituido por composiciones litúrgicas, sonatas, tríos, transcripciones de oberturas o fragmentos de óperas italianas, variaciones y composiciones para solistas vocales con el acompañamiento para teclado. Los compositores que aparecen son locales -R. Ferreñac, F. Garcés y V. Metón-, nacionales -J. Lidón- y extranjeros -F. J. Haydn, J. L. Adam, V. Bellini, G. A. Rossini, G. Paccini, L. Ricci, G. Donizetti-.
4
Capdepón Verdú, Paulino. "Música de tecla en la España del siglo XVIII: Domenico Scarlatti y el padre Antonio Soler." Cuadernos de Estudios del Siglo XVIII, no. 21 (October 5, 2017): 7–34. http://dx.doi.org/10.17811/cesxviii.21.2011.7-34.
Анотація:
El presente artículo se centra en la música española del siglo XVIII,que vive una de las etapas más brillantes de su historia. A ello contribuyó sin duda el esplendor logrado por la música de teclado, que alcanzó un extraordinario grado de desarrollo desde la llegada a España del compositor napolitano Domenico Scarlatti (1685-1757), maestro de clave de la reina de España Bárbara de Braganza. Scarlatti ejerció una influencia decisiva en la implantación del género sonata monotemática en un solo tiempo y en la introducción del estilo galante. Precisamente fue uno de los alumnos predilectos de Scarlatti, el padre Antonio Soler (1729-1783), el continuador de la obra scarlattiana en el ámbito de la sonata de tecla. Maestro de clave del infante don Gabriel y maestro de capillaorganistadel monasterio real de El Escorial, su proximidad a la corte permitió almonje catalán conocer las principales novedades musicales propiciadas por la estancia en España de compositores italianos como el propio Scarlatti o Boccherini. Sin embargo, Soler supo evolucionar y otorgar su propio estilo a su producción para teclado: en la última etapa de su producción artística incorporó varios movimientos a sus sonatas, lo que sitúa al compositor español en la órbita de Haydn y Mozart. En este artículo, después de una introducción sobre la música española del siglo XVIII en general y de la música de teclado en particular, se estudian las trayectorias vitales de ambos compositores, así como sus respectivas aportacionesal ámbito de la sonata de tecla, que constituyen una de las cimas artísticas de la música española del siglo XVIII.PALABRAS CLAVE: Siglo XVIII. Tecla. Estilo galante. Sonata. Scarlatti. Soler. Corte de Madrid. Monasterio de El Escorial.
5
Zanardi, Nicoletta. "Cohesion in Italian adult learners’ and native speakers’ compositions." Australian Review of Applied Linguistics 17, no. 2 (January 1, 1994): 22–50. http://dx.doi.org/10.1075/aral.17.2.02zan.
Анотація:
Abstract This paper presents data from a cross-sectional study of the use of cohesion in Italian texts written by L2 adult learners and by native speakers. Twenty-six free compositions were analysed for cohesion: eighteen by anglophone learners of Italian attending first, second, third and fourth year of Italian at Sydney University, and eight by native speakers of Italian divided in two groups: one of students, who have either done their schooling in Italy or recently arrived in Australia, the other of Italian professionals living in Sydney. More specifically, cohesion was analysed for the three categories of reference, conjunction and lexical cohesion. The objective of the study is twofold: a) to compare learners and native speakers in their use of cohesion, and b) to observe the developmental sequences in the use of cohesion in the six different groups. Examples from the texts are given and a tentative interpretation of the data is presented.
6
Béjar Bartolo, Alejandra, and Fabrizio Ammetto. "Las composiciones de Francesco Antonio Pistocchi (1659-1726): listado actualizado de su obra." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 11 (May 20, 2017): 313. http://dx.doi.org/10.23913/ricsh.v6i11.120.
Анотація:
El cantante, compositor y didacta (maestro de canto) Francesco Antonio Pistocchi (Palermo 1659 - Bolonia 1726) fue un músico ampliamente reconocido por sus contemporáneos (Giuseppe Torelli, Pier Francesco Tosi, Johann Joachim Quantz, entre otros) y, hoy en día, es digno de ser considerado entre los mejores compositores de música vocal del Barroco italiano. Aunque no está todavía catalogada de manera sistemática, su producción merece ser ampliamente estudiada, analizada y ejecutada. Hasta la fecha no existe un catálogo exhaustivo que registre de manera puntual toda su obra, por tal razón, en este estudio se presenta por primera vez un listado actualizado de su amplia producción –que incluye óperas, serenatas, oratorios, cantatas, duetos, tercetos, madrigales, misas (o secciones de misa), salmos, responsorios, cánticos, letanías, himnos, antífonas, motetes, lamentaciones, pastorales y secuencias, además de una colección de música instrumental–, en donde se especifica la localización de su música que ha llegado hasta nuestros días (actualmente resguardada en alrededor de treinta diferentes bibliotecas de Alemania, Austria, Bélgica, Francia, Italia, Reino Unido y Estados Unidos de América). Cabe hacer hincapié que muchas de las composiciones de Pistocchi se han identificado y enlistado por primera vez en esta investigación.
7
Soler Campo, Sandra. "Vittoria Aleotti e Isabella Leonarda, compositoras del barroco italiano." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 9, no. 18 (February 16, 2021): 254–65. http://dx.doi.org/10.23913/ricsh.v9i18.235.
Анотація:
En el presente artículo se realizará un recorrido histórico del barroco musical Italiano en el que se describirán cuáles eran las posibilidades de algunas mujeres músicas en este periodo así como las posibilidades que tenían para formarse y posteriormente dedicarse a la composición. Así también, se hará mención de la vida y obra de Vittoria Aleotti e Isabella Leonarda, dos de las compositoras más representativas de los siglos XVI y XVII del barroco italiano. Sus obras fueron fundamentalmente vocales y se escribieron para una, dos, tres y/o cuatro voces. Todo ello tuvo lugar en un momento histórico en el que la voz femenina era cada vez más aclamada por el público.
8
Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.
Анотація:
Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
9
Krekovics, Diana. "Análisis de errores de e/le referentes a las partículas, pronombres y adverbios en las producciones de alumnos italianos." Acta Hispanica 13 (January 1, 2008): 109–33. http://dx.doi.org/10.14232/actahisp.2008.13.109-133.
