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Journal articles on the topic 'Opera responsive to change'

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Author: Grafiati

Published: 14 March 2023

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1

Diamond, Catherine. "Cracks in the Arch of Illusion: Contemporary Experiments in Taiwan's Peking Opera." Theatre Research International 20, no. 3 (1995): 237–54. http://dx.doi.org/10.1017/s0307883300008683.

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Textual and performance innovation in twentieth-century Peking Opera is not new and the experiments by practitioners in Taiwan today demonstrate approaches that both reflect past attempts and contemporary variation. There has been resistance to change in the art form, however, because it was supposed to have reached perfection with Mei Lanfang (1894–1961), who, because of his artistic pre-eminence and international status, was able to introduce several daring innovations that revolutionized the medium without upsetting its parameters. Mei not only experimented by acting in contemporary non-traditional plays, but also within the Peking Opera tradition and was responsible for shifting the limelight away from that of the old man role (laosheng) to that of the young woman (dan), his own role. He and his playwright collaborator, Qi Rushan, wrote new style Peking Opera scripts that made best use of Mei's unique performing talents. Instead of the stylized costume evolved from Ming and Qing, dress, Mei would occasionally use historically accurate costumes from earlier dynasties. He introduced the use of classical dances and encouraged the inclusion of the eihu, the second, lower pitched fiddle into the accompanying orchestra.

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2

Sloggie, James, and James Ross. "Music in Scottish Secondary Schools: Towards a New Vision." British Journal of Music Education 2, no. 3 (November 1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.

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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providing education authorities and head-teachers with general advice and guidance on curriculum matters. He is advised on these matters by HM Inspectorate of Schools (Scotland) and by the Consultative Committee on the Curriculum. The Consultative Committee on the Curriculum, in turn, is advised on musical matters by its subcommittee, the Scottish Central Committee on Music. Two external examinations, Ordinary and Higher Grades – taken at ages 16 and 17 respectively – are the responsibility of the Scottish Examination Board.Scotland has a population of some five and a half million people. It has four professional orchestras – two with international reputations – professional opera and ballet companies, national youth brass and wind bands, and orchestra. There are over four hundred secondary schools. Instruction in music has been a feature of Scottish schools for centuries.

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3

Strzemżalska, Aneta. "FORMATION OF THE MUGHAM SINGING SCHOOL IN AZERBAIJAN (LATE 19TH – FIRST HALF OF THE 20TH CENTURIES)." History, Archeology and Ethnography of the Caucasus 17, no. 1 (March 28, 2021): 222–35. http://dx.doi.org/10.32653/ch171222-235.

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Mugham plays a significant role in the national culture of modern Azerbaijan. Considering this fact, this article describes the initial period of the formation of the Azerbaijani mugham singing school, that is, the end of the 19th – the first half of the 20th centuries. Based on the results of field research (participant observation, and also interviews in Russian and Azerbaijani languages with representatives of the musical community of the capital of Azerbaijan: performers and listeners of mugham, scientists, publicists, employees of concert halls where mugham performances take place, employees of state institutions who are responsible for development programs culture in the country), and available sources, the author of the article focuses on those socio-historical circumstances and characters that testify to the specifics of the modern singing school of mugham. Therefore, special attention is paid to two soloists and connoisseurs of Azerbaijani music: Jabbar Garyagdioglu and Bulbul. The first of them, although he grew up in the traditional environment of folklore singers, performed mughams in a new, theatrical form on the stages of concert halls. The change in the place and form of mugham performance laid the foundation for the emergence of the main genre of modern national music in Azerbaijan - mugham opera. Bulbul's merit for the formation of the mugham singing school, in turn, is that he developed an original singing technique, the specificity of which is the synthesis of modified norms of vocal performance of classical music of the Western type and folklore art, primarily mugham. Due to technical innovations, the national music of Azerbaijan, colored with a purely folk style, is not only interesting, but also understandable to a foreign listener.

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4

Carnegie, Teena A. M., and Kate Crane. "Responsive curriculum change." Communication Design Quarterly 6, no. 3 (January 22, 2019): 25–31. http://dx.doi.org/10.1145/3309578.3309581.

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5

Mario Mari, Libero, and Francesca Picciaia. "The accounting methods of the "Opera del Duomo" of Orvieto, from its origins to the 16th century statute reform: single or double-entry bookkeeping?" De Computis - Revista Española de Historia de la Contabilidad 11, no. 21 (December 31, 2014): 49. http://dx.doi.org/10.26784/issn.1886-1881.v11i21.38.

