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Bibliografias temáticas / OpEpA

Literatura científica selecionada sobre o tema "OpEpA"

Autor: Grafiati

Publicado: 25 de julho de 2024

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Teses / dissertações
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Capítulos de livros
Trabalhos de conferências
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Artigos de revistas sobre o assunto "OpEpA"

1

Gagliardi, Bruna, Tereza Cristina de Carvalho, Túlio Lourenço Pupim, Francisco Guilhien Gomes Junior, Tathiana Silva Timóteo, Nilce Naomi Kobori, Maria Heloisa Duarte Moraes e José Otávio Machado Menten. "Efeito de fungicidas para controle da ferrugem asiática na qualidade de sementes de soja". Revista Brasileira de Sementes 31, n.º 4 (2009): 120–25. http://dx.doi.org/10.1590/s0101-31222009000400014.

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Para avaliar o efeito residual de fungicidas para o controle da ferrugem asiática (Phakopsora pachyrhizi) em sementes de soja do cultivar BRS-133 utilizaram-se 13 tratamentos (Testemunha, Priori + Nimbus, Aproach + Nimbus, Priori Xtra + Nimbus, Sphere + Aureo, Opera, Stratego + Aureo, Nativo + Aureo, Impact Duo + Oppa, Celeiro + Iharol, Battle + Oppa, Aproach Prima + Nimbus, Folicur ). O experimento foi conduzido em campo experimental em Paulínia-SP, em delineamento em blocos ao acaso, com quatro repetições. O efeito residual dos fungicidas nas sementes foi analisado pelos testes de germinação, envelhecimento acelerado, germinação em areia e pelo teste de sanidade das sementes. Conclui-se que os tratamentos não influenciaram na qualidade das sementes e que o tratamento Battle + Oppa foi eficiente no controle do patógeno Cercospora kikuchii nas sementes.

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2

Barroso da Silva, Fernando Luís, Fabio Sterpone e Philippe Derreumaux. "OPEP6: A New Constant-pH Molecular Dynamics Simulation Scheme with OPEP Coarse-Grained Force Field". Journal of Chemical Theory and Computation 15, n.º 6 (6 de maio de 2019): 3875–88. http://dx.doi.org/10.1021/acs.jctc.9b00202.

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3

Donington, Robert. "Opera as Opera Is". Musical Times 128, n.º 1732 (junho de 1987): 314. http://dx.doi.org/10.2307/1193723.

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McEwen, Mitch, e Marcelo López-Dinardi. "House Opera | Opera House". ARQ (Santiago), n.º 91 (dezembro de 2015): 26–31. http://dx.doi.org/10.4067/s0717-69962015000300004.

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Kim, Katalin. "A National Opera Abroad Ferenc Erkel's Opera Hunyadi László Performed Outside of Hungary". Musicologica Olomucensia 35, n.º 2 (15 de janeiro de 2024): 79–107. http://dx.doi.org/10.5507/mo.2023.011.

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Helman, Alicja. "Opera w filmie — opera filmowa". Literatura i Kultura Popularna 24 (18 de abril de 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.

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Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.

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Nicoleta, Mirza. "The Work of Art in Jung’s Approach". Incursions into the Imaginary 9, n.º 1 (10 de dezembro de 2018): 279–88. http://dx.doi.org/10.29302/inimag.2018.9.19.

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Anderson, Robert. "Opera". Musical Times 127, n.º 1717 (março de 1986): 155. http://dx.doi.org/10.2307/965500.

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Osmond-Smith, David, e Rudy Shackelford. "Opera..." Musical Times 129, n.º 1746 (agosto de 1988): 405. http://dx.doi.org/10.2307/965970.

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FRANK, EDWIN. "OPERA". Yale Review 98, n.º 4 (2010): 80–87. http://dx.doi.org/10.1353/tyr.2010.0084.

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Teses / dissertações sobre o assunto "OpEpA"

1

Wedholm, Hjalmar. "opera : stadsgårdskajen". Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-98552.

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Mould, Stephen James. "Curating Opera". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14521.

