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Journal articles on the topic 'Intermezzi'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

RICE, JOHN. "The Roman intermezzo and Sacchini's La contadina in corte." Cambridge Opera Journal 12, no. 2 (July 2000): 91–107. http://dx.doi.org/10.1017/s0954586700000914.

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The origins of the Roman intermezzo, an important and influential sub-genre of Italian comic opera, can be traced back to the 1730s, when the composer and librettist Benedetto Micheli wrote several two-part intermezzi for the Teatro Valle and other theaters in Rome for performance during the intermissions of spoken plays. The Valle cultivated the intermezzo with particular consistency during the next six decades, presenting works by many distinguished composers, including Sacchini, Paisiello, and Cimarosa. Sacchini's La contadina in corte, on a libretto derived from Giacomo Rust's three-act comic opera of the same title, may serve as a good example of the Roman intermezzo.

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Howell, Tim. "Brahms, Kierkegaard and Repetition: Three Intermezzi." Nineteenth-Century Music Review 10, no. 1 (June 2013): 101–17. http://dx.doi.org/10.1017/s1479409813000050.

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Schoenberg's ideas about ‘Brahms the progressive’ involve the close study of the composer's use of ‘developing variation’ technique, yet Brahms's music also contains a high incidence of repetition. In 1843, the Danish philosopher Søren Kierkegaard published a book called Repetition under the pseudonym, ‘Constantin Constantius’. As an encryption of his underlying philosophy, this pseudonym encapsulates both the constant nature of repetition – and its more subtle element of change. Thus stasis and dynamism, similarity and difference, are equally (and visibly) represented here. Kierkegaard's ideas find resonance within the late Brahms piano miniatures (for instance in the Drei Intermezzi, op. 117) where highly compressed formal structures exhibit differing kinds of repetitive processes. The temporal quality of repetition – the fact that experiencing the ‘same’ thing can only occur later on in time – makes this device more dynamic than it may at first appear. Such a view of repetition sits alongside Schoenberg's notion of ‘developing variation’ – the endless reshaping of a basic shape – but although they may have underlying connections, each is articulated in a different way. Studies of developing variation in Brahms are confined to pitch structures, interval patterns and rhythmic shapes, whereas considerations of repetition need to embrace issues of temporality, narrative and motion. Drawing upon Kierkegaard's philosophical distinction between re-experiencing something, rather than experiencing it again, allows repetition to become a catalyst for change. It may help to explain the expressive expansiveness of Brahms's structurally controlled late piano works.

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Bye, Antony, Emma Johnson, Malcom Martineau, RPO, and Groves. "Stanford: Clarinet Concerto; Three Intermezzi Finzi: Clarinet Concerto; Five Bagatelles." Musical Times 134, no. 1799 (January 1993): 46. http://dx.doi.org/10.2307/1002649.

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Newman, Karen. "The Politics of Spectacle: La Pellegrina and the Intermezzi of 1589." MLN 101, no. 1 (January 1986): 95. http://dx.doi.org/10.2307/2905518.

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Gaakeer, A. M. P. (Jeanne). "‘A Person’s a Person, No Matter How Small’: enige literaire intermezzi." Boom Strafblad 1, no. 1 (May 2020): 4–6. http://dx.doi.org/10.5553/bsb/266669012020001001002.

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Milhous, Judith. "WHAT ARE YOU READING?" Theatre Survey 51, no. 2 (October 18, 2010): 291–94. http://dx.doi.org/10.1017/s0040557410000359.

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What might one read for an opera course? I teach an occasional survey that looks at opera in the context of theatre. It is intended to demystify opera for those who have no experience of it but also to explore some nooks and crannies that even fans might not know well. The general layout is chronological, but local production schedules may mean that we start out of order or that there are interruptions. My concern is that students be somewhat prepared when they go to see an opera on the syllabus. Rather than choose warhorses for their own sake, I seek out pieces that offer historical, political, or aesthetic choices that are surprising to many students. Thus, with John Adams's Nixon in China, we also read three plays about Madame Mao. With the intermezzi presented as part of the Medici wedding festivities of 1598, we read one of the plays the intermezzi graced, Bargagli's La pellegrina; for the production process, we read excerpts from James M. Saslow's wonderful 1996 book about the wedding, and so on. I change the overall content to accommodate available productions and to keep the course interesting for me and (I hope) for students. Since I keep an eye out for books that might be useful, this essay combines things I have actually read with things I will consider for the syllabus the next time I teach it.

