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Currently, the development of primary emotions through a singing workshop for university students is a relevant issue, where, due to the Covid 19 pandemic, the teaching-learning process has been transformed into a virtual modality, therefore, generating certain emotional difficulties such as discouragement, anguish, depression, etc. Therefore, the objective of this research is to determine the percentage of emotional development of university students before and after the application of the singing workshop. The methodology responds to a pre-experimental, quantitative investigation with a descriptive scope. The findings focus on the identification of the emotions that the students bring before and after each workshop session, the active participation of the 8 sessions of singing practice in virtual mode in a creative way, the adaptation that the students made in their houses for the practice of singing and the importance of the musical repertoire that was used. It is concluded that the development, control and education of emotions is vital for the life of man as a decisive process to live in harmony with the society that surrounds him, therefore, his progress must be monitored. © 2022, Associacao Iberica de Sistemas e Tecnologias de Informacao. All rights reserved.
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This article analyses the multilateral dynamics of the cultural transfer phenomenon that leads from Bruges-la-morte novel by Georges Rodenbach to Mariusz Treliński's staging of the opera Die Tote Stadt, by examining the mediators of the transfer, the exporting and receiving contexts, the appropriations and the rejections, to use the methodology of cultural transfers (Joyeux-Prunel 2003). The comparative analysis of the translations of the libretto and the Warsaw and Brussels stagings of the opera, as well as its Polish and Belgian reception, will shed light on the mechanisms of appropriation and re-semantisation of the work. © 2022 Jagiellonian University Press. All rights reserved.
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This paper analyzes the impact of COVID-19 pandemic on the process of digitalization of Italian opera houses. Based on a conceptual framework provided by the literature on dynamic capabilities and digital transformation, the evidence collected from six case studies is presented. Results are discussed with reference to two ideal-types of pandemic-induced paths ("back to normal” vs "new normal”) and to the variables that explain differences in strategies: history, digital mindset of human resources staff, dominance, leadership and external integration. Relevant implications for both theory and policy and managerial practice are presented with regard to present and future innovation paths. © 2023 by the authors.
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Background: The coronavirus pandemic has resulted in complex challenges worldwide, and the Southern African Development Community (SADC) region has not been spared. The region has become the epicentre for coronavirus in the African continent. Combining forecasting techniques can help capture other attributes of the series, thus providing crucial information to address the problem. Objective: To formulate an effective model that timely predicts the spread of COVID-19 in the SADC region. Methods: Using the Quantile regression approaches; linear quantile regression averaging (LQRA), monotone composite quantile regression neural network (MCQRNN), partial additive quantile regression averaging (PAQRA), among others, we combine point forecasts from four candidate models namely, the ARIMA (p, d, q) model, TBATS, Generalized additive model (GAM) and a Gradient Boosting machine (GBM). Results: Among the single forecast models, the GAM provides the best model for predicting the spread of COVID-19 in the SADC region. However, it did not perform well in some periods. Combined forecasts models performed significantly better with the MCQRNN being the best (Theil's U statistic=0.000000278). Conclusion: The findings present an insightful approach in monitoring the spread of COVID-19 in the SADC region. The spread of COVID-19 can best be predicted using combined forecasts models, particularly the MCQRNN approach.
Subject(s)
COVID-19 , Humans , COVID-19/epidemiology , Models, Statistical , Linear Models , Forecasting , PandemicsABSTRACT
Intuitionistic fuzzy sets, Pythagorean fuzzy sets, and q-rung orthopair fuzzy sets are rudimentary concepts in computational intelligence, which have a myriad of applications in fuzzy system modeling and decision-making under uncertainty. Nevertheless, all these notions have some strict restrictions imposed on the membership and non-membership grades (e.g., the sum of the grades or the sum of the squares of the grades or the sum of the qth power of the grades is less than or equal to 1). To relax these restrictions, linear Diophantine fuzzy set is a new extension of fuzzy sets, by additionally considering reference/control parameters. Thereby, the sum of membership grade and non-membership grade can be greater than 1, and even both of these grades can be 1. By selecting different pairs of reference parameters, linear Diophantine fuzzy sets can naturally categorize concerned problems and produce appropriate solutions accordingly. In this paper, the interval-valued linear Diophantine fuzzy set, which is a generalization of linear Diophantine fuzzy set, is studied. The interval-valued linear Diophantine fuzzy set is more efficient to deal with uncertain and vague information due to its flexible intervals of membership grades, non-membership grades, and reference parameters. Some basic operations on interval-valued linear Diophantine fuzzy sets are presented. We define interval-valued linear Diophantine fuzzy weighted average and interval-valued linear Diophantine fuzzy weighted geometric aggregation operators. Based on these new aggregation operators, we propose a method for multi-criteria decision-making based on supplier selection under the interval-valued linear Diophantine fuzzy environment. Besides, a real-life example, comparison study, and advantages of proposed aggregation operators are presented. We describe some correlation coefficient measures (type-1 and type-2) for the interval-valued linear Diophantine fuzzy sets and they are applied in medical diagnosis for Coronavirus Disease 2019 (COVID-19). Lastly, a comparative examination and the benefits of proposed correlation coefficient measures are also discussed.