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Recent decades have seen the art curator emerge from a behind-the-scenes, anonymous position to that of a public functionary, challenging the role of the artist as the dominant force in the creation of art. A blurring of the roles of artist, gallerist and curator has resulted, along with a diversification in disciplines that attract curatorial attention, including science and architecture. The notion of Gesamtkunstwerk has frequently been evoked in the literature and even found its way into exhibition titles.1 The blurring of curatorial roles is also a characteristic of the opera house, where the singer, composer, conductor, impresario and (most recently), the stage director historically vie for predominance, giving rise to the power struggles for which the world of opera is renowned. The competing forces that drive operatic practice have so far had no visible commentators (such as the art world has recently acquired), to examine curating and curatorial roles within the opera house and to demystify the process for the public. This thesis will: (1) consider the so-called ‘birth’ of opera, with reference to the near-contemporary rise of the modern art museum; (2) examine aspects of the performance history of works by Gluck, Mozart and Beethoven, in order to demonstrate curatorial practices employed in the dissemination and maintenance of the repertoire; (3) consider curatorial tendencies within the modern opera house with reference to current performance practices and the related practices of art museums, highlighting aspects of authenticity, authorial intent, preservation and historically informed performance practice.

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Daniel, Jennifer Susan. "Democratising opera : Opera North and the access agenda in action". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15539/.

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This thesis explores the role of Opera North as the publicly funded opera company for the north of England, addressing the ways in which the company embodies, mediates and fulfils an agenda for access, education and innovation. A broadly ethnographic approach is taken, through case studies of three productions and the work surrounding them: the commissioned ‘operetta’ Skin Deep by David Sawer and Armando Iannucci (2009), the commissioned ‘family opera’ Swanhunter by Jonathan Dove and Alasdair Middleton (2009 and 2015), and the ‘staged concert’ version of Wagner’s Ring cycle for Leeds Town Hall and touring concert venues (2011-14). The nature and origins of the access agenda are explored, including the legacy of Opera North’s parent company English National Opera, and the post-war imperative of John Maynard Keynes, and his Arts Council, to fund decentralised and geographically dispersed ‘high’ cultural forms. Recent political agendas are also pertinent, particularly the developing aim of the UK’s ‘New Labour’ government (1997-2010) for cultural instrumentalism to address social issues. This is explored particularly in relation to the commission, by Opera North’s Education and Projects departments, of Swanhunter, in 2009. The access agenda and the works explored in the case studies are situated in their historical, political and artistic contexts, to give a cohesive account of Opera North’s cultural work in and for the north of England and beyond.

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Tse, Hue-ying, e 謝曉瑩. "The inheritance of modern Cantonese opera from traditional Chinese opera". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085878.

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5

Keith, Mathieu. "Collaboration in Opera Composition : Writing an opera with three composers". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.

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Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This thesis sets to answer these questions and more, and details the process in which myself and two composers created an operetta in three acts. We will walk through every step of our journey, from the first meeting to the writing process to the final product and concert. The aim of this thesis is to explore how a collaboration of composers can work, the problems that may arise and how to potentially avoid them. If these aims are achieved, this thesis may serve as guidelines for other composers wishing to collaborate on similar projects.

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Jansson, Pär-Åke, e David Andersson. "Opera – Operativ Tåginformation". Thesis, Högskolan Dalarna, Informatik, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2893.

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Uppsatsen redogör för resultatet av en förändringsanalys av informationssystemet Opera – Operativ Tåginformation samt dess samverkan med andra informationssystem. Vi ger även ett flertal förändringsförslag angående Opera. Det primära målet är att utifrån analysen ge färändringsförslag angående Opera och dess informationssystemarkitektur. För att detta skulle vara möjligt har vi kartlagt Opera och den interaktion som sker med andra informationssystem. Målet är att öka förståelsen för Opera och dess informationssystemarkitektur samt att föreslå förändringar av densamma. Analysresultatet beskriver både Operas interna och externa informationssystemarkitektur det vill säga hur Opera samverkar med andra informationssystem, Operas kärnprocesser och hur dessa kan spåras i den nuvarande databasen. Förändringsförslagen innefattar ett erbjudande om att, utifrån en beskrivning av de viktigaste handlingarna i Operas kärnprocesser skapa en objektmodell som tydliggör de centrala begrepp i verksamheten. Detta bör leda till ett förbättrat informationssystem och en förbättrad informationssystemarkitektur som stöd för kärnprocesserna. Syftet med detta arbete är att visa på hur grundläggande begrepp i informationssystemarkitekturen kan definieras med utgångspunkt från en analys av verksamhetens kärnprocesser och handlingar.

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Petko, Lukas. "Opera i Stockholm". Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-35351.

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Aravena, Maria-Loreto. "Opera Stockholm, Årstafältet". Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-118461.

