Zeitschriftenartikel zum Thema „Operas“
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Xue, Chulan, Ruicong Ma, Zongchen Hou und 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.
Kopecký, Jiří. „Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich“. Studia Musicologica 57, Nr. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.
Babenko, Oksana Vasil'evna. „The origins of Russian Opera as the key to understanding modern opera art“. Культура и искусство, Nr. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.
Winkelhorn, Kathrine, und Anja Mølle Lindelof. „Fra glemte værker til iscenesættelse som form“. Peripeti 13, Nr. 25 (28.05.2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.
BELLINI, ALICE. „MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES“. Eighteenth Century Music 6, Nr. 2 (03.08.2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.
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 (30.11.2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.
Xue Chen, Zheng. „The System of Dominant Themes in the Operas of Jin Xiang“. Университетский научный журнал, Nr. 76 (24.10.2023): 101–9. http://dx.doi.org/10.25807/22225064_2023_76_101.
Zheng, Meizhen, Peng Bai, Xiaodong Shi, Xun Zhou und Yiting Yan. „FT-GAN: Fine-Grained Tune Modeling for Chinese Opera Synthesis“. Proceedings of the AAAI Conference on Artificial Intelligence 38, Nr. 17 (24.03.2024): 19697–705. http://dx.doi.org/10.1609/aaai.v38i17.29943.
Cochran, Zoey M. „Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)“. Revue musicale OICRM 5, Nr. 1 (09.04.2018): 63–91. http://dx.doi.org/10.7202/1044444ar.
Krejčová, Kristýna, und Jana Spáčilová. „Dittersovy italské opery z Jánského Vrchu : současný stav pramenů“. Musicologica Brunensia, Nr. 1 (2023): 47–71. http://dx.doi.org/10.5817/mb2023-1-4.
Zhang, Bin. „An Examination of the Relationship between the Origins of Drama Genres in the Context of the Musical Style of the Clapper Opera“. Yixin Publisher 1, Nr. 1 (31.03.2024): 7–16. http://dx.doi.org/10.59825/jms.2024.1.1.7.
Carskadden, Laura, und Jenine Brown. „Implicit and Explicit Biases for Gender in Opera Roles“. Journal of Singing 80, Nr. 4 (März 2024): 409–15. http://dx.doi.org/10.53830/sing.00023.
Sumiati, Wina. „Islamic Love Stories: How Indonesian Soap Opperas Presented Islamic Version of Romantic Love in the 2000s“. Tsaqofah 21, Nr. 1 (30.06.2023): 41–52. http://dx.doi.org/10.32678/tsaqofah.v21i1.8378.
HOXBY, BLAIR. „The doleful airs of Euripides: The origins of opera and the spirit of tragedy reconsidered“. Cambridge Opera Journal 17, Nr. 3 (November 2005): 253–69. http://dx.doi.org/10.1017/s0954586706002035.
Hume, Robert D. „The Morphology of Handel's Operas“. Eighteenth-Century Life 46, Nr. 3 (01.09.2022): 52–82. http://dx.doi.org/10.1215/00982601-9955324.
Fazakas, Ádám Sándor. „The Use of the Harmonium in Opera“. Studia Universitatis Babeş-Bolyai Musica 69, Nr. 1 (10.06.2024): 181–96. http://dx.doi.org/10.24193/subbmusica.2024.1.13.
Grutcynova, Anna Petrovna. „Ballet scenes in the operas of M. I. Glinka in the reviews of his contemporaries“. Manuscript 17, Nr. 2 (03.04.2024): 124–29. http://dx.doi.org/10.30853/mns20240018.
Mojžíšová, Olga. „“…I value my compositions a bit more highly than the theatre directorate does…” The Frequency of Performances of Smetana’s Operas at the Provisional Theatre and Payment He Received for Them“. Musicalia 15, Nr. 1-2 (2023): 6–39. http://dx.doi.org/10.37520/muscz.2023.001.
Collins Wagumba und Dr Kamau Mwangi. „Re-Visiting TV Soap Opera Viewership in a Changing Broadcasting Dispensation in Nairobi“. Kabarak Journal of Research & Innovation 11, Nr. 3 (10.10.2021): 221–28. http://dx.doi.org/10.58216/kjri.v11i3.73.
Izvarina, О. M. „Opera directing in the Ukrainian Musical Theatre in 20s of 20th century“. Musical art in the educological discourse, Nr. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.
Rosmiati, Ana. „PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN“. Acintya : Jurnal Penelitian Seni Budaya 13, Nr. 2 (09.03.2022): 129–43. http://dx.doi.org/10.33153/acy.v13i2.3998.
Ożarowska, Aleksandra. „Beyond the libretto“. STRIDON: Studies in Translation and Interpreting 1, Nr. 2 (30.11.2021): 49–63. http://dx.doi.org/10.4312/stridon.1.2.49-63.
Rushton, Julian. „‘La vittima è Idamante’: Did Mozart have a motive?“ Cambridge Opera Journal 3, Nr. 1 (März 1991): 1–21. http://dx.doi.org/10.1017/s0954586700003347.
Anderson, Robert, und Nicholas John. „Operas“. Musical Times 126, Nr. 1710 (August 1985): 465. http://dx.doi.org/10.2307/964318.
MacDonald, Hugh. „Operas“. Musical Times 126, Nr. 1708 (Juni 1985): 351. http://dx.doi.org/10.2307/964037.
Spivakovskyi, Oleksandr. „Ukrainian performances of small form operas in the era of the 2000s“. Ukrainian musicology 46 (27.10.2020): 75–85. http://dx.doi.org/10.31318/0130-5298.2020.46.234597.
