Relevant bibliographies by topics / Dutch composer

Academic literature on the topic 'Dutch composer'

Author: Grafiati
Published: 26 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Dutch composer"

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Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW." Tempo 59, no. 231 (January 2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.

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Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to claim either as a Dutch composer. It was in England that Schurmann developed his skills and persona as a musician, after arriving as a teenager in 1941.
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Devyatko, Ekaterina D. "The Literary Legacy of the Dutch Composer Alphons Diepenbrock." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 40–46. http://dx.doi.org/10.17674/1997-0854.2015.3.040-046.

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Pabbruwe, Aagje. "Cornelis Thymensz. Padbrué: A Dutch Composer Contemporary of Heinrich Schütz." Schütz-Jahrbuch 39 (January 6, 2023): 29–32. http://dx.doi.org/10.13141/sjb.v20173108.

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Sanicheva, Elizaveta V. "“A King, Riding” by Klaas de Vries as an Artwork of the 20th Century." Observatory of Culture, no. 5 (October 28, 2014): 57–65. http://dx.doi.org/10.25281/2072-3156-2014-0-5-57-65.

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Considers the scenic oratorium “A King, Riding” by contemporary Dutch composer Klaas de Vries. It was composed after his own libretto based on the “Waves” novel by Virginia Woolf, which is a classic example of the stream of consciousness literature. The libretto and the opera work are studied as a part of rich and powerful mixture of different contemporary styles, manners, techniques and retrospections, such as impressionism, expressionism, neoclassicism. Its performance of 1996 in Brussels directed by Christoph Marthaler is also analysed.
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Metzelaar, Helen. "An Unknown 18th-Century Dutch Woman Composer: Josina Boetzelaer (1733-1797)." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 40, no. 2 (1990): 3. http://dx.doi.org/10.2307/938825.

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Williams, Nick. "HOKETUS: OF HIERARCHY AND HICCUPS." Tempo 69, no. 273 (July 2015): 5–11. http://dx.doi.org/10.1017/s004029821500008x.

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AbstractBetween 1976 and 1986 the Dutch group Hoketus were central to the creation of the sound and aesthetic of the Hague school. Through their rehearsal process they challenged and redefined the role of the composers who wrote for them in relation to the ensemble, and in doing so they challenged conventional notions of composer privilege and power. While not going as far as free improvisation groups in erasing the boundaries between composers and performers, they created a situation in which traditional hierarchies were overturned. Without ever claiming co-ownership of the resulting works, the group actively participated in the creative process and so could claim a higher degree of ownership and responsibility for the music they played than is usually the case.
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van, der. "Alphons Diepenbrock and the European world of composers at the fin-de-siècle." Muzikologija, no. 2 (2002): 157–69. http://dx.doi.org/10.2298/muz0202157v.

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The article consists of three parts. In the first part the author gives a survey of the large artistic renewal that took place in the Netherlands around 1900. Special attention is given to "de beweging van Tachtig"(the movement of the "Tachtigers"), a renewal movement in literature in which the composer Alphons Diepenbrock was involved. In the second part a short description of the life and work of this most important Dutch composer of the end of the nineteenth century is given. In his early years Diepenbrock orientated himself to composers like Wagner, especially around the First World War (in which the Netherlands remained a neutral country), and he became a fervent admirer of French art. His music is a unique synthesis of Wagner's chromaticism, the word-bound rhythms of plain-chant and the polyphonic music of the old Flemish schools of Ockeghem and Josquin. In the third part the author deals with a couple of Diepenbrock's (artistic) contacts. There are highlights on Mahler, Sch?nberg and Debussy, primarily based on their correspondence.
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Veldhorst, Natascha. "PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY." Early Music History 27 (October 2008): 217–86. http://dx.doi.org/10.1017/s0261127908000326.

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Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.
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Godfrey, John. "London, Queen Elizabeth Hall and Brighton Dome: Big Noise Tour." Tempo 58, no. 228 (April 2004): 61–62. http://dx.doi.org/10.1017/s0040298204240153.

