Готові списки джерел за темами / Operas

Добірка наукової літератури з теми "Operas"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Operas":

1

Xue, Chulan, Ruicong Ma, Zongchen Hou, and Shan Wang. "Study on accompaniment of dulcimer in Shandong Lv Opera and Wuyin Opera." SHS Web of Conferences 159 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202315902015.

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Shandong art is deeply influenced by Confucianism. As a big province of culture and drama, it has given birth to various kinds of operas and has strong local characteristics. Among various kinds of operas, dulcimer plays an important role as an accompaniment instrument, and is the primary instrument for many kinds of operas. Lv opera and Wuyin opera are two of the most important operas in Shandong, so this paper summarizes the characteristics and causes of the dulcimer accompaniment in Shandong local operas by analyzing the characteristics of the dulcimer accompaniment in Lv opera and Wuyin opera. Finally, some suggestions are put forward to protect and develop Shandong traditional opera.
2

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 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.
3

Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.

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The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.
4

Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (May 28, 2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.

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“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work.
5

BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (August 3, 2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.

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ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like? Are they similar to other ‘ordinary’ scores of the same time, or do their metatheatrical techniques set them aside as special? Considering a number of eighteenth-century works, this article points out how specific musical means can contribute to the overall effect of meta-operatic plots: the stratified nature of meta-narratives is, in fact, mirrored in the scores when realistic music is performed on stage. On these occasions, the presence of more than one layer of musical performance (of music and ‘music’) can be detected in the score. Furthermore, the presence of realistic music allows for a highly flexible treatment of standard operatic practices, and a number of passages work across conventional oppositions such as recitative/closed number, ‘real-life’/‘performed’ and ‘spoken’/‘sung’. Meta-operas, therefore, offer a special perspective on the presence of realistic music in opera.
6

Park, Chang-min. "A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts." Academic Association of Global Cultural Contents 57 (November 30, 2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.

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Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Factory of Performing Arts, focusing on the material of the libretto, which is the first work and basic element of the creation of an opera. In order to study the material diversification of new opera selected through the Creative Factory of Performing Arts, six classification criteria were set, each of which is a genre, method of libretto, original foundation, the spatial background of work, the temporal background of work, and basic material. In addition, in order to help understand, this study also examined aspects of the diversification of materials of new operas in overseas opera theaters such as the United States, Germany, the United Kingdom, Austria, Italy, and France. As a part of the development of cultural contents, I hope that this study will help understand the trend of diversification through the recently discovered Korean new operas, help revitalize creation, and further promote convergent development in all fields of performing arts.
7

Xue Chen, Zheng. "The System of Dominant Themes in the Operas of Jin Xiang." Университетский научный журнал, no. 76 (October 24, 2023): 101–9. http://dx.doi.org/10.25807/22225064_2023_76_101.

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The article’s author considers the system of dominant themes in the operas of the Chinese composer of the 20th century Jin Xiang, close to the principle of the end-to-end development of thematism in European and Russian classical opera. The author reveals the specifi cs of working with thematism in the operas “Savage Land”, “Yang Guifei” and “Eight Women Jump Into the River”. The research methods were a holistic and comparative analysis of the thematism of operas in terms of expressiveness, imaginative-semantic content, dramatic function, and symphonic development. The analysis of the “dominant thematism” and its development in Jin Xiang’s operas made it possible to prove that leitmotifs embody the national ideological content in the works of the Chinese composer, express senses, states and actions of the heroes, describe events, and reveal plot confl icts of the drama. In his opera work, Jin Xiang develops his own system of leitmotifs, connecting each opera together in imaginative, semantic, dramatic and organisational aspects. At the same time, the dominant thematism gives Jin Xiang’s works a national character, allowing Chinese opera to maintain its identity against the background of the stylistic globalisation in music.
8

Zheng, Meizhen, Peng Bai, Xiaodong Shi, Xun Zhou, and Yiting Yan. "FT-GAN: Fine-Grained Tune Modeling for Chinese Opera Synthesis." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 17 (March 24, 2024): 19697–705. http://dx.doi.org/10.1609/aaai.v38i17.29943.