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This paper develops the concept of access to arts consumption as a necessary link connecting cultural taste and actual consumption. I present a theoretical model that deconstructs access to arts consumption into four dimensions of access: rights, opportunity, participation, and reception. I operationalize and test the model in the context of access to physical cultural consumption using Eurobarometer data on barriers to such access from a sample of respondents from 27 European countries. Utilizing regression analyses, I examine how different types of access are socially distributed. The results reveal the individual and country-level variables that shape physical access to art. The findings highlight the importance of using a multi-dimensional concept of access in the study of arts consumption. They also have implications for planning arts policies designed to increase access to art, both physical and online, especially post-COVID-19.
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This is an introduction to the Special Issue, inspired by the Histories and New Directions: Soap Opera and Serial Narrative Research conference at the University of York in July 2017. The event was conceptualized and organized by the editors of this Special Issue to gather media and cultural studies scholars, and generate a scholarly dialogue on the historical issues, current status and future directions of serial narratives and soap opera as a genre. The introduction outlines the seven articles in this issue, all of which revisit and expand on previous soap opera scholarship and its enduring appeal to audiences and fans. In asking questions about the aesthetics, audiences and industries of soap operas, the articles in this Special Issue highlight some of the key issues in soap storytelling and fandom such as community, pleasure and gender. Some of the articles also consider the impact of COVID-19 on the production and reception of soap operas.
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When it comes to contemporary audience of the opera, we have in mind a multitude of individuals with extremely diverse and heterogeneous cultural backgrounds, very different tastes and expectations related to the show and to the artists who perform on stage. Perhaps the famous Italian loggionisti who once made up the dreaded galleries, although still present, are no longer as influential as in the past centuries;and the splendid euphoria of the opera lovers from the 1950s and 1960s has faded. The extremely refined and knowledgeable elite is also becoming less numerous. But Opera still incites the interest of the public and arouses passions at the same time. Who is today's audience and what makes them attend and influence the Opera show? What are the managerial strategies for attracting new audience to the auditorium? The social distancing and the restricted access of the public in the performance halls during the recent coronavirus pandemic is also highlighted in the article.
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[...]numbers could be moved from one opera to another with no detriment to the latter work's dramatic structure, so long as they still reflected the emotions expressed by the original. Initially planned as an in situ event, the Covid-19 pandemic meant that it took place online, which – despite the lack of human contact – helped boost the number of observers and the reception of the event among opera and theatre scholars. Berthold Over (Universität Greifswald), in his paper ‘The Art of Cooking a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas’, employed culinary analogies to explain the concept of ‘unity in diversity’ that was typical of this genre. Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden), in ‘Source Studies – Authority Data – Digital Musicology’, highlighted the fluid concept of the work in the pasticcio genre and also the diversity of the relevant sources, which today results in numerous problems with standardizing data.
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As the COVID-19 pandemic rapidly escalated in early 2020 and shelter-at-home orders cascaded around the world, celebrities streamed live performances from living rooms, home studios, and empty opera houses. Social media buzzed with gratitude for the entertainment, inspiration, and camaraderie that developed between ordinary citizens and celebrities sharing music from isolation via media technology. Celebrities also called upon their industry connections and friendships to create collaborative fundraising events, support working musicians whose tours were cancelled, and highlight amateur performers. Musicians who streamed simple performances from relatively modest homes and provided glimpses of their ‘real lives’ – their talents, personalities, homes, friendships, and families – won praise from audiences. Touring musicians and theatre performers in particular provide fascinating moments of empowered participatory citizenship during the pandemic. Beloved by relatively small, active fandoms but not widely popular outside their specific genres, these celebrities are positioned to provide meaningful social media connections with their devoted fans while not necessarily garnering high-profile media attention for their efforts. My critical analysis explores how musicians and theatre performers have responded to social distancing by sharing their music and fostering moments of connection with audiences who were seeking comfort during a global crisis.