Анотація:
The paper proposes to present and analyze the error patterns of Italian native speaker university students with an average level of Spanish in relation with definite and indefinite articles, personal, possessive and demonstrative pronouns, prepositions and adverbs in Spanish. After presenting the principal characteristics of contrastive analysis and error analysis, the author focuses on the analysis of the error patterns. The basis for this is provided by a grammar test prepared by the author, relying on related academic work and personal experience. Apart from this, the paper also relies on data compiled from free compositions prepared by the students. The author provides an analysis and classification of the grammatical errors committed in the tests and compositions, and, after a brief summary of the relevant grammatical rules in Italian, elaborates on the possible causes of the errors.
10
ony Mitchell, T. "Paolo Conte: Italian ‘Arthouse Exotic’." Popular Music 26, no. 3 (October 2007): 489–96. http://dx.doi.org/10.1017/s0261143007001390.
Анотація:
AbstractPaolo Conte is the most internationally successful of the Italian singer-songwriters who emerged in the 1960s and 1970s. He is also among the most idiosyncratic, eclectic and unusual exponents of what Franco Fabbri has defined as the canzone d’autore (author’s song). Nonetheless he remains a rather arcane, cult figure in the Anglophone world – an example of what Simon Frith has called ‘the unpopular popular’. A combination of apparent opposites – the provincial and the cosmopolitan – his music appropriates a global sweep of influences without being definable as ‘world music’. Characteristics of both his rough, untrained singing style and wry, ironic and opaque compositions have strong affinities with US singer-songwriters like Tom Waits and Randy Newman, and he draws heavily on early American jazz influences, although he remains quintessentially Italian. This makes him difficult to categorise in the world music market.
11
Piedade, Acácio Tadeu de Camargo. "Modelação do tempo: Salvatore Sciarrino, janelas e nublamento." OPUS 23, no. 2 (August 27, 2017): 131. http://dx.doi.org/10.20504/opus2017b2306.
Анотація:
Neste artigo pretendo discutir uma das figuras da linguagem musical do compositor italiano Salvatore Sciarrino: a forma em janelas. Após definir esta figura da maneira como o compositor a explica, procurarei mostrar que, na composição, as janelas podem se abrir tanto para dentro quanto para fora do discurso musical. De um lado, elas apontam para um ambiente interior da composição, constituindo uma remissão interna. De outro, provocam o ouvido a compreender a referência externa, construindo uma intertextualidade. A partir da janela para fora, tratarei de técnicas de distorção, particularmente daquela que chamo de nublamento. Nas conclusões retomarei a questão da memória e da composição enquanto modelação do tempo.
12
Bailey, D. K., and J. D. Collier. "Carbonatite-melilitite association in the Italian collision zone and the Ugandan rifted craton: significant common factors." Mineralogical Magazine 64, no. 4 (August 2000): 675–82. http://dx.doi.org/10.1180/002646100549698.
Анотація:
AbstractItalian carbonatites form part of a suite with melilitites, normally an association characteristic of continental interiors; the perfect analogue of the Italian suite being the kamafugites (from the type area in SW Uganda, where the western branch of the East African Rift Zone cuts across the craton). The latter are commonly attributed to plume generation, whereas the Italian carbonatites, strung along the Appennine front, are usually linked to subduction. Evidently these two mechanisms are not essential, since neither can apply in both provinces. This conclusion is re-inforced by the related magmatism registered in both provinces in the Cretaceous. Phlogopite is ubiquitous in the mantle debris, and compositions from the two provinces overlap. Xenolithic phlogopites are distinct from cognate micas in the lavas, and from the carrier melt compositions, with similar distribution patterns in both suites. Kamafugitic magmas must be products of exceptional conditions, and added to the many near-identical magmatic features, the Italian and Ugandan volcanoes have sampled similar mantle conditions. Although the large scale geodynamic regimes are in total contrast, as are the deep mantle tomographic structures, the crucial common factor at the igneous province level is extensional tectonics. Extension, promoting release of volatiles (esp. CO2), is the vital trigger for this small volume, primary magmatism.
13
Abramov-van Rijk, Elena. "The non-Italian Ars Nova: how to read the madrigal Povero zappator by Lorenzo da Firenze." Early Music 48, no. 1 (February 2020): 41–54. http://dx.doi.org/10.1093/em/caz093.
Анотація:
Abstract The label ‘Ars Nova’ is not easily applicable to Italian 14th-century music, since its main characteristics, such as isorhythm, diminution, pre-existing tenors, and so on, are practically absent, with a few exceptions, from Italian musical compositions, even Italian motets. Yet, isorhythm and diminution were used in the madrigal Povero zappator by Lorenzo da Firenze. What was the reason for using these devices just in this madrigal, whose poetic text about a lone sailor in a tempestuous sea at first glance seems to be a poem typical of Trecento madrigals? This article contends that this text, which so far has attracted little scholarly attention, is derived from Petrarch’s canzone Ne la stagion che ’l ciel rapido inchina. This provides not only a clue to understanding Lorenzo’s intentions, but, in a larger perspective, it also discloses the perception by Italian Trecento musicians of the musical thinking of their transalpine colleagues.
14
ODONE, A., S. VISCIARELLI, T. LALIC, F. PEZZETTI, F. SPAGNOLI, C. PASQUARELLA, G. FERRARI, and C. SIGNORELLI. "Carcinomi associati al papillomavirus umano: conoscenze, ruolo e attitudini dei medici otorinolaringoiatri in tema di prevenzione." Acta Otorhinolaryngologica Italica 35, no. 6 (December 2015): 379–85. http://dx.doi.org/10.14639/0392-100x-621.