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Big Noise – heard in London on 21 November and repeated at the Dome (Corn Exchange) in Brighton on the 22nd – was a collaboration between the highly idiosyncratic New Music ensembles Orkest de Volharding (Holland) and Icebreaker (UK). The former was established by the amazingly influential Dutch composer Louis Andriessen: reacting against the elitist music of his youth, he saw the need for a new type of Art-music ensemble which could travel into the streets and play music with a broad appeal. Borrowing from the model of Dutch street bands (the equivalent, perhaps, of the UK's brass bands), jazz of the 1920s, Minimal music coming out of America and the European avant-garde, Andriessen created an ensemble and a language with an overt non-elitist agenda.
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van Lieburg, Fred. "Interpreting the Dutch Great Awakening (1749–1755)." Church History 77, no. 2 (May 12, 2008): 318–36. http://dx.doi.org/10.1017/s0009640708000565.

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In 1754, the Scottish minister John Gillies (1712–1796) published a collection of historical accounts concerning “remarkable periods of the success of the Gospel.” Its composer was a spider in a web of correspondents in Europe and North America who believed they were living in an extraordinary time of revival in Christianity. Collective conversions and signs of repentance and faith were reported from all parts of the world and placed in a large eschatological perspective. After the Protestant Reformation—the climax of church history since the New Testament—a great decline had set in comparable to the Middle Ages. The “Great Awakening” seemed to recapture the spirit of the first Pentecost and offered prospects for a further extension of God's Kingdom. By means of missionary work among the heathen peoples, the Gospel would reach the ends of earth. Finally, after the collective conversion of the Jews and a millennium of peace, the time would come for the Lord of the Church to appear on the clouds of heaven to gather the harvest of all times.
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Dissertations / Theses on the topic "Dutch composer"

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Luttik, Karen. "An analysis of Géza Frid’s Concerto for Clarinets, Op. 82 (1972): Rediscovered repertoire by a Hungarian, Jewish, Dutch composer." Thesis, Boston University, 2017. https://hdl.handle.net/2144/21329.

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Thesis (D.M.A.)--Boston University. This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik.
Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.
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Keutgen, Ingo. "Vom Zulieferer zur Zuliefererkomponente : gezielte Informationsbereitstellung in der Produktentwicklung durch virtuellen Marktplatz CompoNET /." Düsseldorf : VDI-Verl, 2000. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009056709&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Shalaby, Moustafa El-Sayed Abd El-Hameid. "Biological degradation of substrate mixtures composed of phenol, benzoate and acetate by Burkholderia cepacia G4 Biologischer Abbau von Substratgemischen aus Phenol, Benzoat und Acetat durch Burkholderia cepacia G4 /." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=967643740.

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Shalaby, Moustafa El-Sayed Abd El-Hameid [Verfasser]. "Biological degradation of substrate mixtures composed of phenol, benzoate and acetate by Burkholderia cepacia G4 = Biologischer Abbau von Substratgemischen aus Phenol, Benzoat und Acetat durch Burkholderia cepacia G4 / von Moustafa El-Sayed Abd El-Hameid Shalaby." 2003. http://d-nb.info/967643740/34.

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Ludwig, Kai. "Untersuchung von biotechnologisch durch den Pilz Heterobasidion annosum in vivo degradiertem Fichtenholz als Pflanzensubstrat und Torfersatz." Doctoral thesis, 2007. http://hdl.handle.net/11858/00-1735-0000-0006-B0FF-C.

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Books on the topic "Dutch composer"

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Franz Liszt: Im Triumphzug durch Europa. Wien: Österreichischer Bundesverlag, 1986.

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Hoppe, Günther. Bach-Gedenkstätte Schloss Köthen: Kleiner Führer durch die Ausstellung. Köthen: Historisches Museum, 2000.

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Taylor, Chip. Songs from a Dutch tour: The book. Amsterdam: Ambo, Anthos, 2008.

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Roquet, Flavie. Vlaamse componisten geboren na 1800: Lexicon. Roeselare: Roularta Books, 2007.

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Haschen, R. J. Franz Liszt, oder, Die Überwindung der Romantik durch dans Experiment. Frankfurt am Main: Athenäum, 1989.

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Schaefer, Hansjürgen. Anton Bruckner: Ein Führer durch Leben und Werk. Berlin: Henschel, 1996.