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Handel's depiction of angels was the focus of the contribution from Mark Risinger (independent scholar, New York): he discussed contemporary theological and philosophical views on their function and existence, the dramatic role of angels in librettos and the remarkable consistency in Handel's musical depiction of these beings across his career, from La resurrezione (hwv47) in 1708 to Jephtha (hwv70) in 1751. Between the composition of the source and the adaptation, major new scientific discoveries on the nature of eclipses had been made by Edmond Halley, offering a naturalistic explanation for their occurrence and challenging the traditional view of eclipses as supernatural omens. The undoubted highlight of the lecture involved Brown preparing and using, live on Zoom, a pungent-sounding gargle recipe from the archives (sal ammoniac, elderflower water and strong brandy were all involved). The first of the final day's two panels explored the representation of women on the operatic stage and in eighteenth-century culture more broadly.
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The other papers were a smorgasbord that included English and French luxury goods at London pleasure gardens that were produced by slave labour in the West Indies (Ashley Greathouse, University of Cincinnati), the unpublished music treatise of the musician-turned-astronomer William Herschel (Sarah Waltz, University of the Pacific), early London musical-miscellany publications that presented excerpts from Handel's operas in new and surprising ways (Alison DeSimone, University of Missouri–Kansas City) and my own paper concerning a satire on French provincial orchestras (Beverly Wilcox, California State University Sacramento). Faith Lanam (University of California Santa Cruz) gave an update on her latest research on the Vezerro de lecciones manuscript, a collection of solfeggi by Feo, Leo and Ignacio Jerusalem that was used to train lower-status girls to enter high-status Mexico City convents as choir nuns. [...]Louise K. Stein (University of Michigan) presented new documentation about the first opera productions in the Americas, La púrpura de la rosa (Lima, 1701), Celos aun del aire matan (Mexico, 1728), El Zeleuco (Mexico, 1710) and La Partenope (Mexico, undated), explaining how they travelled via Spanish diplomatic networks from Naples and Madrid to the colonies and observed a number of typically Spanish performance conventions. Most used the Zoom desktop client, but a few relied on mobile phones, and about half left their cameras off during the talks, so that the audience conserved bandwidth while still giving speakers the sort of visual feedback that a live audience normally provides.
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Non-fungible tokens (NFTs) make it technically possible for digital assets to be owned and traded, introducing the concept of scarcity in the digital realm for the first time. Resulting from this technical development, this paper asks the question, do they provide an opportunity for fundraising for galleries, libraries, archives and museums (GLAM), by selling ownership of digital copies of their collections? Although NFTs in their current format were first invented in 2017 as a means for game players to trade virtual goods, they reached the mainstream in 2021, when the auction house Christie’s held their first-ever sale exclusively for an NFT of a digital image, that was eventually sold for a record 69 million USD. The potential of NFTs to generate significant revenue for artists and museums by selling effectively a cryptographically signed copy of a digital image (similar to real-world limited editions, which are signed and numbered copies of a given artwork), has sparked the interest of the financially deprived museum and heritage sector with world-renowned institutions such as the Uffizi Gallery and the Hermitage Museum, having already employed NFTs in order to raise funds. Concerns surrounding the environmental impact of blockchain technology and the rise of malicious projects, exploiting previously digitised heritage content made available through OpenGLAM licensing, have attracted criticism over the speculative use of the technology. In this paper, we present the current state of affairs in relation to NFTs and the cultural heritage sector, identifying challenges, whilst highlighting opportunities that they create for revenue generation, in order to help address the ever-increasing financial challenges of galleries and museums.