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Although singing voice synthesis (SVS) has made significant progress recently, with its unique styles and various genres, Chinese opera synthesis requires greater attention but is rarely studied for lack of training data and high expressiveness. In this work, we build a high-quality Gezi Opera (a type of Chinese opera popular in Fujian and Taiwan) audio-text alignment dataset and formulate specific data annotation methods applicable to Chinese operas. We propose FT-GAN, an acoustic model for fine-grained tune modeling in Chinese opera synthesis based on the empirical analysis of the differences between Chinese operas and pop songs. To further improve the quality of the synthesized opera, we propose a speech pre-training strategy for additional knowledge injection. The experimental results show that FT-GAN outperforms the strong baselines in SVS on the Gezi Opera synthesis task. Extensive experiments further verify that FT-GAN performs well on synthesis tasks of other operas such as Peking Opera. Audio samples, the dataset, and the codes are available at https://zhengmidon.github.io/FTGAN.github.io/.
9

Cochran, Zoey M. "Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)." Revue musicale OICRM 5, no. 1 (April 9, 2018): 63–91. http://dx.doi.org/10.7202/1044444ar.

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Virility was central to Italian fascist ideology and yet the operas composed and performed in Italy during the 1930s systematically subvert the virility of their heroes both dramatically and musically, revealing a more fraught relationship with fascist ideology than has been suggested until now. A comparison between operas by Gian Francesco Malipiero, Ottorino Respighi, Pietro Mascagni, Ildebrando Pizzetti, and Alfredo Casella on the one hand and films by Alessandro Blasetti, Mario Camerini, and Carmine Gallone on the other, all produced in Italy during the mid-1930s, shows that the absence of male protagonists embodying fascist ideals of virility is confined to opera. I suggest that the failure of these operas to present virile male protagonists partly stems from a confrontation between opera and film. Indeed, the emergence of sound films and cinema’s privileged position within the Fascist regime forced opera to redefine itself as an art form in relationship to film.
10

Krejčová, Kristýna, and Jana Spáčilová. "Dittersovy italské opery z Jánského Vrchu : současný stav pramenů." Musicologica Brunensia, no. 1 (2023): 47–71. http://dx.doi.org/10.5817/mb2023-1-4.

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During his stay at the castle Jánský Vrch near Javorník between 1771 and 1776, Carl Ditters von Dittersdorf composed at least twelve Italian operas for the Bishop of Wrocław, Philip Gotthard Schaffgotsch. Four of these operas were later performed in Esterházy under the direction of Joseph Haydn. Information on Ditters' operas is incomplete or erroneous in the existing literature; the purpose of this study is therefore to present the current state of the sources – libretti and scores. Most of the librettos are stored in the Department of Music History of the Moravian Museum in Brno, two librettos considered lost were newly found in the Scientific Library in Olomouc. All librettos from Esterházy have also been identified. The sheet music for eight operas is stored in Budapest, one score is in Vienna. The work La poesia e la musica in gara belongs to the genre of serenata, the opera I visionari is known only by name. This study reestablishes the chronology of Ditters' operas, identifying the authors of the libretti and the names of the performers. Haydn's settings for Esterháza are also briefly discussed. The most important outcome of the research was the identification of two arias from the lost opera Il viaggiatore americano in Joannesberg.
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Також вас можуть зацікавити розширені добірки на тему "Operas" для конкретних типів джерел:
Статті в журналах Дисертації Книги

Дисертації з теми "Operas":

1

Friedman, Arnold Jacob. "A Different Drummer: A Chamber Opera." Thesis, view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses.

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2

Evans, Anne Megan. "The evolving role of the director in Xiqu innovation." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=764745581&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233276975&clientId=23440.

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3

Salfen, Kevin McGregor. "Paintings and Palaces, or the Lament of the Burger Flipper." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2186/.

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The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food Workers, a choir (SATB) and the Suits 2/Customers, a second choir (SATB), each ideally consisting of eight vocalists for a total of sixteen; the Daydream Figures, which are mimed parts; the Man with Gun, which is a spoken part. The opera, in one act consisting of six scenes and an interlude, is based on a libretto by the composer. There is only one scene change: from an essentially empty stage to a fast food restaurant in Scene 4. The length of the work is approximately sixty to sixty-five minutes.
4

Asplund, Christian T. "Two chamber operas /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/15513.

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5

Bergström, Gunnel. "In search of meaning in opera : an opera singer's approach to the dialetics of words, music, & myth in opera from Monteverdi to Verdi /." Online version, 2000. http://bibpurl.oclc.org/web/26209.

