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Articoli di riviste sul tema "Oratorio S"
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MELAMED, DANIEL R. "Multi-Day Passions and J. S. Bach's Christmas Oratorio, BWV248". Eighteenth Century Music 11, n. 2 (7 agosto 2014): 215–34. http://dx.doi.org/10.1017/s1478570614000050.
Testo completoAbstract (sommario):
ABSTRACTCommentators have long sought models for the decision by Bach and his anonymous librettist to spread the Christmas Oratorio's narration over twelve days. None of the most commonly proposed models can be shown with certainty to have been performed over more than two days; it appears that the supposed tradition of multi-day Christmas oratorios is invented. In fact there were models for this feature of the Christmas Oratorio: Passion settings designed for or adapted to presentation over Holy Week or all of Lent. The practice is documented in five places concentrated in Saxony and Thuringia and involved both newly composed and older works in both liturgical and devotional contexts. A new source reveals a previously unrecognized performance of this kind, of Reinhard Keiser's Brockes setting in Erfurt. Bach is likely to have known of this performance and others of the type, and they were probably a significant influence on the organization and conception of his Christmas piece performed ‘die Heilige Weyhnacht über’ in 1734/1735.
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Tomasevic, Katarina. "Stylistic directions in Stevan Hristic’s oratorio Vaskrsenje, Resurrection: The question of crossroads-traditions in Serbian music at the beginning of the twentieth century". Muzikologija, n. 4 (2004): 25–37. http://dx.doi.org/10.2298/muz0404025t.
Testo completoAbstract (sommario):
Vaskrsenje (Resurrection) which was composed by Stevan Hristic (libretto Dragutin Ilic) was a first oratorio in Serbian music. The libretto was published in a journal Odjek (Echo) in 1909, with the first performance in 1912 at the Belgrade National Theatre. During the period 1909-1912, the young composer studied church music in Moscow and Rome. He studied with Dom Lorenzo Perosi in Rome, who was a director of the Sistine Chapel at the time, and a leading composer of church music. Perosi also composed two oratorios with the Resurrection as a subject-matter. His stay in Rome, as well as the encounter with the contemporary Italian style of church music left a strong impression on Hristic and his later opus. The oratorio Resurrection is freely permeated with both romantic and impressionist elements, hence the impression of the typically Western fin-de-si?cle style. Compared to Serbian performances until that time, Hristic?s work represented a complete novelty in its style and genre; it was considered as one of the first works of Serbian musical Modernism. Despite the audience?s positive reception, the oratorio was faced with a highly negative criticism of Jovan Zorko and Miloje Milojevic. Both of them criticized Hristic for not having composed the work in the spirit of "national music". Hristic defended his poetics claiming that the idea of composing a national music did not comprise the use of folk melodies, but rather composing according to the highest professional and aesthetic criteria. A debate which was anticipated concerning the meaning and the importance of "national" poetics arose as a reaction to Resurrection. This debate remained important in two ways: 1) it remained a "typical" debate for the dynamic development of Serbian music following the World War I and 2) it became the central characteristic of the overall artistic development in Serbia during the interwar period, which was "coming close" and eventually became the part of Europe.
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Kozyk, Daria. "Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n. 135 (26 dicembre 2022): 126–36. http://dx.doi.org/10.31318/2522-4190.2022.135.271012.
Testo completoAbstract (sommario):
Relevance of the study. Among the stylistic diversity of composer and vocal practice of the 20th century, which has been thoroughly studied in domestic musicology, the practitioner finds several little-known personalities of the music culture of Western Europe. Amid such names lies the figure of the Swiss composer Frank Martin (1890–1974). He is the author of oratorios Golgotha, In terra pax, Requiem, orchestral and chamber works. His works came from a period of active innovation and experimentation in music. The composer's writing is marked by the synthesis of dodecaphony and the classical functional tonality' system.
The analysis of the embodiment of contemporary oratorio-opera on the stage is always of particular interest for contemporary interpretation. This also applies to the staging of F. Martin's works, which are not widely known, and therefore have not been studied at all. Thus, the relevance of the topic lies in the conceptualization of F. Martin's insufficiently explored oratory work, which deserves to be introduced into the scientific circulation of domestic musicology and the study of staging.
Main objective(s) of the study is to substantiate the concept F. Marten’s «The magic potion» in the aspects of genre-stylistic and performing tasks of its stage realization.