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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.

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Rietveld, ABM, and John D. Macfarlane. "Oefening Baart Kunst—“Exercise Bears (Gives Birth To) Art”: Symposium for and by the Allied Health Professions of the NVDMG, Medisch Centrum Haaglanden, Den Haag, February 5, 2011." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 108–13. http://dx.doi.org/10.21091/mppa.2011.2017.

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On Saturday, February 5th, 2011, the Dutch Performing Arts Medicine Association (Nederlandse Vereniging voor Dans- en MuziekGeneeskunde, NVDMG) organized a Symposium for and by allied health care professionals, held in the Medisch Centrum Haaglanden (MCH, Medical Centre of The Hague). Allied health care professionals, such as physiotherapists, manual therapists, Mensendieck therapists, speech therapists, and foot therapists, form a vital and indispensable link in the chain of healthcare and cure for dancers, musicians, and singers. The intention of the symposium was to highlight the practical and experience-related approach of allied health care providers, both in the presentations and in the artistic intermezzi. Apart from the exchange of knowledge and experience, there was ample opportunity for informal contact, facilitating and stimulating the formation of an interdependent network of allied health care providers specialized and/or interested in dance, music, and singing in The Netherlands.

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Quinziano, Franco. "Ecos cervantinos en los escenarios italianos del XVIII. Baretti y Corsetti: dos modelos de apropiación e inversión." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 111. http://dx.doi.org/10.17811/cesxviii.26.2016.111-135.

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RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figura del caballero andante, implantado en ambientes festivos y carnavalescos, es despojada de toda dignidad literaria, al tiempo que se percibe una inversión en la configuración de su perfil moral. Ambas piezas confirman este proceso de apropiación e inversión en el que se plasman nuevas reencarnaciones del famoso hidalgo, recargando las tintas sobre los componentes satíricos y paródicos, a través de un proceso de reelaboración textual en el que la comicidad se desplaza hacia ámbitos decididamente grotescos y caricaturescos.PALABRAS CLAVEQuijote, recreaciones cervantinas, teatro musical, siglo XVIII, Baretti, Corsetti. TITOLOPresenze cervantine negli scenari italiani del Settecento. Baretti e Corsetti: due modelli di appropriazione e inversioneSOMMARIOLa presenza e ricezione del Quijote negli scenari italiani del Settecento costituisce ancora un campo parzialmente affrontato dalla critica. I diversi rifacimenti del periodo per il teatro musicale ci parlano di una importante presenza e ricezione di temi e motivi cervantini nella cultura italiana, essendo questi componimenti —non solo le opere serie o buffe, ma anche i sottogeneri comici e giocosi brevi— vere e proprie miniere da esplorare. In questa prospettiva lo studio esamina due brevi libretti di chiara derivazione chisciottesca, Don Chisciotte a Venezia (Baretti) e Don Chisciotte nella selva di Alcina (Corsetti), in cui la figura del cavalliere errante, inserito in ambienti festivi e carnavaleschi, è spogliata di ogni dignità letteraria, al tempo che si profila un processo di rovesciamento e inversione del suo profilo morale. Questi due intermezzi confermano un singolare processo di appropriazione e di rovesciamento rispetto al romanzo cervantino, in cui si plasmano nuove reincarnazioni del celebre protagonista, enfatizzando gli elementi satirici e parodici attraverso un processo di rielaborazione testuale in cui la comicità si sposta verso contesti decisamente grotteschi.PAROLE CHIAVIDon Chisciotte, rifacimenti cervantini, teatro musicale, Settecento, Baretti, Corsetti.