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The “Opera del Duomo” is the institution, still in existence, which was responsible for the construction of the cathedral in Orvieto. Over the centuries there have been many changes to its structure, in part due to continual conflict between the public administration and religious organizations. In accordance with the interpretation of the development of accounting as a result of its historical context, and, in particular, its organizational structure, this paper aims, through an analysis of the accounting registers and books of the Opera, to investigate “if” and “when” it is possible to observe the introduction of the double-entry bookkeeping method, and its role and function in the Opera’s structure.

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6

Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.

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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century America.

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7

Vetlitsyna, Irina M. "Opera in the Context of Popular Culture." Observatory of Culture, no. 2 (April 28, 2014): 55–60. http://dx.doi.org/10.25281/2072-3156-2014-0-2-55-60.

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Is devoted to aesthetic transformation of the status of opera at the turn of the 21st century, which led to a change in functioning of this musical history phenomenon. In its many manifestations opera began to live according to the laws of show business, involving a whole range of marketing ploys aimed at enhancing, maintaining and satisfaction of public interest in opera

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8

McCullough, Cynthia S. "Creating Responsive Solutions to Healthcare Change." Journal For Healthcare Quality 24, no. 1 (January 2002): 42. http://dx.doi.org/10.1097/01445442-200201000-00017.

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9

Christman, Luther P. "Creating Responsive Solutions to Healthcare Change." Nursing Administration Quarterly 26, no. 4 (2002): 85–86. http://dx.doi.org/10.1097/00006216-200207000-00015.

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10

&NA;. "Creating Responsive Solutions to Healthcare Change." Home Healthcare Nurse: The Journal for the Home Care and Hospice Professional 21, no. 11 (November 2003): 780. http://dx.doi.org/10.1097/00004045-200311000-00018.

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11

Ladič, Branko. "Karl Goldmark und seine letzten Opernwerke." Studia Musicologica 57, no. 3-4 (September 2016): 325–48. http://dx.doi.org/10.1556/6.2016.57.3-4.3.

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Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.

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Stenberg, Josh, and Tsai Hsin-hsin. "‘Traditional’ opera in a ‘modern’ society: institutional change in Taiwanesexiqueducation." Theatre, Dance and Performance Training 8, no. 1 (January 2, 2017): 76–88. http://dx.doi.org/10.1080/19443927.2016.1240100.

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13

Alexander, Cameron, and Iqbal Gill. "Responsive materials." MRS Bulletin 35, no. 9 (September 2010): 659–64. http://dx.doi.org/10.1557/mrs2010.677.

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Responsive materials cover a breadth of types and many application fields. The common feature in all cases is a nonlinear change in properties or behavior as a result of a stimulus. The material response can range from a simple change in conformation or ionization state, through to phase transitions, bulk aggregation, or complete dissolution. As a consequence, sensing and actuation are the most investigated functions of these materials. In this issue, we have chosen to focus on responsive materials as exemplified by externally switchable, environmentally activated, and reversibly or controllably triggered systems. The chemistries of these materials, their physical properties, functional behavior, and activity are all linked, so we have aimed to cover the many disciplines underlying responsive materials through articles featuring areas that already span disparate research topics. These areas include drug delivery, smart surfaces, and nanotube transducers. The responsive materials field is growing in excitement as well as activity, and we hope that readers will gain an insight into this fascinating branch of materials science through this MRS Bulletin issue.

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14

Pearse, Janice, and Anna Purna Basu. "ABILHAND-Kids questionnaire: responsive to change or room for change?" Developmental Medicine & Child Neurology 59, no. 5 (January 17, 2017): 457. http://dx.doi.org/10.1111/dmcn.13378.

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15

Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.

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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and European classical opera) is traced. Transformation of different institutional forms of existing of opera art on the provincial stage (farmstead, city stationary theater, an enterprise, an opera partnership) in the context of socially historical development of domestic culture of the pre-revolutionary period is revealed. Important typological characteristic of a provincial opera scene is its character, “reflective” in relation to capital theater. It was shown in tour practice as the most mobile form of distribution of opera art across all Russia. In the article considerable attention is paid to such problems, methodologically important for characteristic of pre-revolutionary provincial musical theater, as territorial and geographical correlation of different Russian regions to capital cities, historically changing conditions of cultural interaction between the center and peripheries. On this basis some art features of opera culture of the prerevolutionary Russian province are analysed: the essence of the opera repertoire (national and foreign), performing forces, level and quality of opera settings, public relation to musical theater, etc. The conclusion is drawn that opera theater - an important component of musical culture of the Russian province. The opera studied the history of development which analysis significantly supplements an overall picture of evolution of domestic musical theater on the provincial stage.