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6

Marx, Hannelie. "Narrative and soap opera a study of selected South African soap operas /." Diss., Connect to this title online, 2007. http://upetd.up.ac.za/thesis/available/etd-05192008-162153/.

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7

O'Keefe, Patricia Beatrice. "Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699840/.

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Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.
8

McKellar, Shannon Colwyn. "Institutional voices : five Britten operas." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267084.

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9

Artemas-Polak, Natalie. "The operas of Gustav Holst." Thesis, University of Surrey, 2006. http://epubs.surrey.ac.uk/843193/.

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Gustav Holst was a contributor to the genre of English opera throughout his career. His name is not usually associated with opera, and yet he composed thirteen in all; five were published, three are lost, and the remaining five exist solely in manuscript. The dissertation begins with Holst's background and influences, the most important of which were the music of Sullivan and Wagner, and the ways in which Holst's music of his early period imitated those styles. Other aspects with which Holst came into contact are discussed here; namely Sanskrit literature, the English folksong movement, and the re-discovery of the English madrigal. Each is examined separately in order to clarify how each influenced his music during the early years of the twentieth century. The earliest operas are presented in chronological order and discussed in terms of their subjects, harmonic and thematic approaches, style and form, as well as a comparison in style between the operas that were composed concurrently. The core of the work consists of the fourth, fifth and sixth chapters wherein Holst's final attempt at Wagnerian chromaticism (and his only attempt at large-scale three act opera) and its lack of success is presented. It is linked to a masterpiece of chamber opera of three years later by way of a song cycle for solo voice and piano which clearly demonstrates his new approach to the setting of text, his use of modality and the paring down of accompaniment to give emphasis to the voice. The final chapter deals with the late period of Holst's operatic writing and discusses the three comic operas. Holst's humour and its effect on choice of subject, setting of text and orchestral effects is put into the context of the post-war era.
10

Seinen, Nathan Christopher. "Prokofiev's Soviet operas : four essays." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283904.

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Книги з теми "Operas":

1

Stanley, Sadie, ed. The New Grove book of operas. London: Macmillan, 1996.

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2

Lully, Jean Baptiste. Cadmus & Hermione (1673). Wavre: Mardaga, 2008.

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3

Martinez, John. Fantastic opera: The great operas. New York: Abrams, 1997.

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4

S, Gilbert W. The Savoy operas. Ware: Wordsworth Edns., 1994.

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5

Wilcox, Michael. Benjamin Britten's operas. Bath, Somerset, England: Absolute Press, 1997.

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6

Amadeus. The Metropolitan Opera book of Mozart operas. Edited by Gruber Paul and Metropolitan Opera Guild. New York, N.Y: HarperCollins, 1991.

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7

Martin, Dennis R. The operas and operatic style of John Frederick Lampe. Detroit: Information Coordinators, 1985.

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8

Ponte, Lorenzo Da. The Met Opera presents Wolfgang Amadeus Mozart's Così fan tutte. Milwaukee, WI: Amadeus Press, 2014.

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9

Harewood, George Henry Hubert Lascelles. Kobbé's illustrated opera book: Twenty-six of the world's best-loved operas. London: Bodley Head, 1989.

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10

Harewood, George Henry Hubert Lascelles. Kobbé's illustrated opera book: Twenty six of the world's best-loved operas. New York: Putnam, 1989.

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Частини книг з теми "Operas":

1

Montgomery, Alan. "Baroque Operas." In Opera Coaching, 61–68. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-11.

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2

Matelski, Marilyn J. "Soap Operas." In Daytime Television Programming, 31–44. London: Routledge, 2023. http://dx.doi.org/10.4324/9781032621890-4.

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3

Stevenson, David. "Stellar Soap Operas." In The Complex Lives of Star Clusters, 155–219. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-14234-0_6.

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4

Smaczny, Jan. "Dvořák: The Operas." In Dvorak and His World, edited by Michael Beckerman, 104–33. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831692.104.

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5

Seeley, Paul. "The first Savoy operas." In Richard D’Oyly Carte, 76–101. Abingdon, Oxon; New York, NY: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351045919-5.

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6

Seeley, Paul. "The later Savoy Operas." In Richard D’Oyly Carte, 127–46. Abingdon, Oxon; New York, NY: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351045919-8.