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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.

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Chachulski, Jakub. ""Echo w lesie" Józefa Elsnera i Wojciecha Pękalskiego – późny pogłos włoskiego intermezza na warszawskiej scenie narodowej?" Muzyka 65, no. 2 (July 15, 2020): 105–46. http://dx.doi.org/10.36744/m.449.

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Przedmiotem artykułu jest jednoaktowa opera Echo w lesie Józefa Elsnera z tekstem Wojciecha Pękalskiego, rozpatrywana w kluczu określenia gatunkowego „intermezzo” nadanego jej oryginalnie przez obu twórców, podobnie jak kilku innym – dziś zaginionym – utworom Elsnera powstałym w latach 1808–1810, w większości z myślą o małżeństwie aktorów-śpiewaków Janie Nepomucenie i Joannie Szczurowskich. Tło historyczne uzasadnia uznanie tego określenia za sygnalizujące intencje nawiązania dla włoskich intermezzów buffa z końca XVIII w.; pod tym kątem zanalizowane zostają fragmenty opisywanego utwóru, ujawniając zarówno treściowe powiązania z osiemnastowieczną opera buffa, obecność cech stylistycznych i technik kompozytorskich charakterystycznych dla tego obszaru repertuarowego, jak i typowych dla opery buffa elementów muzycznych aluzji, parodii i innego typu nawiązań intertekstualnych. Omówione zostają także kwestie zachowanych źródeł, tj. istotne odmienności zachodzące pomiędzy rękopisem libretta z 1808 r. a zachowanym odpisem partytury powstałym po 1835 roku. Różnice te, wespół z wnioskami z analizy utworu, wskazują raczej na to, iż znana nam postać utworu jest wersją pierwotną (i jedyną), choć hipotezy przeciwnej przy obecnym stanie wiedzy także nie da się odrzucić.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 13 (December 2001): 42. http://dx.doi.org/10.1007/bf03082323.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 138. http://dx.doi.org/10.1007/bf03082367.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 139. http://dx.doi.org/10.1007/bf03082368.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 142. http://dx.doi.org/10.1007/bf03082370.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 144. http://dx.doi.org/10.1007/bf03082372.

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. "Intermezzo." Huisarts en Wetenschap 44, no. 12 (December 2001): 145. http://dx.doi.org/10.1007/bf03082373.

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Brenner, Miriam. "Intermezzo." Magma 1, no. 5 (December 6, 1998): 141. http://dx.doi.org/10.11606/issn.2448-1769.mag.1998.87440.

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Blei, Andres T. "Intermezzo." Hepatology 44, no. 1 (2006): 2. http://dx.doi.org/10.1002/hep.21278.

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Клименко, Олена. "Intermezzo." Дніпро, no. 10 (2009): 102–22.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 5 (May 2002): 570. http://dx.doi.org/10.1007/bf03083020.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 623. http://dx.doi.org/10.1007/bf03083046.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 635. http://dx.doi.org/10.1007/bf03083049.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 4 (April 2002): 655. http://dx.doi.org/10.1007/bf03083054.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 728. http://dx.doi.org/10.1007/bf03083090.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 729. http://dx.doi.org/10.1007/bf03083091.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 730. http://dx.doi.org/10.1007/bf03083092.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 3 (March 2002): 731. http://dx.doi.org/10.1007/bf03083093.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 2 (February 2002): 791. http://dx.doi.org/10.1007/bf03083123.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 2 (February 2002): 798. http://dx.doi.org/10.1007/bf03083125.

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. "Intermezzo." Huisarts en Wetenschap 45, no. 1 (January 2002): 856. http://dx.doi.org/10.1007/bf03083152.

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Zaat, Joost. "Intermezzo." Huisarts en Wetenschap 47, no. 9 (September 2004): 365. http://dx.doi.org/10.1007/bf03083791.

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. "Intermezzo." Huisarts en Wetenschap 47, no. 7 (July 2004): 501. http://dx.doi.org/10.1007/bf03083859.

