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Friedrich Robert Helmert, founder of modern geodesy, on the occasion of the centenary of his death
Published 2017-08-01Get full text
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Gender Beliefs Measurement. How a Slightly Different Wording of the Same Question Changes the Story
Published 2012-06-01Get full text
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Ariadna en Naxos sobre el signo de la metamorfosis. Una contribución mitocrítica y educacional
Published 2015-03-01“…El presente estudio realiza un análisis mitocrítico de Ariadna en Naxos (Ariadne auf Naxos) de Richard Strauss (1916), con un doble objetivo. El primero, comprobar la pertinencia de la tesis de Gilbert Durand sobre la permanencia, derivación y usura del mito cuando se aplica a textos literarios, libretos musicales, textos fundamentales de la cultura, de la ciencia y del arte, así como en soporte iconográfico, fílmico y musical. …”
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La recepción de la <i>Celestina</i> en Alemania: su primera adaptación teatral (Richard Zoozmann, 1905)
Published 2021-01-01“…To end with, this paper gives an account of how this play could be the source for an unfinished opera by Richard Strauss.…”
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FROM THE HISTORY OF PERFORMING THE OPERA ARIADNE AUF NAXOS BY R. STRAUSS
Published 2016-06-01“…Th ese were performances of the Vienna Opera in 1947, and the London festival of Richard Strauss`s music. Th e author also analyses M. …”
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Associations, témoignages, mythistoires
“…T. di Lampedusa who writes Il Gattopardo inspired by his family’s history, Luchino Visconti who obviously saw one of his ancestors in the person of Prince di Salina, and even Richard Strauss, whose “Letzte Lieder” resonate with their verses in a nostalgic, harmonious, serene testament…”
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Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame
Published 2010-12-01“…By placing the young Judean princess at the heart of the drama and using, in keeping with other symbolist authors, language resembling a musical dialogue, Wilde’s play inspired a number of musicians including Richard Strauss, Alexandre Glazounov and the French composer, Antoine Mariotte.What were the reasons for Mariotte’s enthusiasm for his English contemporary’s play ? …”
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Metamorfosis de Dafne en la historia de la ópera The Nymph Daphne in Opera history
Published 2004-12-01“…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.…”
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Music and the perception of the mountains through the symphonic poems of Liszt, Franck and Strauss
“…This is a process that began and was developed in Europe in the course of the 19th century.To do so, we propose a study of the symphonic poems entitled “Ce qu’on entend sur la montagne” by César Franck (1822-1890) and Franz Liszt (1811-1866), and “Eine Alpensinfonie”, by Richard Strauss (1864 – 1949). The areas that we focus on are the Alps and the Pyrenees as these areas are where these works were set. …”
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Social Network Site Usage and Personal Relations of Migrants
Published 2014-11-01Get full text
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How vertical elevation affects self-other integration as measured by the joint Simon effect
Published 2021-10-01Get full text
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SCRIABIN AND KODÁLY IN THE READING OF ANTAL MOLNÁR, IMRE MOLNÁR AND EMIL HARASZTI
Published 2023-06-01“…Kodály found his music peculiar and disinteresting, judging it to be a poorer disciple of Richard Strauss and Claude Debussy. However, following the composer’s death, his pupils discovered new values in him, characterizing him as mythical (like A. …”
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Musique et perception de la montagne à travers les poèmes symphoniques de Liszt, Franck et Strauss
“…C'est un processus qui a commencé et s'est développé en Europe au cours du XIXe siècle.Pour ce faire, nous proposons une étude de deux poèmes symphoniques que César Franck (1822-1890) et Ferenc Liszt (1811-1866) ont composé sous le même tire, « Ce qu’on entend sur la montagne », et de « Eine Alpensinfonie » de Richard Strauss (1864-1949). Les zones sur lesquelles nous nous concentrons sont les Alpes et les Pyrénées car ce sont les endroits qui leur ont apporté l’inspiration nécessaire. …”
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Parody lost and regained
Published 2004“…<p>This thesis argues the case for the parodic voice in a range of works by Richard Strauss. In doing so, it challenges the long-held view of Strauss as a composer whose music has little to offer beyond superficial grandeur and shallow sentimentality; music which may be impressive in some respects but, ultimately, remains stubbornly one-dimensional. …”
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El estilo de Max Weber. Sobre su participación en política y sobre el modo científico de escribir sociología
Published 2015-05-01“…Sin embargo, en vez de centrarse en los encuentros de Weber con las figuras de su tiempo, tanto de la literatura —Thomas Mann, Hugo von Hofmannsthal— como de la música —Richard Strauss—, este artículo discute sucesivamente tres temas que relacionamos a menudo con Weber, pero que no son bien conocidos entre nosotros: primero, su participación, y la de alguno de sus estudiantes, como Georg Lukaçs, en contra o a favor de las revoluciones que siguen al final de la Primera Guerra Mundial; segundo, su estilo de escritura, a menudo denostado, pero que es su solución para un reto importante para su propia carrera como catedrático. …”
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