The object of study is F. Martin's vocal and choral works; its subject is the stylistic principles of the oratorio-opera The Magic Potion in the aspect of performing tasks of its stage realization.
The methodology. Research methods are determined by the material and subject of research: historical — reveals the features of the context of socio-cultural life of Switzerland in the war and postwar years; biographical — contains information about the life and work of the composer; function and structure method — helps to determine the intonation structure of the work through the functions of i m t; stylistic — reveals the specifics of the artist's thinking «as an artistic unity» (according to S. Skrebkov).
Results and conclusions. Using the original source of the medieval epic — the legend of Tristan and Isolde, — the composer sharpened the conflict of literary model (Joseph Bédier, Roman de Tristan et Iseut), taking the narrative into a more realistic channel that is focused on the feelings of the heroes. Following the tradition of ancient tragedies, in which the choir played the role of the engine of the plot, the composer transferred the function of narrative to an ensemble of twelve voices, part of which are the main characters of the plot. F. Martin designed The Magic Potion as a secular oratorio, without the ability to perform music as a grand opera, but did not exclude the possibility of a stage embodiment where the main characters would be portrayed by soloists that don't belong to the choir. An in-depth analysis of one of the contemporary stage performances of the St. Gallen creative team has shown current trends in contemporary vocal performance.
Opera as a form of art attracts both the public and engaged composers and performers around the world. The contemporary opera genre demands particular challenges for composers, performers and producers, as well as opera intendants. The study of the complex genre structure of the work not only in the aspect of musicological analysis by the score, but also in the aspects of its stage embodiment (that is, the performing version of the oratory score) constitutes a scientific relevance and significance of the researched topic.
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Rolak, Sonia. "Venice: Fergus Martin and Anthony Hobbs at Oratorio S. Ludovico". Circa, n. 104 (2003): 79. http://dx.doi.org/10.2307/25563976.
Testo completo
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Azarova, Valentina Vladimirovna. "The “undying archaic elements” in dramatic oratorio by Arthur Honegger “Joan of Arc at the Stake”". Человек и культура, n. 1 (gennaio 2020): 35–61. http://dx.doi.org/10.25136/2409-8744.2020.1.31950.
Testo completoAbstract (sommario):
The subject of this research is the integration of the elements of old genres in to a composition of Arthur Honegger’s dramatic oratorio. Particular attention is paid to formation of the system of interrelated intonation-dramaturgical spheres and vocal-symphonic development of recurring themes, motifs and sound symbols. The author examines the interaction of verbal and vocal-symphonic elements of sound fabric. The goal consists in identification of the traits of old genres and other archaic elements within the synthetic form of musical/dramatic theatre, as well as determination of the dominant aspect of musical meaning therein. Research methodology is based on the musical-hermeneutic reconstruction of the process of composing, detection of the fundamental principles of musical dramaturgy along with functions of cited by the composer Latin texts in the synthetic form of dramatic oratorio. The main method for this work became the musical-theoretical analysis of polyphonic vocal-symphonic musical fabric, and analysis of the verbal texts of voice part in the French and Latin languages, in de visu score. This article is first to interpret integration of the genre codes of medieval mystery play and citations from liturgical texts of the previous eras, including the Holy Scripture, into the compositions of dramatic oratorio of Arthur Honegger as the means for creating temporal multidimensionality of the synthetic form of French musical/dramaturgical theatre of the XX century within the context of Christian tradition. Honegger has overcome the linearity of narration through integration into the composition of the traits of previous eras. The citation of liturgical texts, including Holy Scripture, lead to expansion of the semantic space of literary text of the dramatic oratorio. This established the idea of synthesis of time and eternity characteristic to Christianity.
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Butt, J. "J. S. Bach and the Oratorio Tradition. Ed. by Daniel R. Melamed." Music and Letters 93, n. 2 (1 maggio 2012): 236–38. http://dx.doi.org/10.1093/ml/gcs026.
Testo completo
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Bierbaum, Kirsten Lee. "Weiß als Schwelle. Giacomo Serpottas Oratorio del Rosario di S. Zita in Palermo". Zeitschrift für Kunstgeschichte 82, n. 3 (25 ottobre 2019): 400–435. http://dx.doi.org/10.1515/zkg-2019-3006.
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Milanovic, Biljana. "Contextualization of early modernism in Serbian music: Case studies of two works from 1912". Muzikologija, n. 6 (2006): 251–66. http://dx.doi.org/10.2298/muz0606251m.
