1,720,952 research outputs found
The mysterious motives of Giuseppe Verdi : four short essays on Judeo-Christian motives and moral themes within the music of Giuseppe Verdi
Get PDFTravail de synthèse présenté à la Faculté de musique en vue de l'obtention du Doctorat en musique (D. Mus.), option interprétation du chant classique.Cette thèse présentera quatre essais qui traiteront de certains thèmes psychologiques et motifs musicaux retrouvés dans les œuvres de Giuseppe Verdi. Ce qui est fascinant par rapport à ces motifs, c’est qu’ils retrouvent leurs origines dans l’ancien monde des modes de prière juives. Encore plus intéressant, c’est qu’ils sont utilisés par Verdi d’une manière très semblable à la façon dont ils sont employés en prière juive. Pour illustrer ces propos, des extraits de six opéras de Verdi seront utilisés dans l’ordre chronologique suivant : Rigoletto, La Traviata, Un Ballo in Maschera, La Forza del Destino, Aida and Otello.
Le premier essai consistera d’une comparaison entre la mélodie principale de Verdi “Addio del passato” de La Traviata, et une ancienne chanson Ladino, “Adio querida”. Il sera démontré que Verdi a directement copié sa mélodie de la chanson Ladino. De plus, une brève présentation de ce qu’est une chanson Ladino et l’historique de la culture Ladino seront données.
Le deuxième essai portera sur l’utilisation par Verdi de certains éléments clefs des motifs et mélodies juives dans ses opéras. L’attitude de Verdi vis à vis Dieu et le destin est évidente par la façon dont les évènements et les personnages évoluent dans ses opéras. Pour exprimer ses croyances encore plus fortement, Verdi a emprunté des éléments des motifs musicaux de la musique juive. Les modes de prières et leur évolution pendant leurs 5000 années d’existence seront discutés. Des exemples de ces modes, qui s’appellent Nusach, se retrouvent dans la musique de Verdi. Un bref résumé des deux motifs juifs que l’auteure a trouvés parsemés dans les opéras de Verdi ainsi que leurs usages historiques seront présentés de manière à appuyer l’hypothèse émise. Une description des motifs et mélodies juives sera incluse dans l’addendum.
Il est évident que Verdi a entendu ces mélodies et thèmes juifs d’une manière ou d’une autre. C’est l’opinion de l’auteure qu’il a du avoir un soupçon de leur signification mélodique parce que Verdi les a utilisés correctement selon le ton et l’action dans ses œuvres. Autrement dit, lorsque Verdi a voulu démontrer le repentir, il emploie le mode Seliha, le Nusach approprié pour demander le pardon de dieu. Lorsqu’il voulait exprimer le pathos et la sympathie, il a imité le mode Ahava rabba, qui correspond aux prières de plaidoirie.
Peut-être nous avons tous des souvenirs subconscients d’anciennes mélodies dont on ne parvient jamais à identifier leur origine. Pourquoi est-il que certaines mélodies plus que d’autres perdurent des milliers d’années?
Par notre aspiration pour la bonté et notre détermination d’influencer nos propres destins en tant qu’êtres humains, ne ferions-nous pas tout notre possible pour invoquer une force que l’on pense capable d’influencer un pouvoir suprême? Certainement, Verdi, qui croyait en le destin, tout en niant une croyance en Dieu, nous montre dans chacun de ses opéras que nos actions ont des conséquences. Nous ne vivons pas dans un vide, et nous récoltons ce que nous semons. Ce lien entre l’homme et son créateur, pourtant idéaliste, est présent dans les œuvres de Verdi, psychologiquement et dans les notes de la musique elle-même. Les vieux échos qui résonnent en nous et qui nous rappellent notre lien à Dieu sont profondément incrustés dans ses mélodies.
On en conclut donc que d’une manière ou d’une autre, Verdi a entendu ces modes de prière et chansons et qu’il en a incorporés des fragments dans sa musique. De plus, l’utilisation que fait Verdi de ces modes démontre une profonde compréhension de leurs significations émotionnelles et de leurs impacts potentiels. L’auteure a tenté de démontrer que lors de l’emploi par Verdi des Nusach, son intention théâtrale convient à l’émotion communiquée par le mode en question.
Le troisième essai de cette thèse sera consacré à une discussion de morales judéo-chrétiennes et de thèmes de destin dans les opéras de Verdi. L’abus de conscience morale et ses conséquences ont été des thèmes centraux pour Verdi, autour desquels tous les autres évènements de l’histoire pivotaient. Il a souvent utilisé des motifs rythmiques intéressants dans la manière expressive par laquelle ils transmettaient les émotions, en adjonction créative à ses mélodies. Plusieurs exemples de ceci seront donnés parmi les six opéras choisis.
Le quatrième essai portera sur le rôle des femmes dans les opéras de Verdi. On parlera de duos père-fille, avec des exemples choisis pour illustrer les propos tenus, ainsi que la position psychologique de la femme dans les œuvres. L’auteure présentera son argument à propos du concept des “archétypes féminines” dans les six opéras, avec des exemples, et une hypothèse sera présentée concernant le thème de l’absence de la mère chez Verdi.This paper will be comprised of several essays, which will address, among other subjects, musical and psychological themes, and musical and rhythmic motifs, found in the work of Giuseppe Verdi. Throughout the paper, six operas will be used from which the author has furnished examples. These operas are, in chronological order: Rigoletto, La Traviata, Un Ballo in Maschera, La Forza del Destino, Aida and Otello.
The first essay will be a comparison between Verdi’s main melody for “Addio del passato” in La Traviata, and an ancient Ladino song, “Adio querida”. It will be shown that Verdi borrowed this melody directly from the Ladino Song, and a brief explanation of what Ladino is and the history of Ladino culture will be given.
The second essay will discuss Verdi’s utilisation of essential elements of Jewish melodic motives in his operas. The fascinating thing about these particular musical motifs is that they have their roots in the ancient world of Jewish prayer modes. Even more astounding, they are used by Verdi in a manner consistent with the way in which they are used in Jewish prayer. In other words, there seems to be a consistent treatment by Verdi, in the dramatic effect and emotional aspect, with how he employs the prayer modes and their originally intended emotional expressivity.
Verdi’s attitude towards God and destiny is apparent in the way that events and characters evolve throughout his operas. In order to express these beliefs more strongly, Verdi borrowed fragments of musical motifs from Jewish music. What the prayer modes are, and how they have evolved over 5000 years of continual usage, will be discussed. Examples of these modes, called Nusach, can be detected in the music of Verdi. A brief overview of the two modes that the author found represented and their usage historically will be given to provide a backdrop from which to understand the author’s hypothesis. An appendix will be provided with a description of all of the modes as well. The examples from the operas will be shown, illustrating this remarkable discovery.
The third essay will be a discussion of Judeo-Christian morals and themes of destiny in Verdi’s operas. The abuse of moral conscience and its consequences was a pivotal theme for Verdi. As well, Verdi often used interesting rhythmic motifs, notable for the expressive way they convey emotion. These rhythmic motifs add a creative and vital adjunct to the melody. Several examples of the conjunctive use of rhythm and moral adversity will be given from the six operas chosen.
The fourth essay will address the position of women in Verdi’s work. Father-daughter duets from the focal six operas chosen will be explored in some depth. An argument about female archetypes will be presented, with substantiating examples. An additional discussion will be had concerning the absence of mothers in Verdi’s operas
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
- …