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16

YoungChul Chang, HyunJeong kim, and Sa-Reum Lee. "Responsive to Change: Yuhan-Kimberly Smart Work." Review of Business History 27, no. 2 (June 2012): 33–67. http://dx.doi.org/10.22629/kabh.2012.27.2.002.

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17

Hunt, John. "Project Briefing and Change-Responsive Facilities Management." International Journal of Construction Management 4, no. 2 (January 2004): 53–61. http://dx.doi.org/10.1080/15623599.2004.10773060.

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18

Emsley, David. "Organisational Change and Responsive Management Accounting Practice." Australian Accounting Review 7, no. 14 (October 1997): 54–58. http://dx.doi.org/10.1111/j.1835-2561.1997.tb00036.x.

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19

Eckelman, William C., Chuen-Yen Lau, and Ronald D. Neumann. "Perspective, the one most responsive to change." Nuclear Medicine and Biology 41, no. 4 (April 2014): 297–98. http://dx.doi.org/10.1016/j.nucmedbio.2013.10.002.

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20

Megules, Jen. "Relationally Responsive Moments That Enable Positive Change." AI Practitioner 18, no. 3 (August 1, 2016): 47–53. http://dx.doi.org/10.12781/978-1-907549-28-1-8.

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21

Hamblin, Ryan L., Stacy M. Copp, and Gabriel A. Montaño. "pH Responsive Morphological Change in Polymer Nanostructures." Biophysical Journal 116, no. 3 (February 2019): 295a. http://dx.doi.org/10.1016/j.bpj.2018.11.1592.

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22

Higashiguchi, Kenji, Jun Imai, and Kenji Matsuda. "Structural Colored Balloons Responsive to pH Change." Langmuir 32, no. 19 (May 6, 2016): 4945–51. http://dx.doi.org/10.1021/acs.langmuir.6b00607.

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23

de Lucca, Valeria. "L'Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome." Journal of Musicology 28, no. 2 (2011): 195–230. http://dx.doi.org/10.1525/jm.2011.28.2.195.

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This article sheds new light onto the process of transformation of the figure of the opera patron in Rome during the mid-seventeenth century. Following the travels of Giovanni Filippo Apolloni's libretto Amor per vendetta, ovvero L'Alcasta, I trace the dissolution of the ubiquitous individual court patron of the earlier part of the century into a network of agents behind opera production in commercial contexts. In every phase of the story of L'Alcasta—its commission, plans for production, staging, dedication, and subsequent revivals—we can detect diverse agencies shaping the libretto and score, which accommodated different needs and tastes and conveyed multiple social and political meanings. Showing how the Roman aristocracy experimented with new systems of production that would radically change the history of opera, L'Alcasta also raises broader questions concerning the presence and functions of “patronage” in commercial opera theaters. The trajectory that emerges in the history of opera patronage in the papal city during the second half of the century begins with collective forms of sponsorship during the 1660s and develops further, giving rise to Rome's first commercial opera theater during the 1670s, the Teatro Tordinona. In this context, at a time in which opera in Rome did not find full institutional support, Queen Christina of Sweden represented, at least nominally, the missing patron, a highly representative figure who stood in as guarantor of the new theater on behalf of the aristocratic class that produced and conspicuously consumed opera.

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24

Gong, Ni. "Discussion on the “Localization” Singing Technique Transformation of Opera in the Background of Chinese Culture." Review of Educational Theory 2, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.30564/ret.v2i1.221.

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Opera has been developed in China for more than a hundred years as an “imported product” in the West. But the deep-rooted traditional ideas and the artistic aesthetics accumulated over thousands of years have also given the opera a new youth in China. Among them, the most affected area is singing technique. As one of the most intuitive external performance features of opera, singing technique has been the most affected by “localization” and has created a unique singing method belonging to China. Of course, this method is not formed in one fell swoop. The purpose of this paper is to explore the process of “localization” of opera singing technique in the context of Chinese culture, and to demonstrate it completely from the forms, methods, ideas and systems of change, so as to apply the theory more deeply to practical singing and teaching.

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25

Sobolewska, Aleksandra, Pedro Claros, Carmen Pujol, Astrid Claros-Pujol, and Andres Claros. "Ageing of professional opera singer’s voice- preliminary findings." Otolaryngologia Polska 73, no. 2 (March 20, 2019): 1–5. http://dx.doi.org/10.5604/01.3001.0013.1002.