Анотація:
L’infezione da papillomavirus umano (HPV), in particolare HPV 16, è un riconosciuto fattore causale delle neoplasie orofaringee. L’incidenza delle neoplasie orofaringee è in aumento in diversi paesi europei, inclusa l’Italia, e negli Stai Uniti dove accurati modelli matematici hanno stimato che supererà quella del cancro alla cervice nella prossima decade. Recenti evidenze scientifiche supportano la potenziale efficacia del vaccino anti-HPV nel controllare quella che è stata definita “l’epidemia di neoplasie HPV-correlate”. In questo contesto, i medici otorinolaringoiatri assumono un ruolo cruciale, non solo nella diagnosi e trattamento di questa patologia, ma anche – come è stato sottolineato dall’American Head and Neck Society – nella prevenzione. Abbiamo condotto un’indagine sulle conoscenze e le attitudini dei medici otorinolaringoiatri italiani in tema di infezione HPV, patologie correlate e prevenzione vaccinale. Si tratta della prima indagine conoscitiva in Italia e in Europa sull’argomento. 262 medici otorinolaringoiatri italiani sono stati reclutati durante il 101° Congresso Nazionale della Società Italiana di Otorinolaringoiatria e Chirurgia Cervico-Facciale, tenutosi in maggio 2014. È stato utilizzato un questionario semi-strutturato sviluppato sulla base delle evidenze disponibili in letteratura e del parere di esperti. Le conoscenze e le attitudini sono state descritte e valutate con tecniche di analisi univariata. È stato inoltre costruito uno score composito di conoscenza. I dati dimostrano come i medici otorinolaringoiatri italiani abbiano, in media, un grado di conoscenza buono dell’infezione HPV e un’attitudine positiva nei confronti della prevenzione, in particolare della vaccinazione. I nostri risultati possono essere una utile base per pianificare, implementare e valutare programmi di educazione continua specifici sul tema della prevenzione dell’infezione da HPV. Come dimostriamo nel nostro studio, programmi di educazione continua specifici sono efficaci nell’aumentare il grado di conoscenza dei medici e l’attitudine positiva nei confronti dei programmi di prevenzione; il che contribuisce a promuovere l’adesione alla vaccinazione nei pazienti e nella popolazione generale. Con l’obiettivo generale di controllare l’epidemia di neoplasie HPV-correlate, maggiori risorse ed energie devono essere dedicate alla formazione e alla diffusione della cultura della prevenzione tra i medici otorinolaringoiatri e la comunità medica in generale. In questo contesto, identifichiamo grande potenziale nella collaborazione tra le comunità e le società scientifiche dell’otorinolaringoiatria e la sanità pubblica.
15
Milani, Gabriele, Rafael Shehu, and Marco Valente. "Seismic Upgrading of a Masonry Church with FRP Composites." Materials Science Forum 866 (August 2016): 119–23. http://dx.doi.org/10.4028/www.scientific.net/msf.866.119.
Анотація:
This paper presents some preliminary results of seismic analyses performed on a masonry church located in Emilia-Romagna (Italy). The church suffered damage during the seismic events occurred in 2012 and some seismic upgrading interventions by means of Fiber Reinforced Polymers (FRPs) are proposed. The behavior of the church is investigated under horizontal loads simulating a seismic action defined in accordance with Italian Code indications. The preliminary results of the numerical analyses performed on the church in the unretrofitted configuration put in evidence both the insufficient strength of some structural elements when subjected to lateral loads and a typical failure mode of the façade. Two seismic upgrading interventions with FRP composites are simulated in order to increase the seismic performance of the church. Such interventions are carried out according to the provisions of Italian Code for FRP strengthening of existing structures. Numerical results show that a proper seismic upgrading intervention by means of FRP composites is effective to improve the seismic performance of the church.
16
Bajetta, Carlo M. "“Nella lingua sua naturale”: Elizabeth’s Italian Letters." Explorations in Renaissance Culture 42, no. 2 (November 29, 2016): 109–23. http://dx.doi.org/10.1163/23526963-04202001.
Анотація:
While evidence abounds as to Elizabeth I’s proficiency in Italian, only a fraction of her letters in this language has so far come to light, and only one has been edited in Marcus and Mueller’s Autograph Compositions and Foreign Language Originals, the well-known first extant letter by the then Princess to Katherine Parr. A research project commenced in 2009 has so far located about thirty of these, including six (three of which are also in their original drafts) entirely in the queen’s hand. Questions of authorship related to the non-holograph letters, however, clearly arise. By analyzing an unpublished letter by Elizabeth, this paper will try to cast some light on the vicissitudes of the queen’s Italian correspondence.
17
Reis da Silva Lima, Lurian José. "Vida real e forma-de-vida: uma reflexão a respeito da relação entre arte e vida em Giorgio Agamben e Villa-Lobos." Revista Música Hodie 17, no. 1 (March 2, 2018): 57. http://dx.doi.org/10.5216/mh.v17i1.47002.
Анотація:
A relação entre arte e vida é, para o Giorgio Agamben, uma questão poética tanto quanto filosófica e política. O que se propõe neste artigo é uma reflexão que vincula as ideias do filósofo italiano sobre tal questão e o modo como a vida e a obra do compositor brasileiro Heitor Villa-Lobos são retratadas em sua primeira e principal biografia. A tese em torno da qual se constrói tal reflexão é a de o modo como a vida e a obra de Villa-Lobos aparecem unidas nessa biografia reflete uma postura político-artística que não pode ser negligenciada, pois nasce do profundo desejo do compositor de fazer-se singular, ou, nos termos de Agamben, de não existir senão como uma forma-de-vida
18
Canevacci, Massimo. "Composições etnográficas (Ethnographic compositions)." Cadernos de História 17, no. 26 (June 28, 2016): 11. http://dx.doi.org/10.5752/p.2237-8871.2016v17n26p11.
Анотація:
<p>O editorial do Dossiê História e Etnicidade traz o pesquisador italiano Massimo Canevacci para apresentar suas recentes investigações envolvendo as conexões entre história, antropologia e etnografia. Neste texto Canevacci discorre sobre as transformações culturais no processo de globalização e sua relação com as realidades locais, a partir de novos mecanismos de produção comunicacional entre os grupos étnicos. Nessa ótica, destaca que a era digital alterou e conectou os métodos de como as comunidades locais se relacionam com o contexto global no que concerne aos mecanismos de “autorrepresentação” de subjetividades e na construção de suas histórias. Importantes termos e expressões como “hetero-representação”, “meta-fetichismo” e “facticidade” são apresentados e definidos para o entendimento da etnicidade, compreendida pelos vínculos de pertencimento, no cenário contemporâneo a partir de “quem representa” e “quem é representado”, complexa relação na qual ele denomina de “divisão comunicacional do trabalho”.</p>
19
Rosal Nadales, Francisco José. "Música de Boccherini en Prusia gracias al conde de Fernán Núñez (1773)." Revista de Humanidades, no. 39 (May 29, 2020): 231. http://dx.doi.org/10.5944/rdh.39.2020.25469.