Over, Berthold. „How to Impress the Public: Farinelli's Venetian Debut in 1728–1729“. Musicology Today 17, Nr. 1 (01.12.2020): 14–33. http://dx.doi.org/10.2478/muso-2020-0002.
Sheppard, W. Anthony. „Blurring the Boundaries: Tan Dun's Tinte and The First Emperor“. Journal of Musicology 26, Nr. 3 (2009): 285–326. http://dx.doi.org/10.1525/jm.2009.26.3.285.
Krzywoszyński, Przemysław. „Giovanni Simon Mayr – muzyka w służbie rewolucji?“ Copernicus. De Musica 1, Nr. 1 (2022): 15–26. http://dx.doi.org/10.15804/cdm.2022.1.02.
Law, J. K. „At the Opera: Tales of the Great Operas“. Opera Quarterly 20, Nr. 1 (01.01.2004): 109–10. http://dx.doi.org/10.1093/oq/kbh009.
Katalinić, Vjera. „Die opern von Ivan Zajc zwischen nationalismus und Panslawismus“. Studia Musicologica 52, Nr. 1-4 (01.03.2011): 189–200. http://dx.doi.org/10.1556/smus.52.2011.1-4.14.
Stamatov, Peter. „Interpretive Activism and the Political Uses of Verdi's Operas in the 1840s“. American Sociological Review 67, Nr. 3 (Juni 2002): 345–66. http://dx.doi.org/10.1177/000312240206700302.
Saylor, Eric. „Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love“. Journal of the Royal Musical Association 134, Nr. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.
Sikau, Lea Luka. „REHEARSING TIME“. Tempo 78, Nr. 308 (April 2024): 46–54. http://dx.doi.org/10.1017/s0040298223000979.
Novak, Jelena. „Singing beyond the TV Screen: Documentary, News and Interviews as Operatic Material“. Dramaturgias, Nr. 10 (29.05.2019): 91–109. http://dx.doi.org/10.26512/dramaturgias.v0i10.24905.
Herzfeld, Gregor. „Poe and “Gothic Opera”“. Edgar Allan Poe Review 16, Nr. 1 (01.04.2015): 1–18. http://dx.doi.org/10.5325/edgallpoerev.16.1.00001.
GUAN, CHENGYUAN. „FEATURES OF FEMALE HEROIC IMAGES IN CHINESE FOLK OPERA“. Культурный код, Nr. 2023-3 (2023): 51–64. http://dx.doi.org/10.36945/2658-3852-2023-3-51-64.
Grier, Francis. „Contessa perdono! Mozartian sexual betrayal and forgiveness“. Musical Connections in Couple and Family Psychoanalysis 10, Nr. 1 (09.03.2020): 28–41. http://dx.doi.org/10.33212/cfp.v10n1.2020.28.
Yazar, İlhan Uğur. „The Influence of Orientalism in the 18th and 19th Century Opera Librettos“. Journal of Human Sciences 19, Nr. 2 (21.06.2022): 300–310. http://dx.doi.org/10.14687/jhs.v19i2.6283.
Marković, Tatjana. „The myth on the “first national opera”: The cases of Serbia and Croatia“. Studia Musicologica 52, Nr. 1-4 (01.03.2011): 165–77. http://dx.doi.org/10.1556/smus.52.2011.1-4.12.
Thorburn, Sandy. „What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice“. Canadian University Music Review 23, Nr. 1-2 (06.03.2013): 166–200. http://dx.doi.org/10.7202/1014523ar.
Rabb, Theodore K. „Opera, Musicology, and History“. Journal of Interdisciplinary History 36, Nr. 3 (Januar 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.
Wingfield, Paul. „Janáček's speech-melody theory in concept and practice“. Cambridge Opera Journal 4, Nr. 3 (November 1992): 281–301. http://dx.doi.org/10.1017/s0954586700003803.
Severn, John R. „Migration and Opera Old and New“. Nordic Theatre Studies 34, Nr. 1 (20.06.2023): 22–33. http://dx.doi.org/10.7146/nts.v34i1.137923.
Sun, Xun. „Representations of tenor arias from G. Puccini’s operas (“La bohème”, “Tosca” and “Turandot”) by masters of Russian and Chinese vocal schools“. PHILHARMONICA. International Music Journal, Nr. 2 (Februar 2024): 1–14. http://dx.doi.org/10.7256/2453-613x.2024.2.70441.
Kim, Sangkyun, und Philip Long. „Touring TV Soap Operas: Genre in Film Tourism Research“. Tourist Studies 12, Nr. 2 (30.05.2012): 173–85. http://dx.doi.org/10.1177/1468797612449249.
Leicester, H. Marshall. „Discourse and the film text: Four readings of Carmen“. Cambridge Opera Journal 6, Nr. 3 (November 1994): 245–82. http://dx.doi.org/10.1017/s0954586700004328.
Sheppard, Jennifer. „How theVixenlost its mores: gesture and music in Janáček's animal opera“. Cambridge Opera Journal 22, Nr. 2 (Juli 2010): 147–74. http://dx.doi.org/10.1017/s0954586711000176.
Hunter, Mary, Daniel Heartz und Thomas Bauman. „Mozart's Operas“. Notes 48, Nr. 2 (Dezember 1991): 486. http://dx.doi.org/10.2307/942044.
Waldoff, Jessica, und Daniel Heartz. „Mozart's Operas.“ Eighteenth-Century Studies 27, Nr. 3 (1994): 503. http://dx.doi.org/10.2307/2739371.