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Objectives. The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design. This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from a control group. Methods. All participants underwent a voice assessment protocol: an ENT specialist examination and a speech therapist evaluation. Acoustic parameters and subjective observations were obtained, and then analysed. Results. The fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women group when compared to younger singers, but not relatively different in the men group. Shimmer value presented no age related change. Morphological changes seem to correlate with the age of subjects. Conclusions. The main characteristic of voice change over age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on ageing voice in the population of professional opera singers.

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26

Jayasinghe, Chaminda, Weifeng Li, Yi Song, Jandro L. Abot, Vesselin N. Shanov, Svitlana Fialkova, Sergey Yarmolenko, et al. "Nanotube responsive materials." MRS Bulletin 35, no. 9 (September 2010): 682–92. http://dx.doi.org/10.1557/mrs2010.680.

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Individual nanotubes made of carbon, boron nitride, iron, silicon, or other materials have properties such as high strength, toughness, electrical and thermal conductivity, and light weight that cannot be matched by conventional materials. Nanotubes also change their properties in response to external fields and change one type of energy into another, which are useful for design. This article explores three main steps in exploiting responsive materials based on nanotubes: nanotube synthesis, macroscale material fabrication, and incorporation into device structures for novel applications. Nanotubes are always synthesized as individual particles in the form of powders, smoke particles, or aligned forests. To be industrially important, nanotubes generally must be processed to form derivative materials such as functionalized/coated powders and forests and macroscale intermediate materials such as sheets, ribbon, and yarn. The processed nanotubes are then used to develop responsive materials and devices that are able to resist, react to, or generate energy from their environment. This article provides background information and ideas on how to develop nanotube responsive materials for everyday use.

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27

Trainor, Charles. "Fielding, Opera, and Oratorio: The Case of Handel." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 83–100. http://dx.doi.org/10.1215/00982601-9955338.

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It is generally stated without qualification that Fielding was a great admirer of Handel. This is understandable given that his works of the 1740s and 1750s are replete with praise of the composer. Curiously, however, during the 1730s, his compliments to Handel are few and far between. True, in his ballad operas from that period, he borrowed a number of the composer's melodies, but in multiple instances, he attached comic lyrics that mocked their seriousness. This paper contends that Fielding's apparent change in attitude in the 1740s was rooted in Handel's own change as he moved away from Italian opera and toward English oratorio. While Fielding was critical of the former, the latter genre aligned with his aesthetic ideal, which favored word-centric music performed in English with a minimum of “Tinsel, or . . . Ostentation.” Indeed, it is arguable that in his ballad-opera adaptations of Handel, which he often assigned to performers whom Handel also employed, Fielding was prefiguring on a lesser scale what would later make Handel his ideal of all an English composer should be.

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28

van Heeswijk, Ellen P. A., Augustinus J. J. Kragt, Nadia Grossiord, and Albertus P. H. J. Schenning. "Environmentally responsive photonic polymers." Chemical Communications 55, no. 20 (2019): 2880–91. http://dx.doi.org/10.1039/c8cc09672d.

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29

Yazar, İlhan Uğur. "The Influence of Orientalism in the 18th and 19th Century Opera Librettos." Journal of Human Sciences 19, no. 2 (June 21, 2022): 300–310. http://dx.doi.org/10.14687/jhs.v19i2.6283.

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This study aims to trace the change and transformation of meaning and influence of orientalism and in the West from the 18th century through the 19th century in the operas where both content and visual codes were penetrated in the subtlest way, which first evolved geographically and politically, then diplomatically and culturally, and finally the purpose of domination by the West. While opera librettos embodied orientalism visually, the evolving content of orientalism shaped the operas. From this viewpoint, this study discusses the interaction between the East and the West in the 18th century, and the reflection of the historical memory in the performing arts in the 19th century, in which the attempts for domination emerged. In this context, ‘Tamerlano’ Opera by George Frederick Händel and the ‘Abduction from the Seraglio’ Opera by Wolfgang Amadeus Mozart in the 18th century are looked through, and ‘Aida’ Opera by Giuseppe Verdi in the 19th century is construed subsequently.

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30

Oakland, Jane, Raymond MacDonald, and Paul Flowers. "Identity in crisis: The role of work in the formation and renegotiation of a musical identity." British Journal of Music Education 30, no. 2 (March 27, 2013): 261–76. http://dx.doi.org/10.1017/s026505171300003x.

