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Artykuły w czasopismach na temat "Oratorio S"
MELAMED, DANIEL R. "Multi-Day Passions and J. S. Bach's Christmas Oratorio, BWV248". Eighteenth Century Music 11, nr 2 (7.08.2014): 215–34. http://dx.doi.org/10.1017/s1478570614000050.
Pełny tekst źródłaTomasevic, 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, nr 4 (2004): 25–37. http://dx.doi.org/10.2298/muz0404025t.
Pełny tekst źródłaKozyk, 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, nr 135 (26.12.2022): 126–36. http://dx.doi.org/10.31318/2522-4190.2022.135.271012.
Pełny tekst źródłaRolak, Sonia. "Venice: Fergus Martin and Anthony Hobbs at Oratorio S. Ludovico". Circa, nr 104 (2003): 79. http://dx.doi.org/10.2307/25563976.
Pełny tekst źródłaAzarova, Valentina Vladimirovna. "The “undying archaic elements” in dramatic oratorio by Arthur Honegger “Joan of Arc at the Stake”". Человек и культура, nr 1 (styczeń 2020): 35–61. http://dx.doi.org/10.25136/2409-8744.2020.1.31950.
Pełny tekst źródłaButt, J. "J. S. Bach and the Oratorio Tradition. Ed. by Daniel R. Melamed." Music and Letters 93, nr 2 (1.05.2012): 236–38. http://dx.doi.org/10.1093/ml/gcs026.
Pełny tekst źródłaBierbaum, Kirsten Lee. "Weiß als Schwelle. Giacomo Serpottas Oratorio del Rosario di S. Zita in Palermo". Zeitschrift für Kunstgeschichte 82, nr 3 (25.10.2019): 400–435. http://dx.doi.org/10.1515/zkg-2019-3006.
Pełny tekst źródłaMilanovic, Biljana. "Contextualization of early modernism in Serbian music: Case studies of two works from 1912". Muzikologija, nr 6 (2006): 251–66. http://dx.doi.org/10.2298/muz0606251m.
Pełny tekst źródłaBronsard, Camille. "Sur une nouvelle stratégie commerciale pour le Canada". L'Actualité économique 52, nr 4 (25.06.2009): 534–38. http://dx.doi.org/10.7202/800702ar.
Pełny tekst źródłaMedňanský, Karol. "4. Passion in the Work of Johann Sebastian Bach". Review of Artistic Education 11, nr 1 (1.03.2016): 30–41. http://dx.doi.org/10.1515/rae-2016-0004.
Pełny tekst źródłaRozprawy doktorskie na temat "Oratorio S"
Stark, Curtis Woodrow II. "Sir Winston S. Churchill: An examination of style". CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/357.
Pełny tekst źródłaEdmisten, 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.
Pełny tekst źródłaCahier, 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.
Pełny tekst źródła"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
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.
Pełny tekst źródłaIn 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
Chen, Tsai-Yu, i 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.
Pełny tekst źródła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 .
Tsai, Wei-Chun, i 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.
Pełny tekst źródła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.
Hsien, Tai Wen, i 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.
Pełny tekst źródła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.
Roubalová, Michala. "Antonio Ferradini - Stabat Mater". Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-389233.
Pełny tekst źródłaLI, SHU-MIN, i 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.
Pełny tekst źródłaPurcell, 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.
Pełny tekst źródłaThis 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.
Książki na temat "Oratorio S"
Veloci, Stefano. Oratorio di San Desiderio a Pistoia, Massimo Biagi, Munus. Pistoia: Gli ori, 2017.
Znajdź pełny tekst źródłaFabio, Bisogni, i Bonelli Conenna Lucia, red. L' oratorio di S. Caterina nella Contrada del drago: La storia e l'arte. [Italy: s.n., 1988.
Znajdź pełny tekst źródłaRiepe, 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.
Znajdź pełny tekst źródłaValsecchi, Luisa Carolina. Storia di un antico oratorio campestre: A mane sancti Ambrosii de Carbaniate. Missaglia (Lc): Bellavite editore, 2019.
Znajdź pełny tekst źródłaCelotto, Antonio F. Liedolo e il suo S. Daniele. [San Zenone degli Ezzelini?]: G. Battagin, 2003.
Znajdź pełny tekst źródłaGarcía, José Manuel Prellezo. Valdocco nell'Ottocento: Tra reale e ideale (1866-1889) : documenti e testimonianze. Roma: LAS, 1992.
Znajdź pełny tekst źródłaSchickele, 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.
Znajdź pełny tekst źródłaCervini, 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.
Znajdź pełny tekst źródłaCarion, Benedetta. L'oratorio di San Rocco. Roma: Albatros, 2021.
Znajdź pełny tekst źródłaRyan, Halford Ross. Harry S. Truman: Presidential rhetoric. Westport, Conn: Greenwood Press, 1993.
Znajdź pełny tekst źródłaCzęści książek na temat "Oratorio S"
Staehelin, Martin. "Elijah, Johann Sebastian Bach, and the New Covenant: On the Aria “Es ist genug” in Felix Mendelssohn- Bartholdy’'s Oratorio Elijah". W Mendelssohn and His World, redaktor R. Larry Todd, 121–36. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831623.121.
Pełny tekst źródłaCrowther, Victor. "Perti’s S. Petronio (1720)". W The Oratorio in Bologna (1650-1730), 127–39. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166351.003.0015.
Pełny tekst źródłaCrowther, Victor. "Colonna’s II Transito di S. Gioseppe (1678)". W The Oratorio in Bologna (1650-1730), 76–86. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166351.003.0009.
Pełny tekst źródłaRadcliffe, Philip. "Oratorios". W Mendelssohn, 113–24. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0014.
Pełny tekst źródłaAllsop, Peter. "Rome: The Early Years". W Arcangelo Corelli, 27–46. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198165620.003.0003.
Pełny tekst źródłaSanz Hermida, Rosa, i Rosa Sanz Hermida. "Theatricality in a “sacred drama, not to be represented”: The Spanish 1700s’ Oratorio". W 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.
Pełny tekst źródłaJohnstone, Barbara. "Individual Voice and Articulate Speaking". W The Linguistic Individual, 59–91. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195101843.003.0003.
Pełny tekst źródłaBatstone, William W., i Cynthia Damon. "Introduction". W 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.
Pełny tekst źródła"9. 1841: Heaven-Born Statesman or Devil-Born Orator". W Disraeli?s Disciple. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442673977-013.
Pełny tekst źródłaSmith, Ruth. "National Aspiration: S AMSON A GONISTES Transformed in Handel’s S AMSON". W The Edinburgh Companion to Literature and Music, 303–10. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0030.
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