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Articoli di riviste sul tema "Dvořák"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 gennaio 2023

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1

Murár, Tomáš. "“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?" Ikonotheka, n. 30 (28 maggio 2021): 9–29. http://dx.doi.org/10.31338/2657-6015ik.30.1.

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This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.

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2

Branda, Eva. "Speaking German, Hearing Czech, Claiming Dvořák". Journal of the Royal Musical Association 142, n. 1 (2017): 109–36. http://dx.doi.org/10.1080/02690403.2017.1286129.

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ABSTRACTDiscussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms and Beethoven led David Brodbeck to describe it as a piece in which Dvořák ‘speaks German with an unusual degree of clarity’. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the ‘Czech Spring Symphony’. One critic stated that it ‘speaks to us in pure Czech’. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech scholars have long sought to prove that the work's themes were derived from Bohemian folk songs. Can these narratives be reconciled? This article suggests that political tensions and Dvořák's growing international renown made Czech critics eager to claim him, giving Czech labels to a piece that could be interpreted as conforming to the Austro-German tradition.

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3

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich". Studia Musicologica 57, n. 3-4 (settembre 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.

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4

Vejvodová, Veronika. "Antonín Dvořák in the Notes of the Traveller Josef Kořenský and Czech Society in America in 1893". Musicalia 11, n. 1-2 (2020): 114–49. http://dx.doi.org/10.37520/muscz.2019.004.

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The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.

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5

Pines, Roger. "Rusalka. Antonín Dvořák". Opera Quarterly 7, n. 3 (1990): 148–50. http://dx.doi.org/10.1093/oq/7.3.148.

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6

Notley, Margaret. "Brahms, Dvořák, Suk". Nineteenth-Century Music Review 4, n. 1 (giugno 2007): 146–48. http://dx.doi.org/10.1017/s1479409800000161.

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7

Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé". Muzeum Muzejní a vlastivedná práce 60, n. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.

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In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.), some in the two different versions (the song Bouquet from Songs on Words from the Dvůr Králové Manuscript, op. 7). For the purposes of the Simrock edition, the composer arranged the song for the mezzo-soprano Amalie Joachim. Shortly after Dvořák’s establishment of cooperation with the Berlin publisher Simrock, this important publisher released Songs on the Words of Serbian Folk Poetry and four of the Songs on the words from the Dvůr Králové Manuscript. The singer Joachim supported the publishing of these editions, which were also dedicated to her by Dvořák.

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8

Cigoj Krstulovič, Nataša. "Nacionalni in transnacionalni vidiki glasbe: študija primera zgodnje recepcije Dvořákovih del na Slovenskem". Musicological Annual 51, n. 1 (1 giugno 2015): 97–114. http://dx.doi.org/10.4312/mz.51.1.97-114.

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Študija primera zgodnje recepcije Dvořákovih del na Slovenskem je izhodišče za opazovanje v muzikološki misli izpostavljenega razmerja »slovanske« in »nemške« glasbe in vnovične osvetlitve vprašanja med nacionalnim in transnacionalnim v glasbi evropskega prostora na prelomu 19. in 20. stoletja. Članek prikaže praizvedbe Dvořákovih del v Ljubljani skozi prizmo poustvarjalnih zmožnosti ter recepcije glasbe pred prvo svetovno vojno. Izpostavljeni so kritiški odmevi ob krstnih izvedbah, še zlasti kantate Mrtvaški ženin(Svatební košile) z ljubljanskim zborom Glasbene matice na Dunaju, ko je dirigiral Dvořák (1896) in prikazan zvezek samospevov, ki ga je Fran Gerbič posvetil Dvořáku.

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9

Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music". 19th-Century Music 40, n. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.

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Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák's larger output and the critical discourses of the late nineteenth century, using it as a focal point to examine not only Dvořák's mythologized image as a composer at the fin de siècle, but the history of the symphonic poem, the politics of the Vienna-Prague critical axis, and the hardening of critical orthodoxy in the twentieth century. Through an in-depth study of Píseň bohatýrská's reception, I reveal a picture of Dvořák at once familiar and unfamiliar: as the naive, spontaneously creative absolute musician at odds, in the eyes of the critics, with the unfamiliar territory of the symphonic poem, and as a specifically Czech musician who was nevertheless placed in the same masculinized, Germanocentric composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's image near the end of his life, inviting a reconsideration of the composer.