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This study presents a qualitative investigation into the effects of enforced occupational change on a professional musical identity. Interpretative Phenomenological Analysis (IPA) is used to explore the meaning of redundancy for six professional opera choristers. The paper highlights aspects of career disruption that are unique to singers who make their living using a biologically embedded instrument. Findings show the ‘opera singer’ identity to be a professional identity which consists of several subjective sub-identities. Adaptation to change is dependent on the salience given to these subjective identities. It is suggested that if more attention is given to these subjective sub-identities during a professional career, musicians may be better prepared for unexpected disruption to an established career pattern.

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31

Rumyantseva, Alina V., and Liliana Yu Malkova. "“Rigoletto”: Variety of Screen Forms and Specifics of Staging Solutions for Classical Opera in Cinema and on Television." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 259–74. http://dx.doi.org/10.21638/spbu15.2022.203.

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In domestic science there is a perception that today’s opera, under the pressure of massification, simultaneously tries to preserve the elusive traditions of “high” art and lowers the bar to the level of mass culture, while the availability of technological possibilities of transferring opera to the screen is not able to change the preferences of the mass audience, unable to perceive it adequately. It cannot be denied that in the 21st century an uninitiated mass audience’s perception of classical opera is largely formed on the basis of screen representations of musical drama. In this context, the analysis of the applied staging solutions in cinema and television in the incarnation of opera, which includes the determination of the components that are necessary for the qualitative screen representation of musical drama, becomes a relevant subject for scientific research. In this article, which is dedicated to 170th anniversary of Giuseppe Verdi’s opera Rigoletto, an attempt is made to analyze four screen forms of one musical drama different from each other with the aim to reveal variability of staging solutions used for the realization of classical opera on TV and in cinema. The specific features of cinematographic and television representation of musical drama influencing the actualization and popularization of opera in the modern screen space are revealed within different genre frames (film-opera, TV version of musical drama, live TV film, musical TV contest). The author identifies the central figure in the latter processes the director-director, a professional in the field of television, who understands the fundamental laws and staging techniques of musical theater, the expressive means of cinematography.

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32

Lu, H. B., W. M. Huang, and Y. T. Yao. "Review of chemo‐responsive shape change/memory polymers." Pigment & Resin Technology 42, no. 4 (June 28, 2013): 237–46. http://dx.doi.org/10.1108/prt-11-2012-0079.

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33

Woods, Michelle A. "Health Promotion Program Strategies Responsive to Workplace Change." AAOHN Journal 44, no. 9 (September 1996): 447–52. http://dx.doi.org/10.1177/216507999604400907.

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34

Xiaoqing, Ye. "Imperial Institutions and Drama in the Qing Court." European Journal of East Asian Studies 2, no. 2 (March 24, 2003): 329–64. http://dx.doi.org/10.1163/15700615-00202008.

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This article is based on largely uninvestigated archival material in the First Historical Archives in Beijing. It addresses the following issues: (1) How and why an internal office, the Nanfu, which was responsible for drama performances inside the palace, expanded its functions to become a monitoring organisation, the Shengpingshu, which exercised censorship over all the drama groups in the capital. (2) How political events were reflected in drama performed on both public and private occasions, thus shedding light on the inner world of individual emperors. (3) How these institutional changes led to the Qing court playing an active role in the transformation of a regional lower-class entertainment into Peking opera, a national art form appreciated by all classes.

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35

Frantzen, Allen J. "The Handsome Sailor and the Man of Sorrows: Billy Budd and the Modernism of Benjamin Britten." Modernist Cultures 3, no. 1 (October 2007): 57–70. http://dx.doi.org/10.3366/e2041102209000318.

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Allen Frantzen's essay examines Benjamin Britten's “Billy Budd” (1951) in relation to the Festival of Britain, treating the opera as an example of a more conservative “mid-century modernism.” Frantzen analyzes in depth the changes Britten's librettists, E. M. Forster and Eric Crozier, made to the novella by Melville, in order to conclude that Britten's opera offers an art that seeks to establish itself within English society and culture, but that nevertheless makes clear, both in its music and text, that change is on its way.

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van Peet, J. C. A., R. J. van der A, O. N. E. Tuinder, E. Wolfram, J. Salvador, P. F. Levelt, and H. M. Kelder. "Ozone ProfilE Retrieval Algorithm for nadir-looking satellite instruments in the UV-VIS." Atmospheric Measurement Techniques Discussions 6, no. 5 (October 22, 2013): 9061–107. http://dx.doi.org/10.5194/amtd-6-9061-2013.