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Hart, B. "Intermezzo (1924)." Opera Quarterly 15, no. 3 (January 1, 1999): 608–12. http://dx.doi.org/10.1093/oq/15.3.608.

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Kuschel, Frank. "Das Straßburger Intermezzo." Nachrichten aus der Chemie 66, no. 7-8 (July 2018): 758–60. http://dx.doi.org/10.1002/nadc.20184071569.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Music Theory Forum 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.15571/mtf.2015.22.2.57.

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Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Yonsei Music Research 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.16940/ymr.2015.12.57.

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Ковальчук, О. ""Intermezzo" (Імпресіонізм + експресіонізм + сюрреалізм? )." Дивослово, no. 9 (672) (2015): 51–55.

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Schmit, Sabine. "Kurzes Intermezzo der Dentisten." Der Freie Zahnarzt 58, no. 2 (February 2014): 34–35. http://dx.doi.org/10.1007/s12614-014-1898-6.

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Asztalos, Bence. "Richard Strauss’ Forewords to Intermezzo." Studia Universitatis Babeş-Bolyai Musica 62, no. 1 (June 20, 2017): 233–43. http://dx.doi.org/10.24193/subbmusica.2017.1.16.

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Schuster, Heidi. "Der Hackerparagraph — ein kurzes Intermezzo?" Datenschutz und Datensicherheit - DuD 33, no. 12 (December 2009): 742–46. http://dx.doi.org/10.1007/s11623-009-0195-z.

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Garber, Thorsten. "Vorstandschef-Wechsel nach kurzem Intermezzo." return 6, no. 6 (December 2019): 9. http://dx.doi.org/10.1007/s41964-019-0179-0.

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Mrdeža Antonina, Divna. "Scenski kontekst "Komedija" Nikole Nalješkovića." Croatica et Slavica Iadertina, no. 1 (January 18, 2017): 195. http://dx.doi.org/10.15291/csi.268.

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Abstract:

Mnogim se tekstovima različite generičke pripadnosti u starijoj hrvatskoj književnosti prepoznaju žanrovski poticaji iz talijanske književnosti. Kad je riječ o Nalješkovićevim pastirskim prizorima, jednostavnim pastoralnim podvrstama (u rukopisima naslovljenim "Komedije", s rednom oznakom od I. do IV.) književna povijest uglavnom spominje kao izvore eklogu i pastoralu. Postojanje brojnih i pastoralnih i ekloških elemenata u Nalješkovićevim tekstovima pruža dovoljno opravdanja za takvo gledanje, ali zagledanje na teatarsku scenu susjedne nam Italije, koja je, znamo, u to vrijeme nudila novine cijenjene i na domaćoj sceni i njegovane u skladu s našim mogućnostima, otkriva i nešto drugo u pastoralnoj domeni o čemu se kod nas nedovoljno vodilo računa. Naime, Italija je posjedovala scensku tvorevinu međuigara (intermediji, intermezzi, intromessi), iznimno dobro primljenu kod publike. Uvodile su se u međučinove predstava, te na mjesto prologa i epiloga. Ta pastoralna podvrsta mogla je utjecati i na Nalješkovićeve pastirske prizore, a potvrde za tu tvrdnju pronalazimo u njegovim tekstovima: Prvo, svi Nalješkovićevi pastoralni prizori doista su kratke slike iz života arkadijske zajednice ili su kratki mitološki prizori također pastoralnog ugođaja (Parisov sud primjerice), poput onih iz XV. st. kojima se divilo i s kojima se poistovjećivalo talijansko gledateljstvo. Drugo, pjesme vila, satira i pastira neizostavan su dio svakoga prizora, kao i igra odnosno ples. Neprestane napomene autora u škrtim didaskalijama to potvrđuju, ali i izbor stiha: potencijalne pjevne dionice su u osmercima. Treće, pastirski prizori Nalješkovićevi imaju i elemenata komike tamo gdje imamo tanko izdiferenciran sloj rustikalnog i građanskog. Imamo potvrda i u talijanskom teatru da komički elementi nisu posve izostavljani ni iz čistih idila. Četvrto, utjecaj slikovitosti intermedija očituje se i u simetričnosti scena kakve vidimo na oslikanim prizorima (skicama) za pozornicu. Primjerice, broj lica koja se pojavljuju na sceni simetričan je i uglavnom je riječ o 4 vile i četiri pastira ("Komedija I"), tri vile i tri pastira ("Komedija II"), vila i sudac, četiri pastira, četiri satira ("Komedija III"), osam mladaca i osam vila (po svoj prilici u "Komediji IV"). Oku ugodan prizor morao se bazirati na skladu simetričnih brojeva. Osnovni prigovor koji se može postaviti tezi utjecaja međuigara na pastirskie prizore jest nedostatak teksta u međuigrama, ali intermedij popularne priče o Amoru i Psihi, koja se temelji na tekstu, dokazuje da to nije bila zakonitost. Međuigre su dobivale na važnosti kroz čitavo XVI. stoljeće da bi se na koncu utopile u pastoralno-mitološku scenu barokne melodrame u Italiji. Čini se da bitno drukčije nije bilo ni kod nas: usporedimo li obilježja (tematiku, formu, atmosferu, izražajna sredstva) domaćih pastirskih prizora i domaće barokne melodrame, uvidjet ćemo prilično sličnu sliku i njihov međusobni odnos.