Testo completoAbstract (sommario):
This study deals with the first Serbian oratorio, Vaskrsenje (Resurrection) by Stevan Hristic, and the first Serbian musical drama, Divina Tragoedia by Milenko Paunovic. These works are based on two different interpretations of the same theme (the Resurrection of Jesus Christ). They were composed almost at the same time (1912), but separately, with no inter-textual relations. They represent the first steps of Modernism in Serbian music. Hristic?s work follows the French and Italian heritage whereas Paunovic?s is connected with the German, post-Wagnerian tradition. In this text we highlight the different intensities of modernity realized by the composers, by comparing numerous aspects of the theme, genre and style with new types of expressiveness and procedures in the treatment of all musical resources. The parallel investigation of the oratorio and musical drama shows the closeness of these two young composers in their musical attempts, but also emphasizes some factors that were decisive for the public presentation of their works. Hristic predicted that the genre of oratorio had better chances of placement than, for example, a symphonic or musical-dramatic composition. Actually, a choir had strong links with tradition and it presented a significant means of potential communication, as well as penetrating novelties into other parts of the oratorio. Due to his readiness to make an effort and to compromise, the composer succeeded in performing his work. On the other hand, Paunovic did not anticipate problems in the national cultural system of his time. Numerous aspects of his work, which prevented performance, confirm this. The chosen genre of German musical drama was a very speculative investment in the local musical context. Furthermore, the score was inappropriate for the real reproductive potential of Serbian performers. In addition, an avant-garde gesture was marked by the blasphemous treatment of the New-Testament theme in the dramatic content. These were among the most important indications of the author's unrealistic estimation of potential public reception of his music. Modern works of large-scale genre had no prospects of continual survival on the concert repertoire in the period between the two World Wars, either. This testifies to long-standing problems of national musical tradition, especially in consequence of its discontinued and uneven development. This study of early modernism shows the value of researching Serbian music through different cultural models existing in the system of national art of this time. The network of political, economical and cultural institutions was imbued with modern bourgeois culture, but the struggle for its wider acceptance in the domains of everyday life, self-consciousness, and the mentality and taste of different social groups and individuals, was slow and long. Such attempts have not always and fully realized the particular burden of inheritance, reflected in recent times.
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Bronsard, Camille. "Sur une nouvelle stratégie commerciale pour le Canada". L'Actualité économique 52, n. 4 (25 giugno 2009): 534–38. http://dx.doi.org/10.7202/800702ar.
Testo completoAbstract (sommario):
Abstract After greeting the recent propositions of the E.C.C.'s Report ("Au-delà des frontières") as a potentially useful document to encourage discussions on the efficiency of our institutions, the reviewer recasts them in a first best framework, a second best one and a socio-cultural one. By any standard, these propositions are disappointing: irrealist if their target is a world-wide first best, illogical if aiming at a second best world, countermarches if done to enhance cultural identity. The author concludes by suggesting that the E.C.C. was not exactly conceived to promote such an academic oratorio.
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Medňanský, Karol. "4. Passion in the Work of Johann Sebastian Bach". Review of Artistic Education 11, n. 1 (1 marzo 2016): 30–41. http://dx.doi.org/10.1515/rae-2016-0004.
Testo completoAbstract (sommario):
Abstract Passions are exceptionally important in the works of Johann Sebastian Bach. His passion compositions are based particularly on Luther’s reformation, chiefly on developmental tendency which is based on the works of Johann Walter, Hans Leo Hassler and Michael Praetorius. The most significant forerunner of J. S. Bach was Heinrich Schütz. J. S. Bach’s textual aspect is aimed at the model of passion oratorio the main representative of which was a librettist Heinrich Brockes who worked in Hamburg. The interesting fact is that before the arrival of J. S. Bach, in 1723, there was no long tradition of passions in Leipzig. They were performed there in 1721 for the first time. J. S. Bach is demonstrably the author of the two passions: St Matthew Passion BWV 244 and St John Passion BWV 245. The authorship of Johann Sebastian Bach in St. Lukas Passion BWV 246 is strongly called into question and from St Mark Passion BWV 24 only the text was preserved.
Tesi sul tema "Oratorio S"
1
Stark, Curtis Woodrow II. "Sir Winston S. Churchill: An examination of style". CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/357.
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Edmisten, Kelly L. "Cold terror : cultural crisis creation in the rhetoric of Truman and Bush /". Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/edmistenk/kellyedmisten.pdf.
