Literatura académica sobre el tema "Ariadne auf Naxos= Ariadne on Naxos"
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Artículos de revistas sobre el tema "Ariadne auf Naxos= Ariadne on Naxos"
Araújo, Alberto Filipe y José Augusto Lopes Ribeiro. "Ariadna en Naxos sobre el signo de la metamorfosis. Una contribución mitocrítica y educacional". DEDiCA Revista de Educação e Humanidades (dreh), n.º 7 (1 de marzo de 2015): 85–110. http://dx.doi.org/10.30827/dreh.v0i7.6940.
Texto completoGrant, J. "Ariadne auf Naxos (1916 version)". Opera Quarterly 15, n.º 3 (1 de enero de 1999): 605–7. http://dx.doi.org/10.1093/oq/15.3.605.
Texto completoHamilton, David. "Ariadne auf Naxos. Richard Strauss". Opera Quarterly 5, n.º 4 (1987): 112–17. http://dx.doi.org/10.1093/oq/5.4.112.
Texto completoBaxter, R. "Ariadne auf Naxos. Richard Strauss". Opera Quarterly 22, n.º 1 (13 de diciembre de 2006): 179–81. http://dx.doi.org/10.1093/oq/kbi082.
Texto completoLücker, Arno. "ZAUBERSCHÖN!" Opernwelt 64, n.º 4 (2023): 52. http://dx.doi.org/10.5771/0030-3690-2023-4-052.
Texto completoMarcos Hierro, Ernest. "Metamorfosi i divinització a l'"Ariadne aux Naxos" d'Hugo von Hofmannsthal i Richard Strauss". Anuari de Filologia. Antiqua et Mediaeualia 2, n.º 9 (5 de marzo de 2020): 143–52. http://dx.doi.org/10.1344/afam2019.9.2.14.
Texto completoMay, T. "Ariadne auf Naxos: Revised version (1916)". Opera Quarterly 15, n.º 3 (1 de enero de 1999): 520–30. http://dx.doi.org/10.1093/oq/15.3.520.
Texto completoAleksić, Milica. "Ariadne's Weaving in the Musical-Visual Field". Kwartalnik Młodych Muzykologów UJ, n.º 50 (3) (junio de 2022): 5–41. http://dx.doi.org/10.4467/23537094kmmuj.21.005.16099.
Texto completoSharypina, Tatiana A. y Polina D. Kazakova. "Creative Search by Richard Strauss and Hugo von Hofmannsthal in the Opera “Ariadne on Naxos”: to the Problem of Music and Words Interaction". Studia Litterarum 8, n.º 1 (2023): 64–81. http://dx.doi.org/10.22455/2500-4247-2023-8-1-64-81.
Texto completoGILLIAM, BRYAN. "Ariadne, Daphne and the problem of Verwandlung". Cambridge Opera Journal 15, n.º 1 (marzo de 2003): 67–81. http://dx.doi.org/10.1017/s0954586703000673.
Texto completoTesis sobre el tema "Ariadne auf Naxos= Ariadne on Naxos"
Easterling, Douglas. "Authorial Voice and Agency in the Operas of Richard Strauss| A Study of Self-Referentiality". Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561131.
Texto completoSelf-referentiality plays an important, but often overlooked, role in the works of Richard Strauss. The broad category of self-reference includes works of metafiction, which literary critic Patricia Waugh has defined as fiction that “self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality” and “explores the theory of writing fiction through the practice of writing fiction.”1 Additionally, Werner Wolf has conceptualized self-reference to include not only “intra-systemic relationship(s),” but also intertextual and intermedial references.2 The relationships and references included in Wolf’s conception of self-reference allow Strauss, his collaborators, and later interpreters to insert their own voices into operas and, arguably, even give themselves agency in the drama. This thesis examines this voice and agency in order to arrive at a deeper understanding of Strauss’s aesthetics and those of his librettists and later interpreters with particular attention to three operas: Ariadne auf Naxos (the 1912 and 1916 versions), Intermezzo (1924), and Capriccio (1942). Additionally, I examine Christof Loy’s 2011 production of Die Frau ohne Schatten (1919) as an example of complex layers self-reference added to a work by a later interpreter and as a suggestion for future avenues of research regarding operatic self-referentiality.
1Patricia Waugh, Metafiction: The Theory and Practice of Self-Conscious Fiction (London: Methuen & Company, 1984), 2. 2Werner Wolf, preface to Self-Reference in Literature and Music, ed. Walter Bernhart and Werner Wolf (Amsterdam: Rudopi, 2010), vii.
Chen, Yi-Wen y 陳怡文. "Ariadne Transformed: The Strauss-Hofmannsthal Collaboration on the "Ariadne auf Naxos"-Workgroup". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/66nkd3.