Анотація:
Resumen: La historiografía sobre Luigi Boccherini había dado como fecha de contacto entre este y el príncipe Federico Guillermo de Prusia el año 1783. A partir del estudio de los viajes que realizó el VI Conde de Fernán Núñez por Europa, se puede conocer que, en el otoño de 1773, conoció al heredero en Potsdam, le escuchó tocar el violonchelo y, como acto de cortesía, regaló al príncipe Hohenzollern unos tríos de Boccherini. Por tanto, se debe adelantar en diez años la fecha en la que Federico Guillermo conoció de primera mano la obra del compositor italiano. Sin embargo, queda averiguar qué tríos pudieron ser. En la fecha del encuentro, solo los Op. 1, 4 y 6 habían visto la luz, por lo que debe acotarse a ellos la búsqueda.Abstract: The historiography about Luigi Boccherini had given as a date of contact between this and Prince Frederick William of Prussia the year 1783. From the study of journeis made by VIº Count of Fernán Núñez through Europe, it can be know that, in the autumn of 1773, he met the heir in Potsdam, heard him play the cello and, as an act of courtesy, he gave the prince Hohenzollern some string trios of Boccherini. Therefore, the date on which Frederick William knew first hand the work of the Italian must be advanced in ten years. However, it remains to be found what string trios they could be. On the date of the meeting, only the Op. 1, 4 and 6 had seen the light, so the search should be limited to them.
20
Truett Hollis, George. "Inventario y Tasación de los Instrumentos y Papeles de Música, de la Testamentaria del Exmo. Sr. D. Fernando de Silba Albarez de Toledo, Duque que fue de Alba (1777)." Anuario Musical, no. 59 (December 30, 2004): 151. http://dx.doi.org/10.3989/anuariomusical.2004.59.62.
Анотація:
El Inventario y la Tasación de la sobresaliente biblioteca musical del duodécimo Duque de Alba y de sus instrumentos musicales de 1777, no sólo muestra al Duque como un conocedor internacional de la música para cuerda sino que además presenta de una manera válida a Madrid como centro de creación de música de cámara por compositores españoles e italianos residentes en España y su interpretación, de forma privada, en las casas de los nobles como el Duque de Alba. Más de mil obras de cámara, que incluyen obras de los compositores más relevantes de Francia, Alemania y Bohemia, Italia y España, junto a una magnífica colección de instrumentos (Stradivarius, obras de Guadagnini, Piatellini, etc.), hacen que Madrid puede ahora ocupar el lugar que le corresponde junto a los otros centros europeos de creación de música de cámara durante el siglo XVIII.
21
Martínez and del Pilar Alén Garabato. "El compositor italiano Buono Chiodi y su magisterio en Santiago de Compostela." Revista de Musicología 17, no. 1/2 (1994): 411. http://dx.doi.org/10.2307/20796999.
22
Yáñez Navarro, Celestino. "La existencia en España de una tercera gran colección de sonatas de D. Scarlatti copiada por el escriba de los Manuscritos de Venecia (Libros I-XIII) y Parma (Libros I-XV)." Anuario Musical, no. 73 (December 18, 2018): 167. http://dx.doi.org/10.3989/anuariomusical.2018.73.11.
Анотація:
En el Archivo de Música de las Catedrales de Zaragoza (EZac) se guarda un importante corpus de sonatas de D. Scarlatti constituido por seis manuscritos del siglo XVIII cuyo origen se localiza en la Capilla Real y que pertenecieron a José de Nebra, el compositor español más relevante de la corte en tiempos del compositor italiano. Dos de estos manuscritos formaron parte, a su vez, de una tercera gran colección de sonatas cuya elaboración se inició con anterioridad a la copia de los volúmenes que hoy se conservan en Venecia y Parma, y corrió también a cargo del escriba principal. Dada la relevancia de las conclusiones obtenidas en mi tesis doctoral, puede afirmarse que el fondo documental de Zaragoza es un referente internacional de primer orden para continuar avanzando en el estudio de la música para teclado de D. Scarlatti.
23
Magno, Maria Ignes Carlos, and Eliana Costa. "Sonoridades e ambiências nos filmes: Cão branco e A missão." Comunicação & Educação 22, no. 2 (November 16, 2017): 133. http://dx.doi.org/10.11606/issn.2316-9125.v22i2p133-145.
Анотація:
Tendo como fundamento os estudos do teórico alemão Hans Ulrich Gumbrecht1 e seu instigante conceito de Stimmung, nas diversas camadas de significações que o compõem (clima, atmosfera, som, humores, ambiência), esta resenha pretende explorar como essa categoria estética influi na construção e leitura da obra cinematográfica. O foco central de nossas reflexões será a dimensão sonora do filme, especificamente na música ou trilha sonora, e em como ela participa do Stimmung, sugerindo efeitos de intensa presença, que redimensionam a obra. Para realizar esta proposta de leitura, apresentaremos dois filmes: Cão branco (1982), de Samuel Fuller, e A missão (1986), de Roland Joffé; ambos com trilha do compositor italiano Ennio Morricone. Investigaremos também como o Stimmung permeia várias etapas do processo de criação da música, tornando-se parte intrínseca da práxis do compositor, no transcorrer da realização da obra.
24
Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.
Анотація:
The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic? tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual relations. Compositions Arion and Zefiro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini?s collection of madrigals - Le nuove musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s sonnet). Zefiro torna, with a primarily French title and subtitles of the ?scenes? given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi?s madrigal with the same title composed after Rinuccini?s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th century music can be inferred.
25
Syroyid Syroyid, Bohdan. "Riccardo Schwartz (2019) Font y de Anta: Andalucía. Brilliant Classics." Cuadernos de Investigación Musical, no. 9 (February 27, 2020): 169–71. http://dx.doi.org/10.18239/invesmusic.v0i9.2268.
Анотація:
No todos los días puede uno permitirse el lujo de presenciar el estreno absoluto de una obra musical centenaria. Más aún, cuando dicho estreno implica la recuperación de uno de los principales ciclos pianísticos de la literatura española de la primera mitad del siglo XX. Este es el caso del reciente trabajo discográfico del pianista italiano Riccardo Schwartz, alumno del célebre pianista y musicólogo Paul Badura-Skoda (1927 – 2019). Schwartz nos complace con la recuperación de la Suite Andalucía del compositor sevillano Manuel Font y de Anta.
26
Viana, Isabel, and José Luís de Oliveira. "Ópera de mulher: projeto de encenação e interpretação musical." Jangada: crítica | literatura | artes 1, no. 14 (December 22, 2019): 58–90. http://dx.doi.org/10.35921/jangada.v1i14.231.