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10

Gabrijelova, Jarmila. "Antonín Dvořák and Richard Wagner". Muzikologija, n. 6 (2006): 305–16. http://dx.doi.org/10.2298/muz0606305g.

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The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.

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11

Smith, Peter H. "Dvořák and Subordinate Theme Closure". Journal of Music Theory 64, n. 2 (1 ottobre 2020): 203–40. http://dx.doi.org/10.1215/00222909-8550783.

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Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata form even in the face of nineteenth-century innovations. Vande Moortele contrasts this “negative” approach to an as-yet-unrealized “positive” theory that would derive its concepts directly from nineteenth-century music. A multipart strategy interrogates the positive methodology championed by Vande Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer betrays the persistent gravitational pull of classical conventions, in contrast to Horton’s and Vande Moortele’s argument that a Romantic-centered corpus would tend to diminish that pull. Detailed analyses of select Dvořák movements focus on subordinate theme closure but also embrace broader concerns, such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate limitations of corpus study as contrasted with close reading of individual movements. The close readings underscore the need to engage both circumpolar norms and progressive linear developments, even in music written in the last decades of the nineteenth century.

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12

Vejvodová, Veronika. "Poprvé na scéně. K premiéře Dvořákovy Rusalky v Národním divadle v roce 1901". Muzeum Muzejní a vlastivedná práce 60, n. 2 (2022): 39–51. http://dx.doi.org/10.37520/mmvp.2022.016.

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The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most famous opera Rusalka, which was first performed on 31 March 1901 at the National Theatre in Prague. Through previously unheeded sources and literature, the text provides a detailed description of the circumstances of the premiere and the dramatic situation in the management of the National Theatre, which underwent a major change in 1900. The premiere of Rusalka was given exceptional care by the theatre: the composer attended rehearsals of the orchestra led by the newly elected head of the opera, Karel Kovařovic, who had a reputation as an excellent conductor. Great attention was also paid to the costume and stage design. However, the premiere was jeopardised on the day of its performance by the main character of the prince, the European renowned tenor Karel Burian, who cancelled the performance on the same day. He was replaced by Bohumil Pták, who, according to his recollection of these events, had studied the role with Burian. The issue of the premiere of Rusalka also opens up the topic of the relationship between Kovařovic and Dvořák, two prominent figures of Czech opera at the end of the 19th century, which is discussed against the background of the later so-called struggle for Dvořák (1913).

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13

Broerse, Jack, Peter C. Dodwell e Walter H. Ehrenstein. "Experiments on the Afterimages of Stimulus Change (Dvořák 1870): A Translation with Commentary". Perception 23, n. 10 (ottobre 1994): 1135–44. http://dx.doi.org/10.1068/p231135.

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In 1870 Dvořák rejected Helmholtz's eye-movement account of motion aftereffects (MAEs) on the grounds that it was inconsistent with previous reports of nonuniform rotation in MAEs induced with Plateau spirals. Subsequent observations with spirals that were modified to induce both expanding and contracting MAEs simultaneously, together with the use of stationary negative afterimages during induction and test, were offered as further counter-examples to the eye-movement hypothesis. Dvořák's conjectures that perception (and misperception) of movement involves a unitary perceptual dimension of stimulus change also led him to investigate whether aftereffects comparable to MAEs could be induced along other stimulus dimensions in vision (luminance gradients), and in audition (gradients of pitch and intensity). It is suggested that Dvořák's observations, taken as a whole, may be interpreted as an attempt to provide evidence challenging the Helmholtzian traditions underpinning eye-movement accounts of MAEs. The nature and outcomes of these observations are provided in a translation of the original work, and are subsequently discussed in relation to some contemporary empirical counterparts.