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1929-, Campert Remco, and Loevendie Theo 1930-, eds. CC: Een correspondentie. [Amsterdam, Netherlands]: Bas Lubberhuizen, 2011.

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The music of Louis Andriessen. Cambridge: Cambridge University Press, 2006.

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Wagner-Trenkwitz, Christoph. Durch die Hand der Schönheit: Richard Strauss und Wien. Wien: K & S, in Zusammenarbeit mit dem Richard-Strauss-Verlag, 1999.

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Yoffe, Boris. Im Fluss des Symphonischen: Eine Entdeckungsreise durch die sowjetische Symphonie. Hofheim: Wolke, 2014.

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Book chapters on the topic "Dutch composer"

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"Willem de Fesch: International Eighteenth-Century Dutch Composer." In The Great Emporium, 195–206. BRILL, 1992. http://dx.doi.org/10.1163/9789004484771_011.

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Manning, Jane. "Five Songs on English Poems (1974) Daniel Manneke (born 19 39)." In New Vocal Repertory, 124–28. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164135.003.0040.

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Abstract In this welcome addition to the low-voice repertory, Manneke (a Dutch composer) employs space-time notation for the first three songs. Full explanatory notes are provided in the score. The fourth song uses conventional notation and, in the last song even greater freedom is employed in notating the voice part.
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Manning, Jane. "Four Songs (I970) Robert Heppener (born I 925) Text by Ezra Pound." In New Vocal Repertory, 163–66. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164135.003.0050.

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Abstract This set of songs by the distinguished Dutch composer, Robert Heppener, allows a really accomplished singer to display virtuosity and a versatile technique. The vocal line is appealingly wide ranging, mellifluous and richly expressive; in some places it is quite physically demanding. Sprechstimme is used, together with other spoken devices, including whispering. The four songs are agreeably contrasted to each other.
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Shipton, Alyn. "The l 950s Bi Bands." In Groovin’ High, 275–92. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195091328.003.0016.

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Abstract Arturo “Chico” O’Farrill was a trumpeter himself, born in Havana in 1921, who had studied composition as a young man in Cuba, where he also dabbled in band leading. He came to the United States in the 1940s and studied composition with Bernard Wagenaar, Stefan Wolpe, and Hall Overton. Wagenaar was a Dutch composer who taught his students the elements of neoclassical style at the Juilliard School for many years from the 1920s to the 1960s, but both the other men were more directly involved in jazz.
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Manning, Jane. "MISSY MAZZOLI (b. 1980)As Long As We Live (2013)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 148–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0047.

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This chapter describes American composer Missy Mazzoli’s As Long As We Live (2013). Showing the influence of figures such as the Dutch composer Louis Andriessen as well as some of those involved in the worldwide Bang-on-a-Can movement, this work, which is also available in a version for baritone, could just as easily fit a club setting or popular concert as a more formal recital venue. In order to alleviate balance problems, the singer could be amplified if need be. It is even possible that singer and pianist could be the same person, a situation more frequently found in ‘pop’ concerts. The straightforward appeal and seductively euphonious harmonies of this extended song conceal considerable artistic acumen and an acute ear for subtleties of timbre. Both the simplicity of the vocal line and the characteristically repetitive nature of the piano writing are deceptive. A classically trained singer with a well-centred purity of tone and a firm middle register is surely essential to achieve the pinpoint tuning of intervals, many of which are quite close and clash with the piano’s triadic harmonies.
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Havelková, Tereza. "Introduction." In Opera as Hypermedium, 1–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091262.003.0001.

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The chapter-length introduction situates the book’s subject matter within a broad interdisciplinary field, and specifically in relation to the theory of intermediality in theatre and performance, the burgeoning audiovisual studies, and the “material turn” in opera scholarship. Approaching opera as hypermedium draws attention to the continuity between operatic past and present, and between different media and art forms, old and new. Productions of Wagner’s Ring Cycle by Robert Lepage and La Fura dels Baus serve here as a starting point for consideration of opera’s inherently hypermedial aspects. Pieces by Philip Glass, Michel van der Aa, and others help contextualize the book’s central case studies, the operas by Dutch composer Louis Andriessen and British filmmaker Peter Greenaway, which epitomize the ways these aspects are rethought today. To outline the book’s theoretical framework, the introduction revisits some classic nodes in the debates about presence and representation and about liveness and mediatization.
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Smith, Barry. "An Infamous Letter (1918)." In Peter Warlock, 145–57. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198163107.003.0008.

