Opera - Science topic

Such as arenas, opera houses and performing arts theaters. I am tasked with developing such venues in Saudi Arabia, and we wish to benefit from lessons learned around the globe with such iconic venues.

I will be spending the next year preparing a complete compendium (mainly online) of all the operas based on Shakespeare plays. A basic summary of each work's forces, structure and background, plus a more artistic paragraph or two in which I will assess the performability of the piece, or its various movements.

I have so far compiled as comprehensive a list as possible, based on Groves old and new, and various other internet researches - the list comes to well over 400. I may of course lose some of these if it proves that a) the material is lost, b) a given work is insufficiently complete to merit investigation, or c) a piece isn't really an 'opera'. For example, works written only for children to perform, or works written in purely non-classical idioms, will probably be excluded.

I would be very happy to hear from anyone who has some interesting tips or advice, or indeed who has a specific interest in this field.

Thanks!

Paul Plummer

I am pondering whether or not the vibrato traditionally present in Western classical singing (Bel Canto) bears any significant influence on perturbation or noise measures – vibrato has been defined as variance in frequency and amplitude, as well as having aerodynamic interaction with vocal-fold vibration/oscillation. I am unsure if clinical measures such as VTI, HNR, RAP, etc will be confounded by its presence in sung voice samples. The majority of literature I've looked at supports CPP(S) as one of the most robust acoustic voice measurements across a wide variety of tasks, but I am wanting to include other measures in my analysis of singing students too. Any insight or ideas? Thank you.

I am especially interested in Mrs. Bishops singing practice. Helpful can also be  original reviews of concerts in less known American, English or Australian 19th century journals.

I need to develop a chapter of my thesis that focuses on improvement of processes and workflow management in the field of opera accessibility.

This means that I need some basic texts to refer to. Accessibility processes are different, from recording audio track to translating and writing, therefore they can be considered industrial processes but with a creative element. Therefore I might apply frameworks from both the industrial and the creative/artistical perspective.

Hi everybody!

We are working on detection of pyroptosis in primary monocytes or THP-,1 respectively using High Content Screening System Opera Phoenix. Our aim is to develop a cheap, fast and reliable method. Any advice on what kind of stimulation to use? And more importantly, how to detect the pyroptosis without using antibodies? We have tried the GSDMD and it has worked nicely, however we need more economic solution for detection.

Thank you very much!

The question is for teachers of any language.

Research has demonstrated that few talented people are sufficiently well known and revered-many songs have been composed, operas written (far more than people imagine) but the number of celebrated composers is tiny. Many pictures are painted, images constructed and sculpture made but few artists are genuinely remembered. Why?

The current Metropolitan Opera production (Feb. 2017) is Antonin Dvorak's Rusalka.  This opera contains what may be viewed as current events references. 

The Grove Dictionary of Music entry on rhetoric and music states that after the Baroque period, the rhetorical underpinnings of music were no longer studied.  But in the 20th C., such highlighted rhetoric in art music is causing a revival of interest.

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What still remains to be fully explained is how these critical interrelationships often controlled the craft of composition. These developments are unclear partly because modern musicians and scholars are untrained in the rhetorical disciplines, which since the beginning of the 19th century have largely disappeared from most educational and philosophical system. It was only in the early 20th century that music historians rediscovered the importance of rhetoric as the basis of aesthetic and theoretical concepts in earlier music. An entire discipline that had once been the common property of every educated man has had to be rediscovered and reconstructed during the intervening decades, and only now is it beginning to be understood how much Western art music has depended on rhetorical concepts. ("Rhetoric and Music." Grove Dictionary of Music. Blake Wilson et al.)

UNQUOTE

Does anyone know of research that specifically analyzes the rhetorical aspects of modern era opera since Wagner to now?

Given that directors have much leeway in creating subtexts in classic and contemporary works, this is a topic that is open for more study.

hii..i need help for do the simulation about condenser bushing. Therefore, i need to design it for bushing model but i don't know about any requirement for design. Is there any references do i need to take a look?

Preferred languages: English, German, French, Spanish, Italian. Summaries of research in Chinese welcome, too.

I am looking for a theory of a powerful voice technique similar to western opera or Japanese kabuki.

Probably because of Baroque opera's heavy reliance on classical mythology there are several examples of allegorical characters personifying ideas -- from the muses to emotions (like love, discord, folly, etc.). Here, though, I'm looking for people who symbolize cities, countries, regions, continents, etc.