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Den befintliga parken får nytt liv genom att markplaneringen ändras och en stor transparent byggnad tillförs - Operan!Operan sträcker sig över hela landskapet där den formar en stor park med olika offentliga rum. Parken attraherar befolkningen till Operan genom sina rörelser som ger den rytm och leder dem till olika platser som byggnaden och landskapet erbjuder. Idén är att förena en park med en storslagen byggnad, utan att tappa den elegans och storhet som en opera identifieras med. Jag låter byggnaden sträcka ut sig där den kan nå alla hörn, uppmana befolkningen i närheten att våga sig fram till denna kulturens enorma rum och uppleva Operan- på, under och innanför.
The existing park gets new life through land planning changes and a large transparent building is supplied - The Opera! The Opera extends throughout the landscape where it forms a large park with various public spaces. The park attracts people to the Opera by its movements that provide a rhythm and lead them to the different places the building and landscape has to offer. The idea is to combine a park with a grand building, without losing the elegance and grandeur as an opera is identified with. I let the building stretch out so that it can reach all corners of the park, invite people in the vincinity to venture and experience the Opera. From above, under and inside it.

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Štefáček, Ondřej. "Česká historická opera". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78137.

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This thesis considers the concepcion of historical opera. It tries to look into the way, that comsers and librettist dealt with historical subjects. Princip main part of the thesis treats of operas with historical topics composed by Bedřich Smetana.

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Mátlová, Markéta. "Wexford Opera Festival". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96818.

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This MgA project is following my Bc project, which was about the estabilishing and beginnig of Wexford Opera Restival. MgA project is about the progress in years 1961 - 1968. You can find in this work the basic ideas of WOF, the main facts about this developing festival in the second decade of it´s existence and information about the choosing repertoire and artists. This is the only comprehensive factographical material in Czech language. In the Introdiction you can find much more about the base of WOF - also in english language.

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Mais fontes

Livros sobre o assunto "OpEpA"

1

William, Saroyan. Opera, opera. Alexandria, VA: Alexander Street Press, 2004.

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2

Tomosha, Ongaku no, ed. Gurando opera =: Grand opera. Tōkyō: Ongaku no Tomosha, 1997.

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3

Buchner, Alexandr. Opera v Praze =: Opera v Prage = Opera in Prague. Praha: Panton, 1985.

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4

Buchner, Alexandr. Opera v Praze =: Opera v Prage = Opera in Prague. Praha: Panton, 1985.

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5

Johannes, Jansen. Opera. Hauppauge, N.Y: Barron's, 1998.

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6

Komnenić, Milan. Opela. Beograd: Književne novine, 1990.

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7

Komnenić, Milan. Opela. Beograd: Književne novine, 1990.

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8

Horatius Flaccus, Quintus. Opera. Editado por David R. Shackleton Bailey. Berlin, New York: DE GRUYTER, 2008. http://dx.doi.org/10.1515/9783110971798.

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9

Taib, T. Alias. Opera. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan, Malaysia, 1988.

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10

Jean. Opera. Firenze: L.S. Olschki, 1990.

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Capítulos de livros sobre o assunto "OpEpA"

1

Valenti, Chloe. "Opera". In The Palgrave Encyclopedia of Victorian Women’s Writing, 1206–11. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_170.

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Valenti, Chloe. "Opera". In The Palgrave Encyclopedia of Victorian Women's Writing, 1–6. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_170-1.

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3

Roth, Emily, Jonathan Allender-Zivic e Katy McGlaughlin. "Opera". In Stage Management Basics, 179–96. 2^a ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003133049-15.

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Gillett, Cary, e Jay Sheehan. "Opera". In The Production Manager's Toolkit, 137–46. 2^a ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780367808174-15.

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Golding, Rosemary. "Richard Edgcumbe, ‘German Opera, French Opera’". In Music in Nineteenth-Century Britain, 269–73. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003915-31.

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Fattahi, Hanieh. "Experimental OPCPA". In Third-Generation Femtosecond Technology, 87–106. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20025-5_5.

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Walton, Benjamin. "Romantic Opera". In A Companion to European Romanticism, 522–37. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch31.

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McCarthy, Anna, Glen Creeber, John Tulloch e Thomas Tufte. "Soap Opera". In The Television Genre Book, 73–88. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_3.

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Montgomery, Alan. "French Opera". In Opera Coaching, 96–101. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-18.

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Ranno, Danielle. "Opera Background". In The Beginner’s Guide to Opera Stage Management, 3–6. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003047391-2.