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Abstract. For the retrieval of the vertical distribution of ozone in the atmosphere the Ozone ProfilE Retrieval Algorithm (OPERA) has been further developed. The new version (1.26) of OPERA is capable of retrieving ozone profiles from UV-VIS observations of most nadir looking satellite instruments like GOME, SCIAMACHY, OMI and GOME-2. The set-up of OPERA is described and results are presented for GOME and GOME-2 observations. The retrieved ozone profiles are globally compared to ozone sondes for the year 1997 and 2008. Relative differences between GOME/GOME-2 and ozone sondes are within the limits as specified by the user requirements from the Climate Change Initiative (CCI) program of ESA. To demonstrate the performance of the algorithm under extreme circumstances the 2009 Antarctic ozone hole season was investigated in more detail using GOME-2 ozone profiles and lidar data, which showed an unusual persistence of the vortex over the Río Gallegos observing station (51° S, 69.3° W). By applying OPERA to multiple instruments a timeseries of ozone profiles from 1996 to 2013 from a single robust algorithm can be created.

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Azwar, Azwar, Hreeloita Dharma Shanti, and Kintan Arumdhani. "DAMPAK SINETRON INDONESIA TERHADAP PERILAKU MASYARAKAT." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 2, no. 02 (October 1, 2019): 89–98. http://dx.doi.org/10.30871/deca.v2i02.1524.

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This study aims to reveal how people's behavior after watching the soap opera Anak Langit and what are the factors that cause people's behavior to change after watching the soap opera Anak Langit. In addition, this study will also look at how violations that occur in Anak Langit soap operas are based on broadcasting regulations in Indonesia. This research will explore the existing problems using Cultivation Theory where this theory assumes that television exposure impacts on the community. This theory is based on Gerbner's thought which conveys that the continued exposure of the media will give an idea and influence on the perception of the viewer. That is, as long as viewers make contact with television they will learn about the world, change their perception of the world, learn to behave and people's values. This study uses qualitative methods, where researchers conduct literature studies, observations and interviews to approach and explore research problems. Based on this research it can be seen that the soap opera Anak Langit has a negative impact on some of its audience. This is because many violations occur, if guided by broadcasting regulations in Indonesia.

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PETROVICI, Alexandru. "Operatic singing - Implications of technical means in changing vocal range." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 137–46. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.13.

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This study focuses on one of the most spectacular aspects opera singer’s evolution – the change of vocal subrange, or even of vocal range. We identified the most frequent reasons prompting artists to such changes, the prerequisites, the most frequent types of specific evolutions, the advantages and risks inherent to such choices. Besides physiological particularities, opera singers have available certain technical parameters which, when carefully adapted and fine-tuned, may lead to spectacular results. We presented several case studies reflecting the performance of famous artists, whose vocal technique illustrates the solutions and adjustments mentioned above.

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Bender, Mark. "Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai." Chinese Historical Review 17, no. 1 (January 2010): 120–22. http://dx.doi.org/10.1179/tcr.2010.17.1.120.

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de Block, Liesbeth. "Entertainment Education and social change: Evaluating a children's soap opera in Kenya." International Journal of Educational Development 32, no. 4 (July 2012): 608–14. http://dx.doi.org/10.1016/j.ijedudev.2011.09.005.

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Aunger, Robert, and Valerie Curtis. "Unintentional behaviour change." Behavioral and Brain Sciences 37, no. 4 (August 2014): 418. http://dx.doi.org/10.1017/s0140525x13003117.

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AbstractWe argue that the authors ignore a broad range of possible means of changing behaviour: unintentional change. Most of the behaviours that people seek to change – either in themselves or that are the subject of public health campaigns–are habitual, and hence not necessarily responsive to intentions. An evolutionary approach should take into account all kinds of evolved behavioural responses.

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Benjamins, Laura, Sophie Louise Roland, and Kelly Bylica. "The complexities of meaningful experiential learning: Exploring reflective practice in music performance studies." International Journal of Music Education 40, no. 2 (October 27, 2021): 163–76. http://dx.doi.org/10.1177/02557614211043224.

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The purpose of this study was to examine the intersections of experiential learning and critical reflection within the unique context of the Accademia Europea dell’Opera (AEDO), a music performance summer program specializing in opera. Researchers explored the development and implementation of a responsive model of reflection and considered the impact this model had on helping music students shift between multiple spaces of musical performance and skill development. Data were analyzed through a communities of practice framework, and findings drawn from the analysis are explored through the following themes: the complexities of building a new community, synergy between intrapersonal and interpersonal engagement, and participants’ processes of reflecting and learning together.

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Mandal, Amal Kumar, Monalisa Gangopadhyay, and Amitava Das. "Photo-responsive pseudorotaxanes and assemblies." Chemical Society Reviews 44, no. 3 (2015): 663–76. http://dx.doi.org/10.1039/c4cs00295d.

