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Search Results: 1 - 10 of 6480 matches for " Beatriz Cotello "
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Circe en la historia de la ópera y en los orígenes del ballet
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2008,
Abstract: following the traces of circe in opera history: the sorceress can be found at the very beginning, as main character of a court spectacle, the balet comique de la royne or balet de circé (1581), from balthazar de beaujoueulx; in baroque times in many titles, such as la circe de cristoforo ivanovich, music by antonio ziani (1665); at the start of the development of the spanish zarzuela in the comedia con música from calderón and hidalgo el mayor encanto, amor, (1635) and at the times of the flourishment of that musical genre in circe from ruperto chapí on a libretto by ramos carrión (1902). we present a study of the scripts within their historical frame. the balet comique introduces the subject of the birth of ballet as theatre spectacle, and calderón and chapí that of the history of zarzuela in spain.
Sensatez, originalidad y buen humor: el gran músico Joseph Haydn. En el 200° aniversario de su fallecimiento
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2009,
Abstract: this article portrays the life and personality of joseph haydn (1732-1809) and his outstanding contribution to the world of music, both as a court musician at the service of the esterházy princes and as a free musician in london and vienna. his contribution to the development of the sonata and symphony forms and of the string quartet is depicted as well as his work in the genre opera and oratorium. a chapter is also devoted to stressing haydn's good character and humorous disposition which he expressed in his music and in his daily life.
Catulo y Lesbia en la obra de Carl Orff
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2007,
Abstract: this article deals with two works from the german composer carl orff based on catullus latin poetry: catulli carmina in which he depicts the love story of catulo and lesbia and trionfo di afrodite, where he uses two long wedding poems of catullus and material from safo and euripides. the reader will find an account of the dramatic and musical contents of both plays, which show the main traits of orff's musical conception. the former cantatas, united with his previous carmina burana, build up a tryptichon that orff named trionfi which celebrates the victory of love above all things human.
La mitología en la obra de Joseph Haydn
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2010,
Abstract: complementary to the paper about the life and works of joseph haydn, we present this time an analysis of his vocal music in relation with classic antiquity: acide (1762) (opera), philemon und baucis (1773) (singspiel) and orfeo ossia l'anima del filosofo (opera) composed in 1791 for being premiered in london. a depiction of his cantata arianna in naxos is also provided, as it can be treated as an advance of the type of vocal expression called lied, considered the utmost creation of romanticism. the elaboration of haydn's opera works with mithological contents is situated in the context of his total production within the opera genre.
Metamorfosis de Dafne en la historia de la ópera
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2004,
Abstract: this article deals with the origins of opera, which started as a musical drama based on the legend of daphne, and the subsequent musical versions of the text written originally by ottavio rinuccini, composed by peri, caccini and other musicians of the xviith century. a brief discussion follows about the ideals and aspirations of the camerata fiorentina, a society of artists who met at the palazzo bardi in florence at the end of the xvith century and who are considered the intellectual fathers of opera. the above mentioned musicians were members of this group, one of whose main leaders was vincenzo galilei who resumed his and the musical thinking of the camerata in his dialogo della musica antica e della moderna. this theoretical work marks the break point between polyphonic and hetherophonic music, the former more appropriate for the church, the latter more capable of expressing human feelings. the belief, shared by the members of the camerata, that greek tragedy was sang in all its extension was later proved as untrue but it gave born to the opera as a side product. daphne was also chosen as opera subject by richard strauss who composed a beautiful piece of music for a text written by josef georg, in 1934.
Zauberfl?te o La Flauta Mágica de Wolfgang Amadeus Mozart: Una aproximación a su contenido mitológico y simbólico
Cotello,Beatriz;
Circe de cl??sicos y modernos , 2006,
Abstract: the magic flute is the last opera mozart composed, in 1791, some months before dying, on the 5th december. the text was written by emanuel schikaneder, who was at the same time an actor and the owner of the theater, called freihaustheater in wieden, in the outskirts of vienna, where the first performance took place (september that year) . the text is a happy mixture of a tale of enchantment with 'good'and 'wicked' characters cherished by the viennese, and a scenic mysterium which reflects the ideals of the age of enlightment and masonic ideology. both mozart and schikaneder belonged to a massonic lodge. the text, which is rather complex, has been subject to a great deal of analysis from different music critics, scene directors and music lovers. this article deals with a specific kind of interpretation: one based on psychoanalitical cathegories. by erwin ringel, a viennese psychoanalist, who focuses the analysis of the piece on its humanitarian message and the concept that every human being has traces of goodnes and evil in itself, and by bernd deininger and helmut remmel who analyze the analogy between the contents of the opera and the psychical evolution of the self and with the conflict among individual and institutions. the article includes an overview of the mithological contents implicit in the piece, specially the orpheus myth.