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7

"Operas." In Building Acoustics, 202–9. CRC Press, 2015. http://dx.doi.org/10.1201/b18219-18.

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8

"Operas." In Sing Musicals, 81–93. WORLD SCIENTIFIC, 2023. http://dx.doi.org/10.1142/9789811279515_0005.

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9

"Operas." In Unheard Of, 245–76. Wilfrid Laurier Press, 2012. http://dx.doi.org/10.51644/9781554583980-014.

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Pasler, Jann. "1.Narrative and Narratively in Music." In Writing Through Music, 25–48. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195324891.003.0002.

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Abstract Beginning in the 1980s, the number of contemporary operas increased dramatically by comparison with the rest of the twentieth century, and the diversity of styles ranges across the entire field of musical thought. For example, with Donne stag as Light in 1981, Stockhausen began a series of seven operas, one for each day of the week. Two years later Messene finished his first opera, Saint François daisies. Philip Glass completed two operas, Satyagraha in 1980 and Akhenaten in 1984. In 1986 the English National Opera premiered the second of Harrison Birtwistle’s three operas, The Mask of Orpheus. The Frankfurt Opera mounted John Cage’s first two operas European I and II in 1987. Operas by many other well-known composers followed: Jacob Rickman (1982), Bernard Rends (1985), George Rothberg (1986), and Morton Subtonic. To celebrate their tenth anniversary in 1987, the Centre Georges Pompidou and the musical research center IRCAM (Institute de Recherché et Coordination Acoustique/Mosque) in Paris commissioned a video opera from the young American Todd Mach over. What is behind this renewed interest in a genre that fell into disrepute for much of this century? Is it simply opera’s commercial appeal, or the fame it brings, or does opera fill a need, felt by both composers and audiences, created by the difficulty of comprehending much con- temporary music?

Тези доповідей конференцій з теми "Operas":

1

Bonardi, Alain, and Francis Rousseaux. "Composing interactive virtual operas." In the third conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/317561.317586.

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2

Bulancea, Gabriel. "FEMININE TYPOLOGIES IN WAGNER�S OPERAS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s23.012.

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"Creation Style and Artistic Features of Verdi’s Operas." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.125.

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Li, Bin, and Chung-Nin Choi. "Singing tones in Cantonese operas and pop songs." In Speech Prosody 2016. ISCA, 2016. http://dx.doi.org/10.21437/speechprosody.2016-66.

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Sobakina, Olga. "A Study on the Operas of Jan Cikker." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.136.

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Wang, Xu, and Xinhui Song. "Education of Chinese Traditional Operas in Colleges from the Perspective of Cultural Identity–A Case Study of Lv Opera." In International Conference on Mental Health and Humanities Education (ICMHHE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200425.025.

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Henein, Naeim A., I. P. Singh, and Walter Bryzik. "“OPERAS” In Advanced Diesel Engines for Commercial and Military Applications." In SAE 2006 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2006. http://dx.doi.org/10.4271/2006-01-0927.

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Kashihara, Shuntaro, Masanori Miyazawa, and Michiaki Hayashi. "OPERAS': Generating and improving network operational workflows on-the-fly." In 2012 14th Asia-Pacific Network Operations and Management Symposium (APNOMS). IEEE, 2012. http://dx.doi.org/10.1109/apnoms.2012.6356099.

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Chen, Qi, and Hui Xu. "Typical Female Images in Chinese Operas and their Singing Style." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.290.

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Chen, Xuemei. "Discussion on Importance of Local Operas in Vocal Music Teaching." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.32.

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Звіти організацій з теми "Operas":

1

Chong, Alberto E., Eliana La Ferrara, and Suzanne Duryea. Soap Operas and Fertility: Evidence from Brazil. Inter-American Development Bank, June 2008. http://dx.doi.org/10.18235/0010891.

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This paper focuses on fertility choices in Brazil, a country where soap operas (novelas) portray families that are much smaller than in reality, to study the effects of television on individual behavior. Using Census data for the period 1970-1991, the paper finds that women living in areas covered by the Globo signal have significantly lower fertility. The effect is strongest for women of lower socioeconomic status and for women in the central and late phases of their fertility cycle. Finally, the paper provides evidence that novelas, rather than television in general, affected individual choices.
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Nakasone, Eduardo. Soap Operas for Female Micro Entrepreneur Training. Inter-American Development Bank, December 2014. http://dx.doi.org/10.18235/0011672.