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van Peet, J. C. A., R. J. van der A, O. N. E. Tuinder, E. Wolfram, J. Salvador, P. F. Levelt, and H. M. Kelder. "Ozone ProfilE Retrieval Algorithm (OPERA) for nadir-looking satellite instruments in the UV–VIS." Atmospheric Measurement Techniques 7, no. 3 (March 31, 2014): 859–76. http://dx.doi.org/10.5194/amt-7-859-2014.

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Abstract. For the retrieval of the vertical distribution of ozone in the atmosphere the Ozone ProfilE Retrieval Algorithm (OPERA) has been further developed. The new version (1.26) of OPERA is capable of retrieving ozone profiles from UV–VIS observations of most nadir-looking satellite instruments like GOME, SCIAMACHY, OMI and GOME-2. The setup of OPERA is described and results are presented for GOME and GOME-2 observations. The retrieved ozone profiles are globally compared to ozone sondes for the years 1997 and 2008. Relative differences between GOME/GOME-2 and ozone sondes are within the limits as specified by the user requirements from the Climate Change Initiative (CCI) programme of ESA (20% in the troposphere, 15% in the stratosphere). To demonstrate the performance of the algorithm under extreme circumstances, the 2009 Antarctic ozone hole season was investigated in more detail using GOME-2 ozone profiles and lidar data, which showed an unusual persistence of the vortex over the Río Gallegos observing station (51° S, 69.3° W). By applying OPERA to multiple instruments, a time series of ozone profiles from 1996 to 2013 from a single robust algorithm can be created.

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Zhao, Hang, Youdong Ding, Bing Yu, Chenfeng Jiang, and Wanying Zhang. "Design and implementation of Peking Opera action scoring system based on human skeleton information." MATEC Web of Conferences 232 (2018): 01026. http://dx.doi.org/10.1051/matecconf/201823201026.

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At present, most of the preservation records of Peking Opera remain in the ways of video and text, and the digitalization degree is far lower than the development level of science and technology. The immaterial cultural heritage cannot be fully displayed and Peking Opera’s value is weakened. Therefore, adopting advanced motion capture technology is of great significance to the protection and inheritance of Peking Opera. We use optical motion capture equipment to record the movement information of Peking Opera actors, then keep the human skeleton information in a specific file format. After that, the hierarchical human action skeleton model was analysed, and the final score was obtained by comparing the change sequence of information of reference action and training action skeleton with the improved DTW algorithm. We have realized the graphical interface of the system, and the trainer can easily select the action segments to train or select a specific body part for specific action training. This paper introduces the overall design framework of our Peking Opera action scoring system, including the collection of action information, the implementation of scoring algorithm and the design of software interface.

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Chan, Chin-niang. "STUDY ON THE SENSITIVITY OF THE DEVELOPMENT OF FUJIAN OPERA AND TAIWAN OPERA AND THE CHANGES OF WORKING EMOTION AND BEHAVIOR OF THE TROUPE." International Journal of Neuropsychopharmacology 25, Supplement_1 (July 1, 2022): A18—A19. http://dx.doi.org/10.1093/ijnp/pyac032.025.