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Abstract Soon after giving his Dublin lecture Philip had sent Taylor a copy of ten of van Dieren’s Dutch Melodies for piano, feeling sure that he would love them. Now, on 13 June 1918, he wrote again, this time asking him to try to find a publisher in London for these ‘exquisite works’. He felt that they were ‘of so delicate a nature that the mere dumb manuscript, left with a not over-intelligent or sympathetic publisher, might easily fail to convey the frail and subtle beauty of the music’. If, however, Taylor were to play them, Philip decided they would then have the best of all possible chances. He hoped, too, that Taylor would find an opportunity to visit the ailing composer and discover more about the man and his music. Although still confined to bed, van Dieren was working at a new string quartet which he was composing without any preliminary sketches or alterations, ‘directly into a fair-copy score, without any rough notes whatever’.
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Spring, Matthew. "From Renaissance to Baroque: A Continental Excursus, 1600-1650." In The Lute In Britain, 1–7. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195188387.003.0009.

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Abstract French ideas and fashions were largely responsible for the transformation of the lute and lute music during the first half of the seventeenth century. The famous manuscript of Anne de Chambure entitled ‘la Rhetorique des Dieux’ by Denis Gaultier of 1652, marks the apogee of French solo lute brisé style. Here the music is decked out with pictures and commentaries that build an elaborate web of associations with classical rhetoric, ancient modes, and allegorical personifications of these modes. As the title suggests, the music was held to be of such refinement that it was almost beyond mortal comprehension. The rise of the lute to this exalted position in France in the first half of the century involved a fundamental rethinking of all aspects of the lute and its music. The changes that led to the development of the French Baroque lute style had their origins in the work of Parisian lute makers and players of the first three decades of the century. The magnitude of this change can be seen by comparing Antoine Francisque’s Le Trésor d’Orphée of 1600, the only source of solo lute music printed in France in the first decade of the century, with Pierre Ballard’s Tablature de luth de differents autheurs, sur des accords nouveaux (1631). Francisque’s book is organized by genre, like the German and Dutch anthologies listed in Table 7.2, and is for a 9-course lute, though many pieces only require eight courses. Ballard’s 1631 publication groups pieces according to composer, then tuning, then key, and finally by genre, and requires a IO-course lute.
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van der Wal, Marijke, and Jan Noordegraaf. "The extraordinary and changing role of women in Dutch language history." In Women in the History of Linguistics, 219–44. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754954.003.0009.

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Since the second half of the sixteenth century, there has been a tradition of publishing grammars, dictionaries, and linguistic treatises, composed by male authors of various professions. Although women do not seem to have played a visible role in language codification and language studies in the Netherlands, at least two extraordinary femmes savantes stand out. The first of these from the seventeenth century was Anna Maria van Schurman, a highly admired scholar and polyglot who maintained an international network of correspondence and was familiar with a wide range of languages. Her eighteenth-century counterpart, Johanna Corleva, was interested in rational grammar, translated the Grammaire générale et raisonnée (1660) into Dutch, and compiled a Dutch dictionary according to particular explicit principles. Attention will also be paid to female activities in education, from elementary schools to academia. Throughout this chapter, the leading question will be why, despite the activities described, Dutch ‘linguistics’ was such a predominantly male enterprise for more than three centuries.
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Thränhardt, Dietrich. "Conflict, Consensus, and Policy Outcomes: Immigration and Integration in Germany and The Netherlands*." In Challenging Immigration and Ethnic Relations Politics, 162–86. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198295600.003.0008.

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Abstract Germans often look to The Netherlands as a model country for its integration policies. Dutch experts are frequently invited to Germany, and expected to tell the Germans how to deal with problems of immigration. Indeed, it is fascinating that two countries so similar with respect to economic development, Protestant-Catholic composition, a ‘Christian Democratic welfare state’ (Schmidt 1996) and party systems composed of moderate centre-right and centre-left parties, have experienced politics of immigration looking so different.
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Conference papers on the topic "Dutch composer"

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Malcoci, Ion. "New techniques of interpretation in faux-bourdon 68 for pan flute solo by Daan Manneke." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.09.