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Cahier, Bernard. "Le devisement de l’homme moderne : dynamique des configurations, domestication de la violence et discours fédérateurs de la modernité". Paris 8, 2007. http://octaviana.fr/document/122015665#?c=0&m=0&s=0&cv=0.
Testo completoAbstract (sommario):
Norbert Elias s’est laissé enfermer, malgré lui, dans la linéarité de ce qu’il a été contraint de reconnaître comme des mouvements de "décivilisation", tel l’holocauste. Pour le sortir de cette impasse, son outillage méthodologique a été complété, à l’aide d’une notion de discours inspirée de Foucault, en se focalisant sur ce qui se passe lors de la formation même d’une configuration, selon un schéma socio-anthropologique ("négociation" – "plateforme" – "discours"). La façon dont la configuration se met en place ou se défait, par une série de partages, constitue un devisement (mot repris à Marco Polo). Par delà les dispositifs de gouvernementalité (Foucault) qu’elle permet d’appréhender, cette méthode a pour ambition de répondre au problème, récurrent en philosophie, de la permanence et du changement. Répondant ainsi aux difficultés rencontrées par Elias, elle est appliquée, en seconde partie, à l’histoire de l’homme moderne, et aux recompositions qu’il s’impose sans cesse à lui-même"Le Devisement du monde" ("The description of the world") is the title of the book by Marco Polo. This term here covers a socio-anthropological method which combines the notion of "figuration" (Elias) and that of discourse (Foucault). This method is based on an analytical structure ("negotiation" – "platform" – "discourse"), which thus completes the tool bequeathed to us by Norbert Elias, by specifying how a figuration is set up or broken down, by a series of divisions. Allowing us to analyse certain measures of governmentality (Foucault), this approach also answers the problem of permanence and change, recurrent in philosophy. This forms the first part. Applying this tool, the second part reviews the history of modern man up to the recompositions which he applies ceaselessly to himself
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Psilakis, Catherine. "Dynamiques et mutations d'une figure d'autorité : la réception de Solon aux Ve et IVe siècles avant J.C". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30023/document.
Testo completoAbstract (sommario):
Au VIe siècle avant J.-C., Solon a joué un rôle politique important à Athènes. Législateur, il a établi des lois. Législateur, mais aussi poète : des fragments poétiques qui vont du poème complet à un simple vers nous ont été transmis grâce à des auteurs postérieurs. Jusqu’à présent, les études sur Solon ont, pour la majeure partie, cherché à mieux cerner le législateur athénien d’une part, à comprendre la pensée postulée dans les poèmes d’autre part. Ces démarches visent toutes deux à enrichir notre connaissance lacunaire du VIe siècle avant J.-C. Le scepticisme appliqué aux sources de la tradition indirecte, qui nous apporte des informations sur Solon, a ouvert de nouvelles perspectives. Le projet que nous proposons s’inscrit dans cet héritage. Nous nous intéressons aux auteurs des Ve et IVe siècles avant J.-C. pour analyser, dans la lettre du texte, ce qu’ils disent de Solon et surtout, la manière dont ils le disent. Ainsi, il sera possible de saisir les dynamiques de transmission, de mutation et d’appropriation de cette figure d’autorité chez chacun des auteurs de notre corpus, car tirée à hue et à dia, la figure de Solon a servi des causes fort différentes. Puisque la tradition conditionne fortement les interprétations de la poésie solonienne et l’étude de son action politico-législative, il était nécessaire de revenir à la source même de toutes ces interprétations. Dès lors, il sera possible d’enrichir notre connaissance de l’histoire politique et intellectuelle de l’Athènes démocratique du IVe siècle, mieux comprendre le rapport qu’elle entretient avec son propre passé, mais aussi saisir comment se construit une argumentation politique et une idéologie propre à une société donnée à un moment précis de son histoireIn the 6th century B.C., Solon played an important role in the city of Athens. As a lawgiver, he established laws for the Athenians. But he was also a poet : Solon's poetic fragments – entirely poems or a single verse – have been passed on later by authors. Up until now, scholars have tried, on the one hand to understand the reforms of the lawgiver and one the other hand to study his poems. Both of these approaches aim to improve our incomplet knowledge about the 6th century B.C. But the sources of the indirect tradition have been submit to skepticism. This allows new and fresh perspectives for Solonian studies. The scope of my PhD Thesis follows this skeptic approach : I will analyze most of the authors of the 5th and 4th centuries B.C., what they say and do about Solon. It will allow us to thus understand the dynamics of transmission, of mutation and of appropriation which occur to this authoritative figure in each text of the corpus. Because tradition heavily influences all the interpretations of Solonian poetry and reforms in the field of politic and legislation, it requires us to go back to the first sources of these various interpretations. I hope this study will help us increase our knowledge of the political and intellectual background of the Athenian Democracy of the 4th century B.C., and clarify which kind of connexion exists between the polis and its own past. Last but not least, this study contributes to understand how a political argumentation and a democratic ideology can be shaped by forensic discourses
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Chen, Tsai-Yu, e 陳彩玉. "Reserching the Musical Performance and the Vocal Interpretation of Haydn''s Oratorio creation-"Die Jahreszeiten"". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/33273328706323588199.