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14

Bakoš, Ján. "Max Dvořák - A neglected re-visionist". Wiener Jahrbuch für Kunstgeschichte 53, n. 1 (dicembre 2004): 55–72. http://dx.doi.org/10.7767/wjk.2004.53.1.55.

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15

Ünal, Fatma, Ahmet Duran e Esra Martin. "Caryological study on four Hesperis L. (Cruciferae) taxa from the Diaplictos (Dvořák) Dvořák section in Turkey". Hereditas 145, n. 2 (27 maggio 2008): 64–68. http://dx.doi.org/10.1111/j.0018-0661.2008.01999.x.

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Továrek, Michal. "Olga Lomová (ed.), Ex Oriente lux. Rudolf Dvořák (1860–1920)". AUC HISTORIA UNIVERSITATIS CAROLINAE PRAGENSIS 62, n. 1 (28 novembre 2022): 110–12. http://dx.doi.org/10.14712/23365730.2022.21.

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17

Gálik, Slavomír. "DVOŘÁK, Tomáš a kol.: Epistemologie (nových) médií". Filozofia 74, n. 10 (30 dicembre 2019): 881–85. http://dx.doi.org/10.31577/filozofia.2019.74.10.8.

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MOSYAKIN, SERGEI L., e ALISA V. SHUMILOVA. "On typification of Chenopodium acerifolium (Chenopodiaceae): an update and new epitypification". Phytotaxa 340, n. 2 (23 febbraio 2018): 192. http://dx.doi.org/10.11646/phytotaxa.340.2.10.

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Various issues and problems of taxonomy and nomenclature of Chenopodium acerifolium Andrzejowski (1862: 132), including its typification, were recently discussed in detail by Mosyakin (2017). In short, the name C. acerifolium was effectively lectotypified by Dvořák (1987: 562, Fig. 1 on page 563; see also Mosyakin 2017) based on a specimen from KW[1] sent on loan to BRNU in the 1980s. Being probably unaware of that lectotype designation, Sukhorukov (2014: 227) designated as the lectotype another specimen that is currently deposited in LE. That specimen originated from the herbarium of W.S.J.G. Besser and later was part of the herbarium of F.E.L. Fischer (curatorial label: “Herb. Fischer. Chenopodium acerifolium Andrz. In ins. Borystheni Kiioviae. Herb. W. Besser”). The specimen from KW initially designated by Dvořák (1987) as the lectotype of C. acerifolium was reported missing (not found in KW or BRNU until 2017; see details in Mosyakin 2017). Mosyakin (2017: 142) also concluded that “until the specimen selected as the lectotype by Dvořák (1987) is found, the selection of a lectotype by Sukhorukov, unfortunately, should stand”. The specimen from LE lacked fruits and was only flowering (see Uotila & Lomonosova 2016: 235), and because of that Mosyakin (2017: 142) proposed the specimen KW001002780 with well-developed plants and a handwritten original description by Andrzejowski as the epitype supporting the lectotype from LE (standing type) selected by Sukhorukov.

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19

Faucon, Térésa. "Hors chant. Arrangements godardiens pour violoncelle et cordes élargies". Revue musicale OICRM 5, n. 1 (9 aprile 2018): 33–45. http://dx.doi.org/10.7202/1044442ar.

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Dans les compositions musicales de ses films, Jean-Luc Godard nous fait entendre son écoute d’oeuvres musicales, invente des arrangements avec les moyens du cinéma qui pourraient porter une double signature, Beethoven-Godard, Dvořák-Godard, comme les arrangements des musiciens Beethoven-Liszt ou Bach-Webern. Pour cette étude, nous avons choisi de nous concentrer sur les oeuvres pour violoncelle, instrument pour lequel Godard semble avoir une prédilection comme pour les cordes frottées en général pour la plasticité de la matière sonore. Nous analysons l’arrangement du Concerto pour violoncelle et orchestre en si mineur, op. 104 d’Antonin Dvořák(1895) dans Je vous salue, Marie (1983) puis la conversation entre deux compositeurs et interprètes, Godard au banc montage et David Darling, avec son violoncelle à huit cordes et les oeuvres originales créés pour le cinéaste.