Анотація:
Na interpretação de uma obra musical cantada, em particular de uma ópera, o cantor-ator tem um papel determinante na transmissão não só das componentes informativas, a nível do texto musical e literário, mas também dos estados emocionais das personagens, através de indicadores ou marcadores não verbais. Neste artigo apresentamos uma proposta de encenação e os métodos que usamos para fundamentar teoricamente o projeto. Trata-se da interpretação de dez personagens femininas soprano de óperas italianas do século XIX, composto por duas árias de cada um dos cinco compositores italianos escolhidos: Lucilla: “Sento talor nell'anima” [Rossini, La scala di seta (1812)]; Anna: “Giusto Ciel in tal periglio” [Rossini, Maometto II (1820)]; Norma: “Casta Diva” [Bellini, Norma (1831)]; Elvira: “Qui la voce sua soave… vien diletto” [Bellini, I Puritani (1835)]; Marie: “Ciascun lo dice” [Donizetti, La Figlia del Reggimento (1839)]; Rita: “E’ lindo e civettin questo caro alberguccio” [Donizetti, Rita (1841)]; Gilda: “Tutte le feste al tempio” [Verdi, Rigoletto (1850)]; Oscar: “Volta la Terra...” [Verdi, Un Ballo in Maschera (1859)]; Anna: “Se come voi piccina io fossi” [Puccini, Le Villi (1884)]; Musetta: “Quando men vo” [Puccini, La Bohéme (1895)]. O espetáculo tem a duração de cerca de 45 minutos e tivemos particular atenção aos estados emocionais de cada uma das personagens, para a interpretação das respetivas árias, bem como a cenografia e os adereços.
Com este projeto, concluímos que, ainda que vocal e tecnicamente possa ser bem executada, não é possível realizar uma correta interpretação de uma ária sob o ponto de vista dramático sem conhecer previamente a personagem, a sua personalidade e, especialmente, os estados emocionais presentes em cada um dos momentos
27
Metrani, Rita, Jashbir Singh, Pratibha Acharya, Guddadarangavvanahally K. Jayaprakasha, and Bhimanagouda S. Patil. "Comparative Metabolomics Profiling of Polyphenols, Nutrients and Antioxidant Activities of Two Red Onion (Allium cepa L.) Cultivars." Plants 9, no. 9 (August 21, 2020): 1077. http://dx.doi.org/10.3390/plants9091077.
Анотація:
Onion is among the most widely cultivated and consumed economic crops. Onions are an excellent dietary source of polyphenols and nutrients. However, onions phytonutrient compositions vary with cultivars and growing locations. Therefore, the present study involved the evaluation of polyphenol, nutritional composition (proteins, nitrogen, and minerals), sugars, pyruvate, antioxidant, and α-amylase inhibition activities of red onion cultivars, sweet Italian, and honeysuckle grown in California and Texas, respectively. The total flavonoid for honeysuckle and sweet Italian was 449 and 345 μg/g FW, respectively. The total anthocyanin for honeysuckle onion was 103 μg/g FW, while for sweet Italian onion was 86 μg/g FW. Cyanidin-3-(6”-malonoylglucoside) and cyanidin-3-(6”-malonoyl-laminaribioside) were the major components in both the cultivars. The pungency of red onions in honeysuckle ranged between 4.9 and 7.9 μmoL/mL, whereas in sweet Italian onion ranged from 8.3 to 10 μmoL/mL. The principal component analysis was applied to determine the most important variables that separate the cultivars of red onion. Overall results indicated that total flavonoids, total phenolic content, total anthocyanins, protein, and calories for honeysuckle onions were higher than the sweet Italian onions. These results could provide information about high quality and adding value to functional food due to the phytochemicals and nutritional composition of red onions.
28
Astor, Dorian. "Rossini, músico do futuro. Nietzsche e Peter Gast na descoberta da grande saúde rossiniana." Cadernos Nietzsche 38, no. 1 (April 2017): 148–83. http://dx.doi.org/10.1590/2316-82422017v3801da.
Анотація:
Resumo O presente artigo tem o objetivo de refletir acerca das relações entre Nietzsche e o compositor italiano de ópera Gioachino Antonio Rossini. No intuito de traçar o desenvolvimento da influência do músico sobre o filósofo, o artigo realiza um apanhado e examina os textos de Nietzsche em que Rossini é citado. Ao longo do trabalho, tenta-se evidenciar que essa influência foi gradativa, mas de essencial importância nas vivências do filósofo. Como temática secundária, o artigo também traz algumas reflexões sobre a relação entre Wagner e Rossini.
29
González Alcantud, José Antonio. "Un viaje operístico políticamente incómodo." SIGLO DIECINUEVE (Literatura hispánica), no. 19 (May 7, 2013): 39–51. http://dx.doi.org/10.37677/sigloxix.vi19.104.
Анотація:
Giuseppe Verdi visita Madrid en 1863, con motivo del estreno de su ópera La forza del destino. Verdi es un compositor connotado de liberalismo y nacionalismo italiano. En España, como en Italia, la situación política es convulsa. Tras su decepción de los lugares habitados por Felipe II, Verdi emprende viaje a Andalucía. En Granada será acogido por el cantante operístico Giorgio Ronconi, un viejo conocido. Sin embargo, y a pesar de que en la ciudad andaluza posee un grupo de fieles, encabezados por Pedro Antonio de Alarcón, su viaje pasará desapercibido, sin dejar prácticamente rastro.
30
Ammetto, Fabrizio. "Contraria contrariis curantur: el arte del canon y las habilidades mentales." DOCERE, no. 13 (December 11, 2015): 19–22. http://dx.doi.org/10.33064/2015docere131752.
Анотація:
La frase en latín del título de este artículo Contraria contrariis curantur (“los contrarios se curan con los contrarios”) no hace referencia a la doctrina de “lo similar cura lo similar” del sistema de la homeopatía (medicina alternativa) creado por Samuel Hahnemann en 1796, sino que es el título de la décima composición musical incluida en la colección impresa Artificii musicali ne quali si contengono canoni in diverse maniere, contrapunti dopii, inventioni curiose, capritii e sonate, opus XIIIi (Modena, 1689) del violinista y compositor italiano Giovanni Battista Vitali (1632-1692).
31
Miranda, Paulo Agenor. "Luciano Berio, restaurador: análise de Rendering per orchestra (1988-90)." ouvirOUver 15, no. 1 (June 17, 2019): 172–90. http://dx.doi.org/10.14393/ouv24-v15n1a2019-12.