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This paper analyzes the impact of the Strengthening Women Entrepreneurship in Peru (SWEP) program. SWEP trained female micro entrepreneurs in business management practices (such as accounting and marketing). The training, which was provided in 4- to 5-hour sessions, used soap operas and practical exercises specifically designed for the program. A field experiment was conducted among a group of micro entrepreneurs based in two Peruvian cities (Lima and Piura) to investigate whether SWEP had a positive impact on its beneficiaries. The results show that the program positively affected the adoption of business practices taught by the program. In particular, those who received the training were 4 to 6 percentage points more likely to assign themselves a fixed salary (rather than taking cash from their businesses based on personal needs) and 6 to 11 percentage points more likely to keep better records of potential business contacts. Some positive impacts were found on the adoption of bookkeeping practices (4 to 6 percentage points), although this result is not significant across all of the specifications. Although these changes in adoption rates were large compared with their baseline levels, they were rather small in absolute terms. Therefore, the study did not find any impact on average business performance, household expenditures, or women's empowerment in the household. Qualitative information suggests that micro entrepreneurs were satisfied with the training, but considered that many of the practices taught by the program were difficult to follow because of time constraints.
3

Gulesci, Selim, María Lombardi, and Alejandra Ramos. Telenovelas and Attitudes toward the LGBTIQ Community in Latin America. Inter-American Development Bank, February 2023. http://dx.doi.org/10.18235/0004719.

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How does exposure to soap operas with LGBTIQ characters affect attitudes toward the LGBTIQ community? To answer this question, we construct a novel database of 175 telenovelas (soap operas) with LGBTIQ characters airing in 14 countries in Latin America and the Caribbean between 2002 and 2019. Exploiting variation in the introduction of new soap operas with LGBTIQ characters within country and survey-waves, we find that individuals exposed to more soap operas with LGBTIQ characters are less tolerant toward the LGBTIQ community. This short-term backlash is driven by exposure to telenovelas with homosexual characters and shows with comedic storylines. The effect is stronger among traditionally more conservative individuals (e.g., older or frequently attending religious services).
4

Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
5

Leandre, Remi. Random Spheres and Operads. Journal of Geometry and Symmetry in Physics, 2012. http://dx.doi.org/10.7546/jgsp-6-2006-67-84.

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Giesa, Aaron. SATOR / AREPO / TENET / OPERA / ROTAS. Portland State University Library, January 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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Stubrin, Lilia, Anabel Marín, Enrique Carreras, Rocío Palacín, and Lucía Mauro. Caso de estudio Don Mario: una empresa Argentina que gana el mercado global de semilla de soja. Inter-American Development Bank, March 2023. http://dx.doi.org/10.18235/0004765.

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El grupo Don Mario (GDM) es una empresa que desarrolla semillas de Argentina que se ha convertido en un jugador importante en el mercado global proveyendo el 20% de las variedades de soja que se utilizan en el mundo. La empresa exporta actualmente a más de 11 países. El crecimiento e internacionalización del grupo Don Mario es un fenómeno de enorme interés ya que se produjo en un período en el que el mercado global de semillas se concentró masivamente en unas pocas empresas internacionales a través de un proceso de fusiones y adquisiciones sin precedentes, que involucró la desaparición de cientos de empresas semilleras independientes. En este reporte discutimos los principales cambios en la demanda mundial, tecnológicos, regulatorios y de estructura de mercado que han operado y operan como oportunidades y desafíos para la expansión de Don Mario; presentaremos una serie de indicadores que describen el contexto global y local en el cual opera la empresa Don Mario; analizamos en detalle el alcance y modelo de la inserción internacional de la empresa Don Mario; explicaremos los elementos claves que explican el éxito de la firma; el uso e impacto de las políticas públicas; y los desafíos pendientes que tiene la empresa para continuar su proceso de crecimiento internacional.
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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, August 1997. http://dx.doi.org/10.18235/0007926.

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Utke, J. OpenAD : algorithm implementation user guide. Office of Scientific and Technical Information (OSTI), May 2004. http://dx.doi.org/10.2172/834715.

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