Texto completo國立臺灣師範大學
音樂學系
106
According to the Strauss Werkverzeichnis (by Franz Trenner, 3rd edition, Munich, 1999), the TrV 228 includes four versions. The first two versions (TrV 228、TrV 228a) carry the title “Ariadne auf Naxos.” The former, consisting of the “opera” Ariadne auf Naxos and the Strauss’s “incidental music” for Hofmannsthal’s adaptation of the play Der Bürger als Edelmann, was premiered in Stuttgart on 25 October 1912. The later, which is performed more often nowadays, was premiered in Vienna on 4 October 1916. The third version (TrV 228b), premiered at Deutsches Theater Berlin on 9 April 1918, is Strauss’s incidental music for the play Der Bürger als Edelmann. The fourth version (TrV 228c), premiered in Vienna on 31 January 1920, is orchestral suite selected from the number for the play Der Bürger als Edelmann. This dissertation calls these four versions together as “works related to Ariadne auf Naxos.” Among the four works of Ariadne auf Naxos, the public is most familiar with the second and the fourth works, but it is not clear how the context works. In view of this, this dissertation puts the presentation of the genesis, the creative process and the textual analysis together to clearly show the meaning and their relationship of each musical-theatrical work. The first section of the chapter Two of the thesis presents the creation process and work structure of the 1912 version; the second section focuses on the detached comedy Der Bürger als Edelmann, namely the 1918 version; the third section is centered on the 1920 orchestral suite. Chapter Three disscusses the “opera” part of the 1912 version. Chapter Four focuses on the 1916 version and compares it with the 1912 one. As conclusion, the dissertation reveals the way how the composer and dramatists interacted with music and text, respectively, and how their creative thinking had transformed during the almost eight years of collaboration.
WADSTROM, SARAH MORIAN. "ANGELICA KAUFFMAN'S "ARIADNE ABANDONED BY THESEUS ON NAXOS"". Thesis, 1987. http://hdl.handle.net/1911/13260.
Texto completoLibros sobre el tema "Ariadne auf Naxos= Ariadne on Naxos"
Pucher, Georges. Ariane à Naxos, R. Strauss. Paris: Éditions Premières Loges, 2014.
Buscar texto completoKöhn, Silke. Ariadne auf Naxos: Rezeption und Motivgeschichte von der Antike bis 1600. München: Utz, 1999.
Buscar texto completoRichard, Strauss. Ariadne auf Naxos: Oper in einem Aufzuge nebst einem Vorspiel. Amsterdam: Nederlandse Opera, 1988.
Buscar texto completoNickel, Lothar R. Was bleibt, was bleibt von Ariadne?: Hugo von Hofmannsthals "Ariadne auf Naxos" : Anspruch und Widerspruch. Idstein: Schulz-Kirchner, 1993.
Buscar texto completoBenda. ARIADNE AUF NAXOS. Music-Garland, 1986.
Buscar texto completoRichard, Strauss. Ariadne auf Naxos. EMI, 1988.
Buscar texto completoRichard, Strauss. Ariadne auf Naxos. Phillips, 1988.
Buscar texto completoSchmidt, Leopold. Richard Strauss: Ariadne Auf Naxos. Creative Media Partners, LLC, 2022.
Buscar texto completoRichard Strauss: Ariadne Auf Naxos. Wentworth Press, 2019.
Buscar texto completoRichard, Strauss. Ariadne auf Naxos in Full Score. Dover Publications, 1993.
Buscar texto completoCapítulos de libros sobre el tema "Ariadne auf Naxos= Ariadne on Naxos"
Hiebler, Heinz. "»Ariadne auf Naxos« (1912/1916)". En Hofmannsthal-Handbuch, 251–54. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05407-4_95.
Texto completoMeyer, Michael. "»Ariadne auf Naxos« durch die Brille Wiens". En Moderne als Geschichtsvergewisserung, 199–209. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7250-5_8.
Texto completoMorabito, Sergio. "Lücken im Welt-Theater-Bau oder Ariadne auf Naxos". En Opernarbeit, 79–90. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04909-4_10.
Texto completoGilliam, Bryan. "Der Rosenkavalier — Ariadne auf Naxos — Die Frau ohne Schatten". En Richard Strauss Handbuch, 183–213. Stuttgart: J.B. Metzler, 2014. http://dx.doi.org/10.1007/978-3-476-00510-6_14.
Texto completoSCHMIDT-NEUSATZ, HELGA. "ARIADNE AUF NAXOS:". En Richard Strauss-Blätter, 44–69. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.11.
Texto completo"ARIADNE AUF NAXOS". En Richard Strauss-Blätter, 70. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.12.
Texto completo"Ariadne auf Naxos". En Werke Band 1 (1902-1918), editado por Zsuzsa Bognár, Werner Jung y Antonia Opitz, 609–20. Aisthesis Verlag, 2022. http://dx.doi.org/10.5771/9783849816872-609.
Texto completoEder, Antonia. "III Ariadne auf Naxos". En Der Pakt mit dem Mythos, 159–200. Nomos Verlagsgesellschaft mbH & Co. KG, 2014. http://dx.doi.org/10.5771/9783968217734-159.
Texto completoLESNIG, GÜNTHER. "75 JAHRE ARIADNE AUF NAXOS". En Richard Strauss-Blätter, 3–39. Hollitzer Verlag, 1987. http://dx.doi.org/10.2307/j.ctvg8p5p8.3.
Texto completo"ARIADNE AUF NAXOS – AN IMPROVISED COLLAGE". En Richard Strauss-Blätter, 42–43. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p5w5.10.
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