La mitología en la obra de Joseph Haydn Ancient Mythology in the works of Joseph Haydn
Beatriz Cotello
Circe de Clásicos y Modernos , 2010,
Abstract: Como complemento al artículo sobre la personalidad y la obra de Joseph Haydn, el que se presenta a continuación constituye un análisis de la producción musical del músico referida a la antigüedad clásica, plasmada en sus óperas Acide (1762), y Orfeo ossia l'anima del filosofo -esta última compuesta para estrenar en Londres en 1791- y el Singspiel -pieza corta con textos hablados y musicalizados- Philemon und Baucis. También de su obra vocal, se pone de relieve la Cantata Arianna que es considerada un anticipo de lo que fue posteriormente el Lied, género característico de la música romántica del ámbito germano parlante. Haydn habría compuesto además una Dido (1776) de la cual no quedan rastros. El trabajo sobre las óperas de contenido mitológico es introducido por una breve explicación de las modalidades de su producción operística en general. Complementary to the paper about the life and works of Joseph Haydn, we present this time an analysis of his vocal music in relation with classic antiquity: Acide (1762) (opera), Philemon und Baucis (1773) (Singspiel) and Orfeo ossia l'anima del filosofo (opera) composed in 1791 for being premiered in London. A depiction of his cantata Arianna in Naxos is also provided, as it can be treated as an advance of the type of vocal expression called Lied, considered the utmost creation of romanticism. The elaboration of Haydn's opera works with mithological contents is situated in the context of his total production within the opera genre.
Catulo y Lesbia en la obra de Carl Orff Catulo and Lesbia as represented by Carl Orff
Beatriz Cotello
Circe de Clásicos y Modernos , 2007,
Abstract: En este artículo se presentan las cantatas creadas por el compositor alemán Carl Orff sobre material poético de Catulo: los ludi scenici sobre los amores de Catulo y Lesbia titulados Catulli Carmina y el concerto scenico Trionfo di Afrodite en el que musicaliza los poemas de Catulo sobre el himeneo (con el aditamento de un epitalamio de Safo y un coro de Eurípides). El artículo ofrece un análisis del contenido dramático y musical de ambas piezas y se destacan las características de la concepción de la música de Orff. Junto con Carmina Burana, las obras forman un tríptico en que se celebra el triunfo del amor sobre todo el acontecer humano. This article deals with two works from the german composer Carl Orff based on Catullus Latin poetry: Catulli Carmina in which he depicts the love story of Catulo and Lesbia and Trionfo di Afrodite, where he uses two long wedding poems of Catullus and material from Safo and Euripides. The reader will find an account of the dramatic and musical contents of both plays, which show the main traits of Orff's musical conception. The former cantatas, united with his previous Carmina Burana, build up a Tryptichon that Orff named Trionfi which celebrates the victory of love above all things human.