Анотація:
Em Rendering, Berio propôs-se restaurar os esboços da décima sinfonia que ocupou Schubert em suas últimas semanas de vida. Este artigo investiga sua atuação sobre o texto musical schubertiano, desvelando o profícuo engajamento do compositor italiano com as vanguardas artísticas do século XX e, ao mesmo tempo, seu diálogo com importantes realizações da tradição musical. Evitando uma intervenção fantasiosa, a obra orienta-se pelas "linhas da restauração moderna de afrescos que visam reviver as cores antigas sem, contudo, disfarçar o dano causado pelo tempo" (BERIO, 1989). A hipótese norteadora é que os procedimentos escriturais adotados por Berio são implicitamente engajados nos preceitos da Teoria da Restauração (1963) de Cesare Brandi, ícone do restauro crítico italiano. As análises das estratégias composicionais do primeiro movimento de Rendering esclarecem, de um lado, o trabalho sobre a orquestração e contraponto visando reviver as cores de Schubert e, de outro, a intervenção sobre as lacunas entre os fragmentos através de uma argamassa musical tipicamente beriana.
32
CASCIO, Gandolfo. "Constantijn Huygens’ Pathodia Sacra et Profana. A Sentimental Journey." Mediterranea. International Journal on the Transfer of Knowledge, no. 2 (March 1, 2017): 1. http://dx.doi.org/10.21071/mijtk.v0i2.6713.
Анотація:
Constantijn Huygens (1596-1687) in 1620 traveled to Venice as a secretary of ambassador Van Aerssen: he was the only member of the legation who knew Italian. This visit to the Most Serene Republic has been extremely important to him, since he could experience the many natural and artistic wonders he had a mere abstract knowledge of. However, in his life the Dutch poet made a more interesting journey: an intellectual and sentimental one, writing his Pathodia sacra et profana. In this collection we have compositions written in Italian in the very fashionable style of Petrarch. In my essay, I will try to make an historic-philological analysis of this opus in order to establish how the original paradigm has been respected or violated, both in style as well as content.
33
s, Sandra. "ANNA ISABELLA LEONARDA (1620 – 1704): 400 ANIVERSARIO DE LA BRILLANTE COMPOSITORA DEL BARROCO ITALIANO / ANNA ISABELLA LEONARDA (1620 - 1704): 400TH ANNIVERSARY OF THE BRILLIANT COMPOSER OF THE ITALIAN BAROQUE." ARTSEDUCA. Revista electrónica de educación en las Artes, no. 25 (2020): 104–14. http://dx.doi.org/10.6035/artseduca.2020.25.6.
34
Filocamo, Gioia. "Minimalismo Estratégico através da comida e da música nos conventos do início da Idade Moderna." Revista de Estudos da Religião (REVER). ISSN 1677-1222 15, no. 1 (June 21, 2015): 48. http://dx.doi.org/10.21724/rever.v15i1.23585.
Анотація:
Comida e música são ambos perigosos estimulantes para mulheres. Durante a Idade Moderna elas podiam expressar-se como “artisitas” apenas dentro de conventos: Isabella Leonarda – uma freira Ursulina de Novara – foi a mais prolífica compositora do século XVII. Além disso, o primeiro livro de receitas já escrito por uma mulher vem de um convento italiano: Maria Vittoria della Verde, uma dominicana da Perugia, escreveu 170 receitas de 1583 a 1607. Enquanto bispos consideravam música e comida perigosas ao bem-estar espiritual de freiras, é evidente que ambos foram usados para manter uma avivada relação com o mundo externo. Jejum foi o sistema oposto para se afirmarem.
35
Diergarten, Felix. "Paolucci Reading Caldara and Handel: Music Analysis in Eighteenth-Century Italy." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 240–85. http://dx.doi.org/10.11116/mta.7.1.5.
Анотація:
Giuseppe Paolucci's Arte pratica di contrappunto (1765–72) is a collection of analyses of forty-two compositions from the sixteenth to the eighteenth century. It offers insights into eighteenth-century practices of music analysis as well as into historical concepts of counterpoint and fugue. Two analytical readings by Paolucci are translated and commented upon in this essay. Paolucci's analysis of Antonio Caldara's motet Peccavi super numerum is valuable for its references to rhetoric and the visual arts. The analysis of Handel's fugue "Then shall I teach thy ways" (from the Chandos Anthem HWV 248) exemplifies the high esteem in which contemporary writers and composers held Handel's compositional techniques, which Paolucci describes meticulously, bar by bar. Paolucci's reading of Handel's fugue, which is similar to Italian partimento fugues of that time, also provides material for the still-unwritten history of eighteenth-century Italian fugal theory.
36
Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.
Анотація:
AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.
37
González, Déborah. "Cancioneros manuscritos y mise en texte." Zeitschrift für romanische Philologie 136, no. 3 (September 11, 2020): 833–71. http://dx.doi.org/10.1515/zrp-2020-0041.
Анотація:
AbstractGalician-Portuguese troubadours were able to bring their compositions to a close by means of one or a series of fiindas. The fiinda can be understood as a conclusive sequence, shorter than a cobra or stanza, which is harmoniously integrated into the composition in terms of both form and content. The principles governing the textual arrangement of the various Galician-Portuguese manuscript songbooks (the medieval A, fragmentary and unfinished, and the Italian apographs B and V of the humanist period) are of considerable help in identifying these final segments in texts where they are present. However, vicissitudes in the transmission of some compositions with fiindas have occasionally led to a blurring or obscuring of these sequences, which in turn may have been an obstacle to the correct perception and identification of the textual structure of fiindas by editors of these texts.
38
Bessa Severiano, Débora. "Vermischter Geschmack na obra de Telemann." Convergences - Journal of Research and Arts Education 14, no. 27 (May 31, 2021): 123–32. http://dx.doi.org/10.53681/c1514225187514391s.27.74.
Анотація:
No final do século XVII e início do século XVIII encontramos o desenvolvimento particular de um estilo germânico a que se chamou o Vermischte Geschmack, que traduziremos como Gosto Misto Germânico. Neste artigo procuramos identificar brevemente as origens desta tendência estética germânica e caracterizar o conceito destacando as suas maiores influências – germânica contrapontística, francesa e italiana. Para tal, apresenta-se igualmente um excerto de uma obra do compositor que reúne, no nosso entender, estas várias influências numa escrita ao gosto misto germânico – Georg Philipp Telemann. Como metodologia utilizou-se a pesquisa bibliográfica e documental bem como a análise musical descritiva de exemplos da época a que se alude.
39
Urso, Giulia, Marco Modica, and Alessandra Faggian. "Resilience and Sectoral Composition Change of Italian Inner Areas in Response to the Great Recession." Sustainability 11, no. 9 (May 10, 2019): 2679. http://dx.doi.org/10.3390/su11092679.