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Kudláček, Petr. "The earliest recordings of the works of Antonín Dvořák on standard gramophone records in the collection of the Antonín Dvořák Museum". Musicalia 11, n. 1-2 (2020): 150–74. http://dx.doi.org/10.37520/muscz.2019.005.

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The article deals with a selection of standard gramophone records from the holdings of the National Museum – Antonín Dvořák Museum. The criteria for the selection were the age of the recordings, the material used for making the discs (shellac), and the recording method mechanical). Analysis of the identification marks on the labels served for determination of the time (the recordings in question were made between 1903 and 1916) and place of their origin. Further research on historical perspectives and repertoire is adding to our knowledge about the lives of Czech opera singers (e.g. Bohumil Pták, Málka Bobková, Otakar Mařák, Emil Pollert et al.) and the issuing of recordings of classical music in this country, as well as about the tastes of the period and the popularity of specific compositions by Dvořák.

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Brambilla, Edemilson Antônio. "Intermidialidade músico-literária em Luiz Antonio de Assis Brasil: aproximações entre O inverno e depois e o Concerto para violoncelo e orquestra". Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, n. 36 (15 settembre 2021): 270–86. http://dx.doi.org/10.12957/palimpsesto.2021.60137.

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Este estudo possui como objetivo compreender a presença da intermidialidade no romance O inverno e depois, de Luiz Antonio de Assis Brasil. O autor parte de relações entre o universo literário e o musical para construir sua narrativa ficcional, onde o Concerto para violoncelo e orquestra, do compositor checo Antonín Dvořák, torna-se a base influenciadora da estrutura romanesca construída por Assis Brasil. Nesse sentido, buscamos evidenciar como os aspectos musicais que compõem essa primeira mídia (o concerto), são utilizados para a construção da segunda mídia (o romance assisiano), uma vez que, ainda que pertençam a códigos semióticos distintos, um ao literário e o outro ao musical, a obra de Luiz Antonio de Assis Brasil é influenciada diretamente pelo concerto de Antonín Dvořák, de modo especial em sua estrutura narrativa.

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Beveridge, David R. "Fibich and Dvořák: The Hidden Friendship between Two "Enemies"". Musicologica Olomucensia 12, n. 1 (11 dicembre 2010): 287–96. http://dx.doi.org/10.5507/mo.2010.033.

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BRODBECK, DAVID. "Dvořák's Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum". Journal of the American Musicological Society 60, n. 1 (2007): 71–132. http://dx.doi.org/10.1525/jams.2007.60.1.71.

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Abstract Antonín Dvořák emerged into public consciousness in Vienna in late 1879, at a time of crisis within multinational Austria's German-speaking bourgeoisie. The German Liberals had recently fallen from power in the central government and were replaced by a coalition dominated by clerical, conservative, and Slavic parties. This sudden change in fortune initiated a gradual transformation in liberal ideology. Although the liberals' nationalist project had traditionally been of the “civic,” not “ethnic” variety, with a German liberal identity theoretically available to persons of any ethnicity who professed Bildung and Deutschtum, many increasingly adopted a particularist project of German nationalism, involving a decided defense of Nationalbesitzstand (national property). A comparative reading of the Dvořák reception among Viennese critics during the last decades of the nineteenth century suggests that much of what was seen to be at stake in the Czech composer's music was what did and did not count as “German.” Whereas Eduard Hanslick, critic for the Neue Freie Presse, consistently upheld traditional liberal ideology on this question, Theodor Helm's criticism in the Deutsche Zeitung stood more in line with the newer German-nationalist project. More than that, throughout his writings on Dvořák the younger critic seemed very much aware of acting the part of German-nationalist counterbalance to the more traditional liberal-nationalist Hanslick. Although Hanslick was the more powerful figure among the liberal elite, in many ways by the 1890s Helm had come to be more representative of the broader segment of Vienna's educated and semieducated middle classes.