Testo completoAbstract (sommario):
碩士臺南師範學院
教師在職進修音樂教學碩士學位班
92
There are four major parts in this study. PartⅠ. Trace the history of the Oratorio and investigate the literature of Haydn and the oratorio -“Die Jahreszeiten” In this part,I will trace and discuss the history of the Oratorio,Haydn’s contribution to Oratorio music and the importance of “Die Jahreszeiten” in Oratorio music. Through analysing the bibliography of Haydn and the spirit in creation and performance of “Die Jahreszeiten” ,I wish to clarify the characteristics of Haydn’s music in each stage of his career,I will discuss Haydn’s increating “Die Jahreszeiten” and the musical forms that he adopts this work. PartⅡ .Musical idiosyncracy of “Die Jahreszeiten” “Die Jahreszeiten” is divided into four parts - Spring,Summer,Autumn and Winter. I will focus our discussion on Haydn’s consummate talent in creating music by investigating the artistic techniques,including the relationship between the lyric and the melody that he had fastidiously used and the musical manifestation of theme, structure,intonation,Melody,Motiv drawn on“Die Jahreszeiten”. Our goal in this section of the thesis is to add to the reference materials in research and appreciation of classical music . partⅢ Interpretation of “Die Jahreszeiten” Through our investigation on the lyric,musical form and style,musical structure and Motiv applied through the“Die Jahreszeiten” ,I wish to provide suggestions on the interpretation of this work for reference in research and performance. partⅣ Conclusion .
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Tsai, Wei-Chun, e 蔡維君. "Analysis of Christian Association''s participation of social music activities --- Using Taipei Young Men''s Christian Association Oratorio Choir charity concert as an example". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/46977497408235903659.
Testo completoAbstract (sommario):
碩士東吳大學
音樂學系
92
Christian music has played an important role the development of Taiwan music history, especially in the areas of contemporary Western music. Through the introduction of Christian missionaries in the 19th Century as well as advocate of western music during the period of Japanese colonization, Christian music has had profound influence to Taiwan society since. However, through out past one hundred more years, the transformation of political, social, economic, and cultural environment, Christian music is no longer in a leading role of the music society in Taiwan, and Taipei YMCA Oratorio Choir has testified the evolution of the history. The main purposes of this research are to understand the history of development of the oldest Choir, to investigate its relationship with the society of Taiwan as well as to know how it impacted the development of the Taiwanese music society. Since its establishment in 1947, Taipei YMCA Oratorio Choir has involved in society music activities and has had weekly practices since then. Of its public performances, the Christmas charity performance of “Messiah” is the most important and well-known activity to people. Being the 57th year performance of “Messiah” in this year of 2003, Taipei YMCA Oratorio Choir earned its reputation as the “Messiah” Oratorio Choir in Taiwan. Yet, another main topic of this research is to disclose the evolution of functions and the role of the Choir under the transformation of music society. Through collection of historical data, interviews with the Choir members, and recording of practices, the thesis has re-exhibited the contribution of those senior members to Taiwan’s music society development. Taipei YMCA Oratorio Choir was not only one of the most important Christian Choir groups but also a key pusher to the development of social music activities. However, viewing from the missions of the Choir: evangelism, charity in music concert, and sacred music promotion, the importance of Taipei YMCA Oratorio Choir in the social community in such functions has diminished during recent years. Some critics are made and suggestions are proposed in terms of music talent development, sacred music education, compositions been performed, and forms of Messiah charity music concert.