Анотація:
This paper focuses on the response of Italian inner areas to the Great Recession. Inner areas represent the majority of the Italian territory and are very heterogeneous in terms of (unstable) growth trajectories and industrial composition. One key issue that has partially hindered a thorough empirical analysis of the development paths of these areas so far, is defining these inner areas. To this aim, we adopt the recent classification proposed by the National Strategy for Inner Areas (2014), which identified six categories based on the travel distance from service provision centers. Our purpose is to analyze the potential structural change of inner vs non-inner areas in the face of the 2007–2008 economic crisis, assessing their adaptive capacity to the recessionary disturbance and the factors underlying their industrial composition change. We found that urban poles and inner areas had different abilities to re-adapt their local industrial compositions in response to the economic crisis with obvious effects on their future resilience.
40
Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.
Анотація:
In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.
41
Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.
Анотація:
Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.
42
Suárez García, José Ignacio. "Polémicas wagnerianas en el siglo XIX en España." Anuario Musical, no. 66 (December 30, 2011): 181. http://dx.doi.org/10.3989/anuariomusical.2011.66.128.
Анотація:
En la década de 1860 la crítica musical española plantea una oposición sobre la validez estética de dos sistemas considerados excluyentes: la ópera italiana y el drama musical wagneriano. Este antagonismo provocará en la década posterior la aparición de polémicas que abordan, entre otros temas, el papel que en el drama lírico deben desempeñar texto, música, cantante, orquesta, melodía y armonía. Aunque con el debate estético siempre como telón de fondo, las querellas están motivadas y son catalizadoras de intereses editoriales, enfrentamientos nacionalistas, rencillas personales y choques generacionales. En el presente trabajo hacemos un repaso diacrónico de estas discusiones, en las que la controvertida personalidad del compositor alemán es un factor negativamente determinante.
43
Veniale, F., A. Delgado, L. Marinoni, and M. Setti. "Dickite genesis in the ‘varicoloured’ clay-shale formation of the Italian Apennines: an isotopic approach." Clay Minerals 37, no. 2 (June 2002): 255–66. http://dx.doi.org/10.1180/0009855023720032.
Анотація:
AbstractDickite occurs over wide areas along the Italian Apennines strip throughout Italy, mainly in the allochtonous ‘varicoloured’ clay-shale formation. Morphological, fabric and crystallochemical features suggest an authigenic origin, from pore solutions. The nature of the solutions and the process of dickite formation, including hydrothermalism, diagenesis or supergene evolution have all been discussed. Stable isotope analysis (O, H) was performed to investigate these points. The δD values of dickite range between −63.7 and −79.1% (SMOW) and δ18O between +21% and +16.1‰ (SMOW), and are similar to those reported for kaolinites formed in equilibrium with meteoric waters. The data fall along the ‘Line of Meteoric Kaolinites’, supporting an origin involving meteoric waters and low temperatures. The isotopic compositions of the waters are within the range of Apennines meteoric water, and the temperatures derived are close to surface conditions. Contributions of diagenetic, hydrothermal or metamorphic waters must be discounted. The authigenic dickite from ‘varicoloured’ clays of the Italian Apennines formed by precipitation from flushing meteoric waters whose ingress was favoured by repeated surface erosion.
44
Abramov-van Rijk, Elena. "THE MADRIGAL AQUIL'ALTERA BY JACOPO DA BOLOGNA AND INTERTEXTUAL RELATIONSHIPS IN THE MUSICAL REPERTORY OF THE ITALIAN TRECENTO." Early Music History 28 (August 24, 2009): 1–37. http://dx.doi.org/10.1017/s0261127909000412.
Анотація:
One difficulty in understanding the poetic texts of Trecento madrigals is that the language they use is often that of allegories and symbols, which requires a key for deciphering their true meaning. It is widely accepted, based on the interpretation of birds as heraldic symbols, that the madrigal Aquil'altera (Proud eagle) by Jacopo da Bologna was written either for a wedding or for a coronation ceremony. In this essay, however, I show that Aquila's content and literary style echo ideas and images that were circulating in the literature of the time, and especially in bestiaries and bestiary-inspired Italian poetry. Since these sources were well known to every educated person of the time, we may assume that its symbolic content, which is actually a praise of the human intellect, would have been understood by listeners and readers. This madrigal in turn provides a stimulus for tracing its ideas in other musical compositions of the Trecento, the madrigals Musica son by Francesco Landini and Se premio di virtù by Bartolino da Padova. These compositions are examined in the context of a specific cultural phenomenon in Italy of this period, namely, tenzoni, or correspondence in poetic forms – a practice that was the natural domain of the phenomenon we know as intertextuality.
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Takumi, Kenji, Junko Udaka, Makoto Kanoh, Tetsuro Koga, and Hideaki Tsuji. "Polypeptide Compositions and Antigenic Homologies Among Prolamins from Italian, Common and Japanese Millet Cultivars." Journal of the Science of Food and Agriculture 72, no. 2 (October 1996): 141–47. http://dx.doi.org/10.1002/(sici)1097-0010(199610)72:2<141::aid-jsfa629>3.0.co;2-w.
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Serdyuk, Marina, Dmytrо Stepanenko, Olesia Priss, Tatiana Kopylova, Nonna Gaprindashvili, Alina Kulik, Vita Atanasova, Maryana Kashkano, and Julia Kozonova. "INVESTIGATION OF THE INFLUENCE OF ANTIOXIDANT COMPOSITIONS ON DEVELOPMENT OF MICROBIOLOGICAL SPOILAGE IN STORAGE OF FRUITS." EUREKA: Life Sciences 3 (May 31, 2017): 24–29. http://dx.doi.org/10.21303/2504-5695.2017.00355.