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This article refers to the piece for solo pan flute less known to us, by the Dutch composer Daan Manneke, written in 1997, when this instrument was enjoying great popularity in Western countries. The author presents an interpretative analysis of this work, from the perspective of the use of new, innovative techniques for the art of the contemporary Romanian nai(pan flute), which represents data on the history of the appearance of this work in the European cultural and musical context, as an example: various interpretative treatments such as the interpretation of two voices simultaneously on the nai and new musical effects, in the interpretative version of the Dutch pan flute player Matthijs Koene, etc. The appearance of a creation for the pan flute is not accidental in this country, as the pan flute has become a much-loved instrument in the Netherlands, with a pan flute class currently operating at the Amsterdam Conservatory. Daan Manneke's creation is also distinguished by the fact that the artist tackles a whole range of traditional instruments.
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Hadžiarapović, Nerko, Marlies van Steenbergen, and Pascal Ravesteijn. "Copyright Enforcement in the Dutch Digital Music Industry." In Digital Support from Crisis to Progressive Change. University of Maribor Press, 2021. http://dx.doi.org/10.18690/978-961-286-485-9.41.

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There is a lack of interest and empirical analysis in the existing literature on composers’ relations with their publishers and the role of Collective Management Organizations (CMOs) within the system of music copyright. The purpose of this paper is to explore and understand the influence of digitization within the music industry on the copyright enforcement in the Netherlands and on rights holders and the CMOs. Also to explore and understand how their mutual relationships are affected by digitization of the music industry. A qualitative analysis was done by reviewing scientific literature, performing a documents analysis and doing open interviews. In the existing economics of copyright literature, the main focus is set on transaction costs, efficiency and welfare topics. The findings can be used to understand and model how rights holders and CMOs cope with the digitization and contribute to the policy makers and economic actor’s discussion about future improvement of the copyright enforcement system.
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Michajlova, Irina M. "SISTER BEATRICE IN BELGIUM, THE NETHERLANDS AND RUSSIA 20TH–21ST CENTURIES." In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063581.

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The article aims to trace the ways of transfer of the medieval Dutch story about Sister Beatrice (Beatrijs) into Russia and its reception by Russian culture in the 20th–21st centuries. To do this, the plot of the Legend about Beatrice (manuscript 14th century) is briefly outlined and three of the most outstanding works by Dutch and Belgian authors based on the same plot, are described. The story of Beatrijs reached Russia thanks to the play of Maeterlinck, a cult playwright among Russian symbolists. In 1906–1908, the performance of the Komissarzhevskaya Theater “Sister Beatrice” staged by V. E. Meyerhold was a huge success. This performance inspired at least three Russian composers to create operas based on this Western European story. The creation of Roerich’s masterpiece “In the Monastery’ (1914), which embodied his synesthetic experiences, is connected with the musical interpretation of the theme of Beatrice.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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5

Otsubo, Takahiro, Masayuki Orita, Tatsuya Kinoshita, Toshiaki Kanemoto, and Kiyoshi Kokubu. "Floating Type Ocean Wave Power Station (Unique Work of Oscillating Platform)." In ASME-JSME-KSME 2011 Joint Fluids Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/ajk2011-07024.

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This paper presents the unique ocean wave power station, which is composed of the floating type platform with a pair of the floats lined up at the interval of one wave length and the counter-rotating type power unit submerged in the seawater at the middle position of the platform. Such profiles make the flow velocity through the turbines two times faster than that of the traditional OWC types, and make the turbine diameter large as possible because the rotational moment hardly acts on the platform. The previous paper verified that the station is effective to get the power from the ocean wave at the normally oscillating motion. Continuously, this paper discusses the effect of the wave length on the motion of the platform and present the flow conditions around Wells type hydraulic turbine in CFD. The platform in which the floats are at the symmetrical position to the anti-node oscillates normally irrespective of the stationary wave length. On the contrary, the platform with the floats the asymmetrically arranged or being at the progressive wave plays in the dutch-roll condition and does not get the fruitful power.
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