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Trabalhos de conferências sobre o assunto "OpEpA"

1

Chen, Guoxing, Yinqian Zhang e Ten-Hwang Lai. "OPERA". In CCS '19: 2019 ACM SIGSAC Conference on Computer and Communications Security. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3319535.3354220.

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2

Oh, Erick. "Opera". In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450507.3457432.

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3

De Lellis, Giovanni. "OPERA". In XV International Workshop on Neutrino Telescopes. Trieste, Italy: Sissa Medialab, 2014. http://dx.doi.org/10.22323/1.196.0012.

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4

Xu, Yang, Kan-Lin Hsiung, Xin Li, Ivan Nausieda, Stephen Boyd e Lawrence Pileggi. "OPERA". In the 42nd annual conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1065579.1065746.

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Baltuska, Andrius. "OPCPA". In CLEO: Science and Innovations. Washington, D.C.: OSA, 2011. http://dx.doi.org/10.1364/cleo_si.2011.ctut1.

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De Serio, Marilisa. "OPERA". In International Workshop on Astroparticle and High Energy Physics. Trieste, Italy: Sissa Medialab, 2003. http://dx.doi.org/10.22323/1.010.0009.

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Paoloni, Alessandro. "Opera". In XVI International Workshop on Neutrino Telescopes. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.244.0010.

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Kose, Umut. "OPERA". In 16th International Workshop on Neutrino Factories and Future Neutrino Beam Facilities. Trieste, Italy: Sissa Medialab, 2015. http://dx.doi.org/10.22323/1.226.0031.

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Wei, Qingxiang. "Opera Troupe, Chinese Opera, Stage: The Expression and Change of Peasant Opera Culture". In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.533.

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BARRON, M. "STUDIES OF OPERA HOUSE ACOUSTICS". In Opera and Concert Hall Acoustics 1995. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20027.

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Relatórios de organizações sobre o assunto "OpEpA"

1

Giesa, Aaron. SATOR / AREPO / TENET / OPERA / ROTAS. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.3030.

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von Balthasar, Hans Urs. Uno sguardo d’insieme sulla mia opera. Saint John Publications, 2022. http://dx.doi.org/10.56154/ud.

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3

Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, agosto de 1997. http://dx.doi.org/10.18235/0007926.

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4

Johnson, W. L. Dramatic Expression in Opera, and Its Implications for Conversational Agents. Fort Belvoir, VA: Defense Technical Information Center, janeiro de 2003. http://dx.doi.org/10.21236/ada462170.

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5

Meot, F., R. Gupta, H. Huang, V. Ranjbar e G. Robert-Demolaize. Re-visiting RHIC snakes: OPERA fields, n₀ dance. Office of Scientific and Technical Information (OSTI), setembro de 2017. http://dx.doi.org/10.2172/1399670.

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6

Giorcelli, Michela, e Petra Moser. Copyright and Creativity. Evidence from Italian Opera During the Napoleonic Age. Cambridge, MA: National Bureau of Economic Research, março de 2020. http://dx.doi.org/10.3386/w26885.

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7

Kodama, K., /Aichi U., G. Tzanakos, /Athens U., B. Baller, B. Lundberg, R. Rameika et al. Request for a Test Exposure of OPERA Targets in the NuMI Beam. Office of Scientific and Technical Information (OSTI), novembro de 2004. http://dx.doi.org/10.2172/993551.

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8

Wu, Yanyan. Meta-analysis of the effects of Wuqin Opera on balance dysfunction in the elderly. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, março de 2023. http://dx.doi.org/10.37766/inplasy2023.3.0099.

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9

Barragán, Jaime. Banco Europeo de Inversiones. Inter-American Development Bank, dezembro de 2005. http://dx.doi.org/10.18235/0007568.

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Presentación expuesta durante el evento "Experiencias de Provisión y Financiamiento de Infraestructura bajo Asociaciones Publico Privadas", llevado a cabo en el Banco Interamericano de Desarrollo, Washington D.C., Diciembre 8-9, 2005. Ésta describe de forma general qué es el Banco Europeo de Inversiones, el modo en el que opera, sus miembros, los tipos de proyectos en los que participa, entre otra información relevante.

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10

P. H. Titus, S. Avasaralla, A. Brooks, R. Hatcher. NSTX Disruption Simulations of Detailed Divertor and Passive Plate Models by Vector Potential Transfer from OPERA Global Analysis Results. Office of Scientific and Technical Information (OSTI), setembro de 2010. http://dx.doi.org/10.2172/988890.

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