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NEL, ANDRE, PATRICK ROQUES e HERVE DUQUESNE. "A further strange Archaeorthoptera from the Moscovian of Nord-Pas-de-Calais (France) (Insecta, Polyneoptera)". Zootaxa 5047, n. 2 (29 settembre 2021): 165–70. http://dx.doi.org/10.11646/zootaxa.5047.2.5.

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The new Archaeorthoptera Duquesnia gallica gen. et sp. nov. Nel & Roques, is described from the upper Carboniferous of Northern France. It shows several putative synapomorphies with the three genera Contracladus Dvořák et al., 2021 (Pennsylvanian of Germany), Nugonioneura (lower Permian of USA), and Avionugonioneura from the Moscovian of Avion (France).

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Zhao, Yueying, e Lianying Miao. "Planar Graphs with the Distance of 6--Cycles at Least 2 from Each Other Are DP-3-Colorable". Mathematics 9, n. 1 (30 dicembre 2020): 70. http://dx.doi.org/10.3390/math9010070.

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DP-coloring as a generalization of list coloring was introduced by Dvořák and Postle recently. In this paper, we prove that every planar graph in which the distance between 6−-cycles is at least 2 is DP-3-colorable, which extends the result of Yin and Yu [Discret. Math. 2019, 342, 2333–2341].

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Gabrielová, Jarmila. "Workshop Dvořák a opera, Praha 4.-5. 11. 2021". Hudební věda 59, n. 1 (2022): 93–95. http://dx.doi.org/10.54759/musicology-2022-0104.

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Gabrielová, Jarmila. "Workshop Dvořák a opera, Praha 4.-5. 11. 2021". Hudební věda 59, n. 1 (2022): 93–95. http://dx.doi.org/10.54759/musicology-2022-0104.

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28

Jung, Hermann. "Towards a Characterization of the Symphonies of Zdeněk Fibich and Antonín Dvořák". Musicologica Olomucensia 12, n. 1 (11 dicembre 2010): 151–61. http://dx.doi.org/10.5507/mo.2010.019.

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29

Harries, Elizabeth. "Musique sur l’eau : Rusalka de Dvořák et l’histoire de Mélusine". Féeries, n. 8 (15 ottobre 2011): 155–73. http://dx.doi.org/10.4000/feeries.801.

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30

Dvořák, František. "Diplopilosa flava (Kotschy et Boiss. ex Boiss.) Dvořák comb. nov". Feddes Repertorium 74, n. 3 (18 aprile 2008): 139–44. http://dx.doi.org/10.1002/fedr.19670740302.

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31

Zhao, Yueying, e Lianying Miao. "Every Planar Graph with the Distance of 5−-Cycles at Least 3 from Each Other Is DP-3-Colorable". Mathematics 8, n. 11 (2 novembre 2020): 1920. http://dx.doi.org/10.3390/math8111920.

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Abstract (sommario):

DP-coloring was introduced by Dvořák and Postle [J. Comb. Theory Ser. B 2018, 129, 38–54]. In this paper, we prove that every planar graph in which the 5−-cycles are at distance of at least 3 from each other is DP-3-colorable, which improves the result of Montassier et al. [Inform. Process. Lett. 2008, 107, 3–4] and Yin and Yu [Discret. Math. 2019, 342, 2333–2341].

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32

Utidjian, Haig. "The Dvořák Mass in D (“Lužanská”) for chorus, organ, violoncello and double-bass". Musicalia 9, n. 1-2 (2017): 81–104. http://dx.doi.org/10.1515/muscz-2017-0010.

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Abstract (sommario):

Dvořák's Mass in D was commissioned by the Czech architect and visionary Josef Hlávka for the consecration of the chapel of his mansion in Lužany; the première of the original version of the work was given at a private service on 11 September, 1887. However, the focus of the present article is on a version of the work subsequently prepared by Dvorak, incorporating an added part for violoncello and bass, and submitted by him to the publishing house of Novello. Though it came to be overshadowed by the later orchestration of the work, it possesses virtues worth cherishing. Haig IJtidjian conducted the first modern revival of this version in Cologne on 8 July, 2014 and is currently preparing a critical edition for publication. A thorough critical investigation of all extant manuscript sources (some hitherto neglected) is seen to shed light on the composer’s thinking and to help clarify his intentions more generally.