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Hsien, Tai Wen, e 戴文嫺. "Haydn''s Oratorio "The Creation" ( Die Schöpfung ) - Study of the Difference in the presentation of God and Man in Music and Libretto". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/52661726677229351410.
Testo completoAbstract (sommario):
碩士輔仁大學
音樂研究所
92
This thesis is to discuss the Oratorio The Creation of Haydn from two aspects, analyzing Libretto as well as the music framework and technique. The origin of Libretto was from an unknown English author, and Baron Gottfried van Swieten translated it into German. Swieten did not metaphase; instead he almost created a complete new work. The plot is based on The Holy Bible, and the story line draw from parts of Miltan’s poem Paradise Lost. The depiction, which is the process of God’s creation from the first day to the Sixth day, is the main contents of Parts I and II in the oratorio. In Part III, there are more stories about human being living in the new day. Furthermore, the narrator in Parts I and II is the three angles, the narrator in Part III is Man. Therefore, the difference between the narrators are one speaks of God’s Glory and the other about Human emotion. In Music, Haydn created the dramatic frameworks by functionally dividing orchestra movement, recitative, aria, ensemble and chorus into various roles. The dramatic trend established by tonal framework which moves around C major that symbolizes the Glory of God while B flat Major hints the emotions and sins of human being. The particular dramatic framework applied in Part III is not surrounded by God’s work on the first 6 days as described in Parts I and II. There are two duets in Part III. One serves as a hymn to praise God while another to describe the Love between man and woman. Part III is mainly interpreted by Woodwind and illustrated the peaceful life in Garden of Eden. The introduction of Brass demonstrated the Glory of God and Angles’ praises serves as a motive penetrating through Parts I and II. The motive is another music comparable of Part I, II, and III. Human motive contrasting God’s motive is the important difference in the presentation of God and Man. Furthermore, the motive of Parts I and II are describing God’s creation in contrast to Human’s affection and sinful nature in Part III.
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Roubalová, Michala. "Antonio Ferradini - Stabat Mater". Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-389233.
Testo completoAbstract (sommario):
The master thesis deals with the composition Stabat mater written by italian composer and maestro Antonio Ferradini (1718/19-1779). The thesis evaluates current research situation concerning the personality of Ferradini by criticising the surviving sources. Special care was taken for the music performance practice in the church of Knights of the Cross with the Red Star. Than the comparative method was used for the purpose of analysing author's compositional style. The works were chosen with care to the developement in Stabat mater writings since early 18th century. The comparation was conducted by analyzing the scope of aspects such as setting, instrumentation, scales, affects, rhetorical figures and text-music relationship.
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LI, SHU-MIN, e 李淑敏. "Discriminations of the populations of three Taiwanese mantis shrimps, Harpiosquilla harpax, Squilla interrupta and S. oratoria by meansof electrophoresis". Thesis, 1989. http://ndltd.ncl.edu.tw/handle/98931164132453851629.
Testo completo
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Purcell, Sjölund Anita. "An analysis of Samoan reaction to The Orator (O Le Tulafale)’s Fāgogo defining Samoan identity". Thesis, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13092.
Testo completoAbstract (sommario):
The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.This research paper was required as partial fulfilment for Masters in Indigenous Studies. A copy is held at the School of Maori and Indigenous Studies, University of Otago's research database.
Libri sul tema "Oratorio S"
1
Veloci, Stefano. Oratorio di San Desiderio a Pistoia, Massimo Biagi, Munus. Pistoia: Gli ori, 2017.
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2
Fabio, Bisogni, e Bonelli Conenna Lucia, a cura di. L' oratorio di S. Caterina nella Contrada del drago: La storia e l'arte. [Italy: s.n., 1988.
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Riepe, Juliane. Die Arciconfraternita di S. Maria della Morte in Bologna: Beiträge zur Geschichte des italienischen Oratoriums im 17. und 18. Jahrhundert. Paderborn: F. Schöningh, 1998.
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Valsecchi, Luisa Carolina. Storia di un antico oratorio campestre: A mane sancti Ambrosii de Carbaniate. Missaglia (Lc): Bellavite editore, 2019.
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Celotto, Antonio F. Liedolo e il suo S. Daniele. [San Zenone degli Ezzelini?]: G. Battagin, 2003.
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García, José Manuel Prellezo. Valdocco nell'Ottocento: Tra reale e ideale (1866-1889) : documenti e testimonianze. Roma: LAS, 1992.