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World-renowned for having made a totally new kind of theatre, director-designer Robert Wilson first astonished international audiences in Paris in 1971 with Le Regard du sourd (Deafman Glance) and then with his twenty-four-hour Ouverture at the first edition of the Festival d’Automne in 1972. He also refers in this Conversation to Einstein on the Beach, premiered at the Avignon Festival in 1976, as another example among more of France offering him a home before he eventually founded the Watermill Center in 1992 on Long Island in the State of New York. Watermill, a laboratory for multidisciplinary creativity, opened its doors to the public in 2006 and is a focal point of the Conversation as a whole. Wilson’s immediately pre-Covid-pandemic production of The Messiah by Mozart was premiered at the Mozartwoche Salzburg in February 2020 and performed subsequently in Paris during a brief Covid ‘lull’ in September of that year. Discussion of this pivotal work leads to reflections on the opera productions that he had staged not so long before it, emphasizing the elements fundamental to his compositions – light, time, space, architecture, and silence. The Conversation, followed by audience questions addressed to Wilson, took place live online and on Facebook on 4 December 2020 as a prelude to the Festival Internacional Santiago a Mil in Chile, which opened on 3 January 2021. This was the Festival’s twenty-eighth year, but in a significantly restricted form due to Covid-19. A sequel to the Santiago interchange, also online but this time located in Paris, occurred on 17 September 2021. It resumes dialogue mainly on the Watermill Center’s broader cultural and social goals in the present and for the future, noting as well Wilson’s then current activities in Paris: a heavy schedule of four productions from the beginning of September to the end of December 2021, and a sound installation planned for 2022.Maria Shevtsova gratefully thanks the Fundación Teatro a Mil and its General Director Carmen Romero for their initiative in inviting Robert Wilson with her to converse publicly as part of the Festival a Mil, and for permission to edit the transcript for publication in New Theatre Quarterly. Thanks are due to interpreters Margit Schmohl and Jorge Ramirez, and to Maria Luisa Vergara for organizing the audience participation included below, as well as to Alfonso Arenas, former Coordinator of the Education and Communities Area at the Theatre Foundation a Mil. Warmest gratitude is extended to Robert Wilson for his generosity in all sorts of ways, and not least for finding the time to continue the Conversation in Paris. Thanks for their kind support to Nuria Moreno, Production at Teatro Real Madrid, Christof Belka, Executive Director of RW Work Ltd, Clifford Allen, Director of Archives of the Watermill Center, and Leesa Kelly and Noah Khoshbin, curators of the 2021 outdoor exhibition Minneapolis Protest Murals at the Crossroads Summer Festival held at the Watermill Center. The exhibition presented 190 public artworks from the 900 boards of the Minneapolis Protest Murals which were created organically in Minneapolis following the murder of George Floyd on 25 May 2020. Special thanks for their gift of images are given to photographers Lucie Jansch, Javier del Real, Kristian Kruuser and Kaupo Kikkas, Lovik Delger Ostenrik, and Martyna Szczesna. Kunsang Kelden and Maria Shevtsova transcribed this Conversation in two parts. Shevtsova, Editor of New Theatre Quarterly and author of Robert Wilson (Routledge, 2007;updated edition, 2019) edited and annotated the combined transcript for publication.
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In opera, a musical drama, the plot unfolds according to the descriptions of the different locations that appear in the text, but what happens when it is produced on stage? Such indications enable us to understand the composer's intentions in his day;however, with the passage of time, they become a guide for an artistic team to adapt the stage space in relation to the piece of music, as and when necessary, by interpreting it. As a result of the regulations imposed by COVID-19, the conception of this space has been forced to change;so what happens when specific restrictions are imposed? The Teatro Real in Madrid has been the first such institution to come up with a possible answer, with the production of a new Traviata. Using graphic analysis and comparing the different adaptations of the work in this second stage of the history of the Teatro Real, it is our intention to demonstrate how relevant the spirit of Verdi's work is at the present time.
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Moroccan employers have a strong responsibility for the safety and health of their employees in the workplace and for protecting them from the risk of COVID-19 and any occupational hazards, as required by Moroccan law. As a consequence, industries, including the agri-food sector, have put in place preventive measures to deal with this pandemic on several fronts, including the use of hydroalcoholic products and bleach for personal and surface disinfection. These disinfection actions may eliminate or reduce the risk of coronavirus infection, but the increased use of these products by employees could lead to serious health problems and increase the occupational chemical risk in the event of uncontrolled exposure. In order to analyze this risk in the dairy industry in Morocco, we have launched a qualitative and quantitative study to identify and assess the severity of chemical risk to which its employees are exposed. This involves an analysis of the safety data sheets [MSDS] of the disinfectants used and a health and safety survey of the users of these products, particularly for hand disinfection. This analysis showed that this chemical risk is omnipresent and prevention measures are partially adopted. Indeed, the strengthening of health safety measures to combat COVID-19 has significantly increased this risk, resulting in a remarkable imbalance in the assessment and management of occupational risks in this industry. These results have led us to propose corrective and preventive measures against this risk to interested parties and to adopt an integrated management of food and occupational health risks in a single system. This is the use of the Risk Analysis-Critical Control Points (HACCP)-Tool for a First Risk Assessment by Activity Analysis (OPERA) approach, which we developed and proposed in a previous study, for a simplified management of chemical risk in the food industry, especially in small- and medium-sized enterprises.