Music and masks in Lorenzo Da Ponte's Mozartian librettos

1989 ◽  
Vol 1 (3) ◽  
pp. 225-247 ◽  
Author(s):  
Paolo Gallarati
Keyword(s):  
Sonata Form ◽  
Explosive Mixture ◽  
Continuous Transformation ◽  
Psychological Realism ◽  
The Real ◽  
Italian Opera ◽  
Lorenzo Da Ponte ◽  
Single Idea

In his trilogy of masterpieces composed to texts by Lorenzo Da Ponte, Mozart radically changed the musical and theatrical nature of Italian opera. The dramma giocoso became a true ‘comedy in music’ through the use of psychological realism: a vivid representation of life in continuous transformation and in all its naked immediacy is now the real protagonist of the story, an all-embracing totality within which each character represents a separate feature. This influx of a non-rationalist sense of life into the classical proportions of sonata form (whose tonal relationships and free approach to thematic development controlled the vocal set pieces) made for an explosive mixture. Even before his collaboration with Da Ponte, Mozart himself seemed well aware of his uniqueness: ‘I guarantee that in all the operas which are to be performed until mine [L'oca del Cairo] is finished, not a single idea will resemble one of mine.’

Franz Schuberts "Wandererfantasie"

2021 ◽  
Vol 74 (3) ◽  
pp. 229-262
Author(s):  
Markus Waldura
Keyword(s):  
Main Theme ◽  
Sonata Form ◽  
Formal Models ◽  
Continuous Transformation ◽  
Movement Model ◽  
Thematic Unity ◽  
The Fantastic ◽  
The Individual ◽  
Formal Ambiguity

Franz Schubert’s D760 is entitled “fantasy”, although the four sections of the work recognisably reference the formal models of a four-movement sonata. Since those models appear in their traditional order, the “fantasy” elements have to manifest themselves differently, transgressing the norms of sonata in two ways: Schubert transforms and deconstructs the individual forms of the four-movement model, while suspending the autonomy of each movement. Both strategies are interrelated: by blurring the form of each movement, Schubert opens them up to the following sections. This is rendered plausible because the movements, which connect seamlessly, are derived from the same thematic material.The deconstruction of the formal models manifests itself in the elision of formal units, the interpolation of non-formal sections, and the startling curtailing of developmental procedures within the formal units. These formal licences generate ambiguous structures that do not lend themselves to definite formal interpretations. Thus formal ambiguity is a constituting element of the “fantastic” in D760.The thematic unity of the work is a result of the continuous transformation of a motif first presented in the main theme of the first movement; a process, in which new variants emerge from the synthesis of previous variations. Furthermore, the Presto, which stands in for the scherzo movement of the Fantasy, reverse engineers the sonata form of the first movement (which had been abandoned before the recapitulation) while completing and normalising the form of the first movement by aligning it with the scherzo form. Thus the Presto assumes the formal function of the missing recapitulation, whose “wrong” key of A flat major is “rectified” through the C-major finale.

«The nature of literary thefts and the types for Ibn Rachiq Al-Messili »

2021 ◽  
Vol 26 ◽  
pp. 624-666
Keyword(s):  
Literary Work ◽  
Research Paper ◽  
The Real ◽  
Creative Writers ◽  
Broad Subject ◽  
Single Idea ◽  
The One

This research paper aims at revealing the nature of literary thefts for Ibn Rachiq (390-456 AH), who attached great importance to it in his writings, where he singled out from this serious matter that has always occupied the minds of early Arab critics. He could successfully analyse the different sides of any literary work and could reveal the reasons behind the similarity of ideas in the works of creative writers. From this vein, he could follow the roots and the originality of every single idea in order to figure out who is to be blamed and punished, and for whom regards and estimation must return. He concluded that theft is a very broad subject, which no poet can escape from, and that the real thief is the one who lives on the art of others without creativity or innovation, considering that literary theft is only in the wonderful inventor who did not participate in it. Keywords: Stealing, Literature (poetry/prose), imitation, Creativity, Pronouncing, meaning, Ibn Rashiq Al-Messili.  

scholarly journals Transformation groups on real plane and their differential invariants