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Schickele, Peter. Oedipus Tex: (S. 150) : dramatic oratorio or opera in one cathartic act for S.A.T.B. chorus, soprano, mezzo-soprano, tenor, and baritone soloists, and orchestra. Bryn Mawr, PA: T. Presser, 1989.
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Cervini, Fulvio. Il restauro dell'organo: "Felice e Giacomo Bossi" (1861) nell'Oratorio di Nostra Signora della Misericordia in S. Stefano al Mare (IM). [Imperia: Editore A. Dominici, 1994.
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Carion, Benedetta. L'oratorio di San Rocco. Roma: Albatros, 2021.
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Ryan, Halford Ross. Harry S. Truman: Presidential rhetoric. Westport, Conn: Greenwood Press, 1993.
Cerca il testo completoCapitoli di libri sul tema "Oratorio S"
1
Staehelin, Martin. "Elijah, Johann Sebastian Bach, and the New Covenant: On the Aria “Es ist genug” in Felix Mendelssohn- Bartholdy’'s Oratorio Elijah". In Mendelssohn and His World, a cura di R. Larry Todd, 121–36. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831623.121.
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Crowther, Victor. "Perti’s S. Petronio (1720)". In The Oratorio in Bologna (1650-1730), 127–39. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166351.003.0015.
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Abstract The subject-matter of the oratorio is the appointment of St Petronius as bishop of Bologna by Pope Celestine I in AD 432. The librettist alludes to important historical events and theological controversies at the end of Celestine’s reign (AD 422-32) but his main purpose is to emphasize that the appointment of Petronius to the See of Bologna was an act of divine predestination.
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Crowther, Victor. "Colonna’s II Transito di S. Gioseppe (1678)". In The Oratorio in Bologna (1650-1730), 76–86. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166351.003.0009.
Testo completoAbstract (sommario):
Abstract Librettos of S. Gioseppe were printed in Bologna (1678), Modena (1681), Bologna (1685), and Faenza (1693). Two scores of the oratorio survive, one in Modena (I-MOe, Mus F. 298), the other in Naples (I-NJ, no. 476/ 4). Both performances at Bologna were given in the chapel of the Palazzo Paleotti on via San Donato. At the same venue in the 1660s the Paleottis had hosted Cazzati’s II transito di S. Giuseppe as well as Bernabei’s S. Christina, Cossoni’s Adamo, and Cossoni’s Dina rapita.
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Radcliffe, Philip. "Oratorios". In Mendelssohn, 113–24. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0014.
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Abstract The development of the oratorio during the eighteenth century was curiously chequered. Those of Handel were a kind of extension of his stage works; many of them have a strong narrative interest, and the problems of choral counterpoint often resulted in a powerful dramatic tension that is seldom to be found in the operas. Still less does it appear in the oratorios of Handel’s successors. The greatness of Haydn’s Creation is of a very different kind, Beethoven’s Christus am Oelberge was an early by-product and Spohr’s musical personality was far too amiable for him to be able to deal adequately with subjects as formidable as The Last Judgment or The Fall of Babylon. Mendelssohn was an earnest student of the works of both J. S. Bach and Handel, and in his oratorios we can see him clearly trying to emulate the introspective profundity of the one and the dramatic force of the other.
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Allsop, Peter. "Rome: The Early Years". In Arcangelo Corelli, 27–46. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198165620.003.0003.
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Abstract 1675 was a propitious year for Roman musicians: Pope Clement X Altieri had declared it a Holy Year to be marked ,vith splendid festivities in the city’s main churches--much more to the Pope’s liking than the secular celebrations of carnivals and comedies of his predecessor. Among these events, between January to March, fourteen oratorios commissioned by a soci ety of Florentine gentlemen were perfonned at the Oratorio della Pieta of the church of San Giovanni dei Fiorentini. For Antonio Masini’s S. Eustachio, given on 3 February, a distin guished concertina of soloists had been selected from the best players of Rorne--Carlo Mannelli (violin), Leho Colista (lute), Bernardo Pasquini (keyboard), Gasparo Contarelli and Francesco Maria Benedettini (violone)-but in a humbler capacity among the violini del con certo grosso appears the simple entry ‘Il Bolognese’.
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Sanz Hermida, Rosa, e Rosa Sanz Hermida. "Theatricality in a “sacred drama, not to be represented”: The Spanish 1700s’ Oratorio". In Daring Adaptations, Creative Failures and Experimental Performances in Iberian Theatre, 79–94. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781802078015.003.0006.