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Abstract Background Yangqin was introduced into China in the late Ming Dynasty and early Qing Dynasty. With the flow of musicians, it spread all over the world. It is not only used for folk God welcoming games, birthday celebrations, literati self entertainment or music clubs, but also the most eye-catching musical instrument in private collections, government and business and children's Museum music clubs. From the leisure and entertainment stage of “song” popular in the Qing Dynasty to the commercial rap of “selling medicine” and “sweeping the floor”, it absorbs the nutrition of performance forms such as car drum array, Siping opera, Tea Picking Opera and juggling, and adds the “opera in the play” of hand and foot dance to show the footprints of Yangqin. Xiangju opera, developed from Taiwan songs, is a mixture of Zhangzhou Xiangjiang generation folk music. Hunan Opera (Gezai Opera) is the only common local opera on both sides of the Taiwan Strait. In 2005, Hunan opera was included in the first batch of national intangible cultural heritage list. It is deeply influenced by Southern Fujian culture and has distinctive Southern Fujian characteristics. It has played a positive role in promoting cross-strait cultural exchanges, which is reflected in the frequent exchanges between relevant researchers and troupes on both sides of the Strait. The excellent repertoire of Hunan opera has been widely praised at home and abroad. Research Objects and Methods This study adopts the methods of literature analysis and field investigation to collect and sort out the research data. Literature analysis is mainly the collection, comparison and classification of historical data. Fieldwork is the author's fieldwork for more than ten years and his contact with folk artists and musicians of Gezai Opera. Starting from the Yangqin proposition, the master's thesis began to study and collect data, collect and read Taiwan Local Chronicles, newspaper documents, Shengzhi diaries, oral history and fieldwork for more than ten years, and copy the existing music manuscripts, photos, sound recordings and audio materials in the public sector. At the same time, it is selected from the emotional experience report form compiled by Ekman, freisen and ancoli (1980), which has been modified many times by gross and widely used. There are 10 adjectives in the emotional experience report form. Each emotion was assessed by the 9-point Likert scale, “0” means no, “8” means very strong, and the subjects were required to choose the corresponding number according to their actual emotional experience. 2.2.4 questionnaire on the degree of implementation of guidance. The questionnaire consists of 6 questions. Using the 6-point Likert scale, “0” indicates complete non-compliance, and “5” indicates complete compliance. The purpose is to check whether the subjects adjust their emotions according to the instructions of the main test when watching emotional movie clips, and ask the subjects to answer truthfully according to their actual situation. Results Performance knowledge comes from objective analysis. Performers practice and change the objective world and themselves through psychological thinking such as perception, imagination and emotion. With the progress of the times, Hunan opera is facing the dual pressure of economic and cultural inheritance. Economically, the income of the troupe's actors is unstable, which gradually weakens the actors' enthusiasm for the cause of Hunan opera. In terms of cultural inheritance, the older generation of Hunan opera is relatively old. The emergence of new culture has reduced the interest of contemporary young people in Hunan opera and led to the crisis of the inheritance of Hunan opera. In the process of the influence of life events on anxiety, they play an intermediary role through economic response. The higher the economic level, the stronger the emotional regulation ability of the troupe personnel. Among them, the mediating effect of anxiety can be adjusted through psychological elasticity. That is, economic level can regulate the pressure of life events, and coping style can be used as an intermediary factor of emotional regulation to regulate the impact of life events on anxiety through coping style. Conclusion Facing the challenge of traditional art inheritance and survival, driven by the cultural environment and multicultural environment of the global village, this is a problem that many traditional arts must think about if they want to survive. The government needs to take various measures to change the current situation and make the excellent traditional culture of Hunan opera continue to flourish. Through more bilateral exchanges and communication, cross-strait cultural inheritance and innovation, strengthen cross-strait cultural and artistic exchanges and cooperation, jointly play the piano art for the opera troupe, and work together for the in-depth development of both sides. Acknowledgments This paper is the general project of Fujian Social Science Planning Project Art Fund in 2019: Fujian Taiwan Gezai Opera (Xiang Opera). Phased achievements of Yangqin Development Research (Project No.: fj2019b029).

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Liu, Jiguang, and Jurriaan Huskens. "Bi-compartmental responsive polymer particles." Chemical Communications 51, no. 13 (2015): 2694–97. http://dx.doi.org/10.1039/c4cc08413f.

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A one-pot method to prepare bi-compartmental responsive polymer particles was developed by controlling the phase separation in polymerization; the resulting asymmetric particles can change their shapes and properties due to different responsive properties of the two parts.

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Vassalini, Irene, Ivano Alessandri, and Domenico de Ceglia. "Stimuli-Responsive Phase Change Materials: Optical and Optoelectronic Applications." Materials 14, no. 12 (June 19, 2021): 3396. http://dx.doi.org/10.3390/ma14123396.

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Stimuli-responsive materials offer a large variety of possibilities in fabrication of solid- state devices. Phase change materials (PCMs) undergo rapid and drastic changes of their optical properties upon switching from one crystallographic phase to another one. This peculiarity makes PCMs ideal candidates for a number of applications including sensors, active displays, photonic volatile and non-volatile memories for information storage and computer science and optoelectronic devices. This review analyzes different examples of PCMs, in particular germanium–antimonium tellurides and vanadium dioxide (VO2) and their applications in the above-mentioned fields, with a detailed discussion on potential, limitations and challenges.

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White, Gale D. "Gender-Responsive Programs in U.S. Prisons: Implications for Change." Social Work in Public Health 27, no. 3 (March 29, 2012): 283–300. http://dx.doi.org/10.1080/19371918.2012.629875.

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Kato, Norihiro, Yasuzo Sakai, Daisuke Kagaya, and Syunsuke Sekiya. "Magnetically Isotropic–Anisotropic Change of Thermally Responsive Polymer Gels." Japanese Journal of Applied Physics 42, Part 1, No. 1 (January 15, 2003): 102–3. http://dx.doi.org/10.1143/jjap.42.102.

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