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33

Beckerman, Michael. "The Real Value of Yellow Journalism: James Creelman and Antonín Dvořák". Musical Quarterly 77, n. 4 (1993): 749–68. http://dx.doi.org/10.1093/mq/77.4.749.

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34

Průcha, Jan. "Ježková, V.; Dvořák, D.; Chapman, Ch.: Školní vzdělávání ve Velké Británii". ORBIS SCHOLAE 4, n. 3 (22 febbraio 2018): 135–37. http://dx.doi.org/10.14712/23363177.2018.118.

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35

Heinze, Jürgen. "Book Review: Principles of Electrochemistry. By J. Koryta and J. Dvořák". Angewandte Chemie International Edition in English 26, n. 12 (dicembre 1987): 1302. http://dx.doi.org/10.1002/anie.198713021.

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36

Hoffmann, Hannes, e Adriano Zanetti. "First records of Philonthus wuesthoffi Bernhauer, 1939 (Coleoptera: Staphylinidae: Staphylininae) in Italy with notes on its distribution in Europe". Bollettino della Società Entomologica Italiana 152, n. 2 (9 settembre 2020): 51–56. http://dx.doi.org/10.4081/bollettinosei.2020.51.

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Abstract (sommario):

Philonthus wuesthoffi Bernhauer, 1939 was recorded in Italy in 2017 and 2019 for the first time. the specimens were found in friuli, North-West of Udine, in an area cultivated with Medicago, by pitfall traps and in the Lessini Mountains north of Verona at the edge of a waterhole on a dead toad. Philonthus wuesthoffi seems to have invaded Europe from East Asia and has become a widespread species in Europe. Philonthus ohizumi Dvořák, 1958 is synonymized with P. wuesthoffi.

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37

Beveridge, David R. "Zdeněk Nejedlý's Adoration of Fibich as Motive for His Attacks on Dvořák". Musicologica Olomucensia 33, n. 1 (12 dicembre 2021): 60–73. http://dx.doi.org/10.5507/mo.2021.004.

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38

Besner, Neil K. "Mavis Gallant: The Eye and the Ear by Marta Dvořák". University of Toronto Quarterly 90, n. 3 (1 dicembre 2021): 395–96. http://dx.doi.org/10.3138/utq.90.3.hr.11.

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39

Aurenhammer, Hans H. "Max Dvořák, Tintoretto und die Moderne: Kunstgeschichte „vom Standpunkt unserer Kunstentwicklung“ betrachtet". Wiener Jahrbuch für Kunstgeschichte 49, n. 1 (1 dicembre 1996): 9–40. http://dx.doi.org/10.7767/wjk-1996-0103.

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40

Schwab, Arnold T., e Michael B. Beckerman. "New Worlds of Dvořák: Searching in America for the Composer's Inner Life". American Music 24, n. 2 (1 luglio 2006): 221. http://dx.doi.org/10.2307/25046015.

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41

Hairlahović-Hušić, Lejla. "Fotografije Rudolfa Bruner-Dvořáka: Mala, neiskvarena Turska i dojmovi koje su fotografije ostavile na posjetitelje izložbe “Bosna 1905 na fotografijama Rudolfa Brunera-Dvořáka”". Studia ethnologica Croatica 31 (2019): 87–133. http://dx.doi.org/10.17234/sec.31.3.

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42

Aurenhammer, Hans H. "Max Dvořák Und Die Moderne Architektur. Bemerkungen Zum Vortrag ,Die Letzte Renaissance' (1912)". Wiener Jahrbuch für Kunstgeschichte 50, n. 1 (dicembre 1997): 23–40. http://dx.doi.org/10.7767/wjk.1997.50.1.23.

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43

Johnson, Janet. "Review: Antonín Dvořák: Symphony from the New World. CD-ROM (Macintosh) by Robert Winter". Journal of the American Musicological Society 49, n. 1 (1996): 114–26. http://dx.doi.org/10.2307/831955.