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Mirosnicenko, Svetlana. "The genesis of the genre intermezzo." Godisnjak Uciteljskog fakulteta u Vranju, no. 6 (2015): 391–98. http://dx.doi.org/10.5937/gufv1506391m.

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Bergsjo, Per. "African intermezzo: Home birth, Masai style." Acta Obstetricia et Gynecologica Scandinavica 72, no. 8 (January 1993): 597–98. http://dx.doi.org/10.3109/00016349309021148.

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Nikoriak, Nataliia. "Original Minority: The Screenplay Based on the Literary Text (“Intermezzo” by Serhii Parajanov)." Pitannâ lìteraturoznavstva 95 (November 27, 2017): 160–74. http://dx.doi.org/10.31861/pytlit2017.95.160.

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Roche, E. "Intermedii, cantata and oratorio." Early Music 36, no. 3 (August 1, 2008): 485–87. http://dx.doi.org/10.1093/em/can086.

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Pavlov, Michael Y., Anders Liljas, and Måns Ehrenberg. "A recent intermezzo at the Ribosome Club." Philosophical Transactions of the Royal Society B: Biological Sciences 372, no. 1716 (March 19, 2017): 20160185. http://dx.doi.org/10.1098/rstb.2016.0185.

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Two sets of ribosome structures have recently led to two different interpretations of what limits the accuracy of codon translation by transfer RNAs. In this review, inspired by this intermezzo at the Ribosome Club, we briefly discuss accuracy amplification by energy driven proofreading and its implementation in genetic code translation. We further discuss general ways by which the monitoring bases of 16S rRNA may enhance the ultimate accuracy ( d -values) and how the codon translation accuracy is reduced by the actions of Mg 2+ ions and the presence of error inducing aminoglycoside antibiotics. We demonstrate that complete freezing-in of cognate-like tautomeric states of ribosome-bound nucleotide bases in transfer RNA or messenger RNA is not compatible with recent experiments on initial codon selection by transfer RNA in ternary complex with elongation factor Tu and GTP. From these considerations, we suggest that the sets of 30S subunit structures from the Ramakrishnan group and 70S structures from the Yusupov/Yusupova group may, after all, reflect two sides of the same coin and how the structurally based intermezzo at the Ribosome Club may be resolved simply by taking the dynamic aspects of ribosome function into account. This article is part of the themed issue ‘Perspectives on the ribosome’.

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FRIEDSON, STEVEN M. "The unbearable weight of music: The intermezzo." Anthropology Today 35, no. 5 (October 2019): 11–15. http://dx.doi.org/10.1111/1467-8322.12528.

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