2006 ◽  
Vol 2006 ◽  
pp. 1-17 ◽  
Author(s):  
Maryna O. Nesterenko
Keyword(s):  
Lie Algebras ◽  
Differential Invariants ◽  
Transformation Groups ◽  
Real Plane ◽  
Continuous Transformation ◽  
The Real ◽  
Finite Dimensional ◽  
Complete Sets ◽  
Finite Dimensional Lie Algebras ◽  
Invariant Differentiation

Complete sets of bases of differential invariants, operators of invariant differentiation, and Lie determinants of continuous transformation groups acting on the real plane are constructed. As a necessary preliminary, realizations of finite-dimensional Lie algebras on the real plane are revisited.

scholarly journals Sunil Gangopaddhaya’s ‘An Unsent Letter’: A Harrowing Outburst of Long Smothered Wail of a Lacerated Psyche

2020 ◽  
Vol 9 (1) ◽  
pp. 24
Author(s):  
Mohammad Mozammel Haque
Keyword(s):  
Middle English ◽  
Short Story ◽  
Anglo Saxon ◽  
The Real ◽  
Post Colonial ◽  
Victorian Era ◽  
Non Fiction ◽  
The Social ◽  
Single Idea ◽  
Area Of Study

The statement that the poets are born after their death is universally known. There is hardly any writer who writes the criticism of his writings. They are the critics who criticize their works. It can be said that the writer himself may have only a single idea or message when he produces his piece of writings, but the critics have different views on the same work. Even one critic sometimes innovates miscellaneous ideas and messages from the same poetry, play, novel, short story, fiction, non-fiction etc. Furthermore, a post- colonial critic always tries to find the message of his area of study even in the writers of Anglo Saxon, Middle English, Romantic or Victorian era. A romanticist finds his theme in the writings of other periods. Similarly, a fan of feminism attempts to discover the messages related to females in the writings he studies. In the same way, the author of this paper, because of his being a writer for those who find themselves trapped in the social four walls, and who have no control over the situations around them, focuses on how Sunil Gangopaddhaya, in his short lyric titled ‘An Unsent Letter’, has picturesquely delineated the indescribable plight, predicament and quandary of a sub-continental girl who has been sold to a brothel for six thousand rupees. The paper also, besides showing how the women are neglected, abandoned, deserted and ignored in the male-chauvinistic society, emphasizes to show the real backdrop of the women in the society the poet lives.

scholarly journals Il paesaggio alpino in quanto oggetto patrimoniale

ARCHALP ◽  
2019 ◽  
Vol 2 NS (Issue 2 Ns, July 2019) ◽  
pp. 35-42
Author(s):  
Michael Jakob
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Perception ◽  
Short History ◽  
Continuous Transformation ◽  
The Real ◽  
The Alps ◽  
Over Time ◽  
Alpine Landscape ◽  
Artistic Research

Observing the alpine landscape as a heritage object means reconstructing its aesthetic history, understanding those meanings and values that, over time, have led to its growing patrimonialization. A short history after all: it is in fact only since the second half of the eighteenth century that the Alps become, thanks to the scientific and artistic research, the object of aesthetic perception by European urban societies. A cultural and aesthetic construct that, starting from Haller and Rousseau, through Ruskin and other authors, goes as far as modern Alpine architecture. With a basic ambivalence: the immutability that the European aesthetic gaze has always conferred to the Alps, despite the continuous transformation and mutability of the Alpine landscape in real processes. The value of the Alps as a heritage, paradoxically depends, above all on the heritage still to be built, where this verb has primarily a conceptual value. The policies that automatically define the totality of the Alps as a heritage are not only actually impossible, but tend to create wastelands. The real care of the Alpine heritage therefore lies in its permanent reinvention.

scholarly journals Mefistofele Triumphant—From the Ideal to the Real

2019 ◽  
pp. 282-308
Author(s):  
Michele Girardi
Keyword(s):  
Creative Process ◽  
Turning Point ◽  
Giuseppe Verdi ◽  
The Real ◽  
Avant Garde ◽  
Italian Opera ◽  
Arrigo Boito ◽  
Radical Expression ◽  
The Ideal ◽  
Poetry And Music

Arrigo Boito sought to escape the limiting conventions of contemporary melodrama in order to revolutionize Italian opera. However, the most radical expression of that effort, his adaptation of Goethe’s Faust, Mefistofele (Mephistopheles), which premiered at La Scala in 1868, did not attain the desired result. In reworking the score, the composer took practical concerns into account, making the opera more pleasing to the mainstream audiences who demanded melodious vocal lines and a tighter dramatic pace. The revised version staged in Bologna in 1875 and the subsequent revivals marked an important turning point: what had been an avant-garde work now entered into the repertoire of all the major theaters. This chapter retraces Boito’s journey from the setback of the premiere to the success for which he strove so diligently, highlighting the creative process that forged a new relationship between poetry and music, which Giuseppe Verdi later exploited in his collaboration with the poet.