Zauberfl te o La Flauta Mágica de Wolfgang Amadeus Mozart: Una aproximación a su contenido mitológico y simbólico Zauberfl te or The Magic Flute by Wolfgang Amadeus Mozart: An approach to its mythological and symbolic contents
Beatriz Cotello
Circe de Clásicos y Modernos , 2006,
Abstract: La Flauta Mágica, estrenada en Viena en septiembre de 1791, es la última ópera del gran músico austríaco, quien muere unos meses más tarde. El texto de esta obra, escrito por Emanuel Schikaneder, también actor y propietario del teatro (Freihaustheater) donde se representa por primera vez, combina el carácter de cuento para ni os dramatizado según la tradición del teatro popular vienés, con sus personajes 'buenos' y 'malos' y de misterio o rito escénico en que se representan los valores e ideales humanistas de la Ilustración preconizados por la masonería, institución a la que pertenecían los autores. Por la complejidad de su contenido, la ópera ha merecido numerosas interpretaciones. En este artículo se destacan las de orientación psicoanalítica: según Erwin Ringel, quien pone de relieve el contenido humanista de la obra y la ense anza de que en todo ser humano existen aspectos positivos y negativos y según Bernd Deinninger y Helmut Remmler quienes la caracterizan como la descripción del tránsito del individuo hacia la constitución de su personalidad adulta y la ubican en el marco del conflicto entre individuo e instituciones. En el artículo también se desarrollan los aspectos que remiten a la mitología clásica, en especial la relación con el mito de Orfeo. The Magic Flute is the last opera Mozart composed, in 1791, some months before dying, on the 5th december. The text was written by Emanuel Schikaneder, who was at the same time an actor and the owner of the theater, called Freihaustheater in Wieden, in the outskirts of Vienna, where the first performance took place (september that year) . The text is a happy mixture of a tale of enchantment with 'good'and 'wicked' characters cherished by the viennese, and a scenic Mysterium which reflects the ideals of the age of Enlightment and masonic ideology. Both Mozart and Schikaneder belonged to a massonic lodge. The text, which is rather complex, has been subject to a great deal of analysis from different music critics, scene directors and music lovers. This article deals with a specific kind of interpretation: one based on psychoanalitical cathegories. By Erwin Ringel, a viennese psychoanalist, who focuses the analysis of the piece on its humanitarian message and the concept that every human being has traces of goodnes and evil in itself, and by Bernd Deininger and Helmut Remmel who analyze the analogy between the contents of the opera and the psychical evolution of the self and with the conflict among individual and institutions. The article includes an overview of the mithological contents implicit in the p
Metamorfosis de Dafne en la historia de la ópera The Nymph Daphne in Opera history
Beatriz Cotello
Circe de Clásicos y Modernos , 2004,
Abstract: En este artículo se destaca la figura de Dafne por ser la primera protagonista de un drama musical cantado, antecedente de lo que hoy se denomina ópera. Se ponen de relieve los orígenes de esta última como producto de las discusiones sobre el futuro de la música en el seno de la Camerata Florentina, fundada por Jacopo Corsi alrededor de 1580 y se comentan los aportes teóricos de Vincenzo Galilei que dio forma escrita a las inquietudes vigentes sobre el devenir musical. Los miembros de la Camerata fundaban su concepción de la música en el modelo de los antiguos griegos y tendían hacia el ideal de una música capaz de expresar cabalmente el sentimiento de la palabra y de influir sobre el ánimo del oyente, capacidad que atribuían al arte musical de la antigüedad clásica, según los escritos de poetas y filósofos. Dicha concepción marca un punto de ruptura con el modelo polifónico vigente en el momento, que privilegiaba el sonido por sobre el significado del texto. Se analiza el 'afortunado malentendido' del cual provino la ambición de componer una pieza teatral con parlamentos cantados: la idea de que la tragedia griega era cantada en toda su extensión, noción que con el tiempo se reveló como inexacta. A continuación se presentan libreto y breve descripción de la música de la ópera primigenia La Dafne y otras posteriores del período barroco, para culminar con la creación que Richard Strauss dedica al personaje en el primer cuarto del s. XX. This article deals with the origins of Opera, which started as a musical drama based on the legend of Daphne, and the subsequent musical versions of the text written originally by Ottavio Rinuccini, composed by Peri, Caccini and other musicians of the XVIIth Century. A brief discussion follows about the ideals and aspirations of the Camerata Fiorentina, a society of artists who met at the Palazzo Bardi in Florence at the end of the XVIth century and who are considered the intellectual fathers of Opera. The above mentioned musicians were members of this group, one of whose main leaders was Vincenzo Galilei who resumed his and the musical thinking of the Camerata in his Dialogo della Musica Antica e della Moderna. This theoretical work marks the break point between polyphonic and hetherophonic music, the former more appropriate for the church, the latter more capable of expressing human feelings. The belief, shared by the members of the Camerata, that Greek tragedy was sang in all its extension was later proved as untrue but it gave born to the opera as a side product. Daphne was also chosen as opera subject by Richard Stra
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