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44

Schopf, J. William, Anatoliy B. Kudryavtsev, Malcolm R. Walter, Martin J. Van Kranendonk, Kenneth H. Williford, Reinhard Kozdon, John W. Valley, Victor A. Gallardo, Carola Espinoza e David T. Flannery. "Reply to Dvořák et al.: Apparent evolutionary stasis of ancient subseafloor sulfur cycling biocoenoses". Proceedings of the National Academy of Sciences 112, n. 20 (20 aprile 2015): E2560. http://dx.doi.org/10.1073/pnas.1503754112.

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45

Porubský, Štefan. "Dvořák, D.; Starý, K.; Urbánek, P.; Chvál, M.; Walterová, E. Česká základní škola. Vícepřípadová studie". ORBIS SCHOLAE 5, n. 3 (21 febbraio 2018): 139–42. http://dx.doi.org/10.14712/23363177.2018.95.

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46

Dvořák, Frantisek. "A contribution to the study of the evolution on Hesperis series Matronales CVĚL. emend. DVOŘÁK". Feddes Repertorium 73, n. 2 (18 aprile 2008): 94–99. http://dx.doi.org/10.1002/fedr.19660730205.

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47

Allis, Michael. "Bax's Elgar: Musical Quotation, Allusion and Compositional Identity in the First String Quartet in G". Journal of the Royal Musical Association 136, n. 2 (2011): 305–52. http://dx.doi.org/10.1080/02690403.2011.618724.

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Abstract (sommario):

Whether we can ascribe specific meanings to the works of Arnold Bax is a vexed question, given that the composer was rarely explicit about such matters. In that context, this article explores the significance of musical quotation and allusion in Bax's First String Quartet in G major (1918), dedicated to Edward Elgar. Several references to Elgar's Violin Concerto are highlighted in the first and second movements of the quartet, and broader stylistic referencesto Dvořák and Debussy are also identified. Explanations are suggested for these references, based on parallels drawn between Bax's musical practice in this work, the composer's early reception, and his prose writings in the Musical Standard and Musical Herald, which discussed ‘artistic good faith’, musical influence and the difficulties of creating a national style in British music.

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48

Dew, Spencer. "Rusalka. Opera. Czech with English Subtitles. Music by Antonin Dvořák, libretto by Jaroslav Kvapil. Performed by Bayerisches Staatsorchester, conducted by Tomáš Han Dvořák, staged by Martin Kušej. C Major Studio, 2011. 189 minutes. DVD, $29.99." Religious Studies Review 39, n. 4 (dicembre 2013): 255. http://dx.doi.org/10.1111/rsr.12081_10.

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49

Vieira, Carolina Deconto. "Geografia da música e políticas espaciais: a 9ª sinfonia de Antonin Dvořák e o nacionalismo estadunidense". Para Onde!? 6, n. 2 (11 settembre 2012): 178–87. http://dx.doi.org/10.22456/1982-0003.36495.

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Abstract (sommario):

O presente texto busca trazer novas abordagens em geografia cultural e da música através do estabelecimento de relações entre a Música Romântica Européia do Século XIX e a formação dos Estados-Nação. Para estudo de caso, foi escolhida a Nona Sinfonia de Antonin Dvořak, intitulada “From the New World”. A partir de uma breve discussão do processo de formação do Nacionalismo Estadunidense, foi feita uma análise preliminar do impacto dessa obra na formação de uma identidade musical norte-americana. Conclui-se que, dentro do projeto nacional dos E.U.A., a sinfonia possui um papel bastante relevante e repercute de maneira impactante no imaginário americano. Neste sentido, o problema teórico do estudo da música dentro do âmbito da geografia cultural mostra que o advento das teorias não-representacionais (NRTs) ajuda em compreender melhor as formas geográficas do que abordagens de um materialismo regionalista tradicional ou de teorias de representações sociais.

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50

Funda, Evelyn. ""New World" Visions and Homegrown Art: National Authenticity in Works of Willa Cather and Antonín Dvořák". MFS Modern Fiction Studies 65, n. 2 (2019): 264–84. http://dx.doi.org/10.1353/mfs.2019.0013.

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