Scanning electron microscopy of human iliac bone by a simple preparation method

1990 ◽  
Vol 48 (3) ◽  
pp. 226-227
Author(s):  
Toshihiko Takita ◽  
Tomonori Naguro ◽  
Toshio Kameie ◽  
Akihiro Iino ◽  
Kichizo Yamamoto
Keyword(s):  
Electron Microscopy ◽  
Scanning Electron Microscopy ◽  
Preparation Method ◽  
Specimen Preparation ◽  
Real Surface ◽  
Public Attention ◽  
Preparation Methods ◽  
The Real ◽  
Simple Preparation ◽  
Scanning Electron

Recently with the increase in advanced age population, the osteoporosis becomes the object of public attention in the field of orthopedics. The surface topography of the bone by scanning electron microscopy (SEM) is one of the most useful means to study the bone metabolism, that is considered to make clear the mechanism of the osteoporosis. Until today many specimen preparation methods for SEM have been reported. They are roughly classified into two; the anorganic preparation and the simple preparation. The former is suitable for observing mineralization, but has the demerit that the real surface of the bone can not be observed and, moreover, the samples prepared by this method are extremely fragile especially in the case of osteoporosis. On the other hand, the latter has the merit that the real information of the bone surface can be obtained, though it is difficult to recognize the functional situation of the bone.

Personal Audio System: Hearing Symptoms, Habits, and Sound Pressure Levels Measured in Real Ear and a Manikin

2020 ◽  
Vol 63 (6) ◽  
pp. 2016-2026
Author(s):  
Tamara R. Almeida ◽  
Clayton H. Rocha ◽  
Camila M. Rabelo ◽  
Raquel F. Gomes ◽  
Ivone F. Neves-Lobo ◽  
...  
Keyword(s):  
Sound Pressure ◽  
Daily Basis ◽  
Cross Sectional Study ◽  
Normal Hearing ◽  
Chi Square ◽  
Cross Sectional ◽  
The Real ◽  
Significant Difference ◽  
Sound Pressure Levels ◽  
Audio System

Purpose The aims of this study were to characterize hearing symptoms, habits, and sound pressure levels (SPLs) of personal audio system (PAS) used by young adults; estimate the risk of developing hearing loss and assess whether instructions given to users led to behavioral changes; and propose recommendations for PAS users. Method A cross-sectional study was performed in 50 subjects with normal hearing. Procedures included questionnaire and measurement of PAS SPLs (real ear and manikin) through the users' own headphones and devices while they listened to four songs. After 1 year, 30 subjects answered questions about their usage habits. For the statistical analysis, one-way analysis of variance, Tukey's post hoc test, Lin and Spearman coefficients, the chi-square test, and logistic regression were used. Results Most subjects listened to music every day, usually in noisy environments. Sixty percent of the subjects reported hearing symptoms after using a PAS. Substantial variability in the equivalent music listening level (Leq) was noted ( M = 84.7 dBA; min = 65.1 dBA, max = 97.5 dBA). A significant difference was found only in the 4-kHz band when comparing the real-ear and manikin techniques. Based on the Leq, 38% of the individuals exceeded the maximum daily time allowance. Comparison of the subjects according to the maximum allowed daily exposure time revealed a higher number of hearing complaints from people with greater exposure. After 1 year, 43% of the subjects reduced their usage time, and 70% reduced the volume. A volume not exceeding 80% was recommended, and at this volume, the maximum usage time should be 160 min. Conclusions The habit of listening to music at high intensities on a daily basis seems to cause hearing symptoms, even in individuals with normal hearing. The real-ear and manikin techniques produced similar results. Providing instructions on this topic combined with measuring PAS SPLs may be an appropriate strategy for raising the awareness of people who are at risk. Supplemental Material https://doi.org/10.23641/asha.12431435

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