Testo completoAbstract (sommario):
This chapter delves into the Spanish oratoriums of the 1700’s. The production of sacred dramas during that time stems from the replacement of the “autos sacramentales”, a form that was prohibited at the onset of the Century and that was completely banned decades later, considered as being sacrilegious and irreverent by Enlightment figures. In this sense, oratoriums offered a safe and orthodox practice devoid of any form of theatricality, showing the sobriety and decorum typical of the counter-reformist trend. Despite that, some contemporaneous librettos contain hand-written annotations hinting at theatrical practices, such as typologies and character roles. Beyond this, studying the news extracted from the documentation and scrutinising those librettos, there are some clear theatrical signs, which the author analyses in this study to discover the essence of the theatricality of those pieces.
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Johnstone, Barbara. "Individual Voice and Articulate Speaking". In The Linguistic Individual, 59–91. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195101843.003.0003.
Testo completoAbstract (sommario):
Abstract It is believed by speakers of Malagasy, who live in Madagascar, that there are two kinds of talk: everyday talk and kabary,or formal oratory (Keenan 1973). A person who can perform kabarywell is a good speaker, an articulate person. Not everyone is allowed to be an orator; women, for example, who are in general thought to be overly direct and pushy in speech (Keenan 1974), are excluded. And not every man who has learned something about the roundabout “winding words” in which kabarymust be phrased and the rules for who speaks when in the situations that call for kabaryis equally good at performing it. Some orators are more articulate than others, in other words, and accordingly in greater demand to speak at marriage-request ceremonies and in other situations in which kabaryis necessary. Being articulate, for the Malagasy, requires two things: being a member of the category of people who are allowed to perform articulate roles, and, assuming that one is a member of this category, being competent at those roles. There is even more to it, however. Being an articulate orator sometimes requires strategic inarticulateness. When the orator representing a young man ‘s family speaks to request a young woman ‘s hand in marriage, he must symbolize in his speech the inferior role of the petitioner. To do this, he must purposely make errors in delivery and protocol but not so many that he jeopardizes his reputation as a good speaker.
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Batstone, William W., e Cynthia Damon. "Introduction". In Nontraditional Careers for Chemists: New Formulas in Chemistry, 3–7. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195183665.003.0001.
Testo completoAbstract (sommario):
Abstract Caesar’;s Civil War is an unfinished masterpiece. It is incomplete not owing to untimely death, however, but was abandoned by an author who found himself living in a different world than that which saw the work’;s commencement. It might thus seem an odd candidate for a literary appreciation. But it deserves one. The Civil War is the story of Caesar’;s contest with the Pompeian party through nineteen months of civil war; it ends, after Pompey’;s death, amid the preliminaries to a foreign war fought to impose a Roman settlement on the kingdom of Egypt. The work shows the brilliance for which Caesar’;s oratory, like his generalship, was known—in the eyes of Quintilian, no mean judge, he was second only to Cicero (Education of an Orator 10.1.114)—and it was a political judgment that relegated the Civil War to the file drawer, not a literary one. The five chapters of this book explore the various components of Caesar’;s literary achievement in the Civil War. We supply here in the introduction the necessary historical background, and in the epilogue the aftermath.
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"9. 1841: Heaven-Born Statesman or Devil-Born Orator". In Disraeli?s Disciple. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442673977-013.
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Smith, Ruth. "National Aspiration: S AMSON A GONISTES Transformed in Handel’s S AMSON". In The Edinburgh Companion to Literature and Music, 303–10. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0030.
Testo completoAbstract (sommario):
In common with Handel’s other oratorios which invoke the wishful analogy between Old Testament Israel and contemporary Britain, Handel’s and Hamilton’s Samson radically diverges from its principal source text, Milton’s Samson Agonistes. National unity replaces heroic singularity, fellow-feeling replaces spiritual growth, and the salvation hoped for is Christian as well as temporal. Contra Milton, communal righteousness culminates in an uplifting funeral sequence and a vision of heaven. Originating a Philistine chorus from Milton’s psalm translations, Hamilton gives scope to Handel’s customary progression by contrast. Assertive, homophonic, dance-metre Philistine choruses and lilting airs are pitted against the prayers of the chosen nation, in which Handel deploys all the musical elements of his period’s most esteemed form of rhetoric, the religious sublime, for which his music was especially admired.