Анотація:
The studies are devoted to the scientific grounding of expedience of after-harvest processing by antioxidant compositions for preventing the development of pathogenic microflora on fruit surfaces during a long storage. For the studies were used apple fruits of the varieties Aidared, Golden Dushesse, Renet Simirenka, pear fruits of the varieties Victoria, Crimea Raisin and Cure, plum fruits of the varieties Voloshka, Stanley and Italian Ugorka. Fruits were processed by immersion in the following antioxidant compositions: ACM is a mixture of dimethyl sulfoxide, ionol and polyethylene glycols; AARL – mixture of ascorbic acid, routin and lecithin; DL – mixture of dimethyl sulfoxide, ionol and lecithin. Fruits, processed by water, were used as a control. Exposition - 10 seconds. Storage was carried out at the temperature 0±1 ºС, relative air humidity 90–95 %. It was established that in the period of fruits laying for storage, the mean amount of epiphyte microflora was fixed on surfaces of plump and pear fruits of the mean ripening term. In the variety composition of epiphyte microflora prevailed spores of mesophyl aerobic and facultative-anaerobic microorganisms. Their mean number on apple fruits surface was 9,6·103 CCU/g, pear fruits – 10,6 103 CCU/g, plump fruits – 18·103CCCU/g. AOC processing of all types of fruits essentially decreased the speed of both MAFAnM and micromycetes growth. It was demonstrated that the used compositions in 2…3,5 times decreased the level of day losses from microbiological spoilage during the whole storage period. The most positive effect was received at using compositions, based on dystinol and lecithin. Multifactor analysis determined that the level of day losses from microbiological spoilage was mainly influenced by factors of raw material variety features (factor A) and antioxidant compositions processing (factor D). The shares of influence are 24 and 21 % respectively.
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Reisinger, Elisabeth. "Heaven and Hell Performances of Liszt’s Works and their Reception in Rome, 1861–1886." Studia Musicologica 60, no. 1-4 (October 21, 2020): 169–85. http://dx.doi.org/10.1556/6.2019.00009.
Анотація:
Although the period of Liszt’s residency in Rome is marked by pivotal events, many aspects concerning his networks, activities, and relevance in the city’s musical life still await musicological scrutiny. The present paper examines which of Liszt’s compositions could have been heard in Rome by a broader audience during the time the composer had his permanent residence there, and which pieces received attention from the Italian press. Although the performances of the Dante Symphony in 1866 and Christus in 1867 are to be understood as key events in the Roman perception of Liszt as a composer of symphonic music, performances in this genre remained a rarity throughout the 1860s. By then, it was primarily Liszt’s piano music which was heard both in private and more public settings, mainly popularized by Liszt’s student Giovanni Sgambati. Together with the violinist Ettore Pinelli, Sgambati was also key to staging Liszt’s symphonic music with full orchestra during the 1870s and 1880s. Focusing on these decades, this paper eventually elaborates the consolidation and canonization of Liszt’s music and the lasting implications of the Liszt–Sgambati–Pinelli circle on Rome’s concert repertoire after the Italian unifcation.
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Tringaniello, Carmela, Lina Cossignani, and Francesca Blasi. "Characterization of the Triacylglycerol Fraction of Italian and Extra-European Hemp Seed Oil." Foods 10, no. 5 (April 22, 2021): 916. http://dx.doi.org/10.3390/foods10050916.
Анотація:
Hemp seed oil (HSO) has received considerable attention for its health properties, especially due to unsaturated fatty acid (UFA) content. In this work, the triacylglycerol (TAG) fraction of Italian and Extra-European HSO was characterized by applying an enzymatic approach, based on the use of pancreatic lipase and sn-1,2-diacylglycerol kinase. This procedure allows determination of the intrapositional FA% composition of TAG. The results of the stereospecific analysis are useful for deepening knowledge on HSO nutritional aspects. The high percentage of UFA (88.3–89.9%), in particular essential FA (74.4–85.9%), of HSO samples in sn-2 position is important for long-term health effects, but also to enhance the use of this oil as a functional ingredient in food, cosmetic and nutraceutical fields. Furthermore, the results of total and intrapositional FA % compositions, subjected to principal component analysis, were able to differentiate HSO Italian samples from Extra-European ones. Based on the obtained results, it can be stated that the stereospecific analysis represents a potent analytical tool providing the fingerprint of TAG fraction, useful to highlight possible chemical descriptors for HSO authenticity and traceability purposes.
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Benato, Alberto, and Alarico Macor. "Italian Biogas Plants: Trend, Subsidies, Cost, Biogas Composition and Engine Emissions." Energies 12, no. 6 (March 13, 2019): 979. http://dx.doi.org/10.3390/en12060979.
Анотація:
Italy is one of the leading nations in the biogas sector. Agricultural, landfill, sewage and manure substrates are converted into biogas using anaerobic digestion and, then, into electricity and heat by means of properly arranged internal combustion engines. In this study, after an overview of the European context, the authors present the Italian biogas sector status in terms of development trends and factors that favour/block biogas spread. Despite the fact that biogas is a renewable fuel and a consolidate technology, it is mandatory to examine its real costs, biogas composition and engine combustion products. For this purpose, in the present work, the authors selected six in-operation biogas plants fed by different substrates, investigate plants construction and operation costs and measure both biogas and engine emissions compositions. Biogas status analysis shows a high growth rate until the end of 2012 due to generous Government subsidies while, after supports reduction, a continuous depletion of biogas installations is observed. Alongside the development, established supports overlook also the plant size as well as the cost. In fact, the most widespread plant nameplate electric power is 1 MW while its construction cost ranges between 4.2–4.8 millions of Euros. Real on-site measurements show variable biogas composition while engine emissions are comparable with the natural gas ones.
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Knyazkov, Dmitry Aleksandrovich. "Invectives as a linguistic manipulation in the song discourse (on the example of compositions from “Eurovision” song contest)." Litera, no. 8 (August 2020): 98–105. http://dx.doi.org/10.25136/2409-8698.2020.8.33536.
Анотація:
The subject of this research is the abusive language (invectives) prohibited by the rules of the International Song Contest “Eurovision”. The goal consists in substantiating the role of obscene language as a linguistic manipulation in song discourse of “Eurovision” contest. The tabooed words and expressions represent a wide array of lexical units for research by modern linguistic science based on the materials of various voice compositions. Using the lyrics of songs that participated in “Eurovision” and made top 10 chart, the author determined those that contain invectives. The scientific novelty consists in the first ever analysis of song lyrics that contained the lexical units of abusive language prohibited by the rules of “Eurovision”. It was determined that the compositions of multimodal discourse contain various invectives in verbal component. The authors of songs for “Eurovision” apply different linguistic manipulations to influence the live voting and ensure a spot in the finals for their composition. This is directly related to increase in the number of participating countries; therefore, the structure and content of verbal component of a musical-poetic composition of Eurovision plays an important role. Despite the prohibition by rules of the context to use tabooed lexicon in song lyrics, the author was able to identify certain violations in the English-language and Italian-language compositions. The conclusion is made that invectives in the song discourse are effective linguistic manipulations that enhance suggestive semantics of speech act, since all compositions made it to the top 10.