標(biāo)題: Titlebook: Classical Music and Opera During and After the COVID-19 Pandemic; Empirical Research o Steffen Lepa,Ruth Müller-Lindenberg,Hauke Egermann B [打印本頁(yè)] 作者: 空格 時(shí)間: 2025-3-21 18:14
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic影響因子(影響力)
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic影響因子(影響力)學(xué)科排名
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic被引頻次
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic被引頻次學(xué)科排名
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic年度引用
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic年度引用學(xué)科排名
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic讀者反饋
書(shū)目名稱(chēng)Classical Music and Opera During and After the COVID-19 Pandemic讀者反饋學(xué)科排名
作者: 冒號(hào) 時(shí)間: 2025-3-21 22:30 作者: 菊花 時(shí)間: 2025-3-22 01:52 作者: 美麗的寫(xiě) 時(shí)間: 2025-3-22 05:34
Muhammad Aufeef Chauhan,Christian W. Probstd with a confusing myriad of strict security precautions, cancellations, and digital alternatives. From the point of view of strategic communications theory, festival operations have been in a permanent communications crisis for more than a year and, in many cases, the driving force (and figurehead)作者: 表否定 時(shí)間: 2025-3-22 11:22
Muhammad Aufeef Chauhan,Christian W. Probstent new reception styles. These include interactive forms such as commenting simultaneously—either online or offline—on what is happening on stage with other users. However, generally, the interviewees tend to experience an opera stream as less emotionally intense compared to a live opera visit. In 作者: 開(kāi)始發(fā)作 時(shí)間: 2025-3-22 14:26 作者: 開(kāi)始發(fā)作 時(shí)間: 2025-3-22 19:59
https://doi.org/10.1007/978-3-030-83549-1ies but also stimulated usage in new segments of the classical concert audience (especially “digital natives”, women and higher-educated), thereby reducing priorly existing inequalities in digital cultural participation. Furthermore, results also show that any fears of concert streams becoming a sub作者: VOC 時(shí)間: 2025-3-22 21:16 作者: 項(xiàng)目 時(shí)間: 2025-3-23 02:55
The Pandemic as a Peephole into the Ongoing Digital Transformation of Opera,rate that from an artistic perspective, skepticism against digital formats is still very prevalent, while responsible managers also see the necessity to further improve the digital portfolio of their houses. On the other hand, some of the interviewees feel that their institutions are not sufficientl作者: 來(lái)這真柔軟 時(shí)間: 2025-3-23 09:34
The Role of Artistic Directors of Classical Music Festivals in COVID-19 Crisis Communication,d with a confusing myriad of strict security precautions, cancellations, and digital alternatives. From the point of view of strategic communications theory, festival operations have been in a permanent communications crisis for more than a year and, in many cases, the driving force (and figurehead)作者: 連鎖,連串 時(shí)間: 2025-3-23 13:27
Streaming Opera: Compromise Solution or Future-Oriented Reception Form?,ent new reception styles. These include interactive forms such as commenting simultaneously—either online or offline—on what is happening on stage with other users. However, generally, the interviewees tend to experience an opera stream as less emotionally intense compared to a live opera visit. In 作者: 打折 時(shí)間: 2025-3-23 15:19 作者: VEST 時(shí)間: 2025-3-23 21:05
Did Lockdowns Stimulate Digital Cultural Participation? Mapping the Post-pandemic Berlin Classical ies but also stimulated usage in new segments of the classical concert audience (especially “digital natives”, women and higher-educated), thereby reducing priorly existing inequalities in digital cultural participation. Furthermore, results also show that any fears of concert streams becoming a sub作者: 克制 時(shí)間: 2025-3-23 22:15 作者: 營(yíng)養(yǎng) 時(shí)間: 2025-3-24 03:34 作者: 潛移默化 時(shí)間: 2025-3-24 08:52 作者: 道學(xué)氣 時(shí)間: 2025-3-24 12:56
Combining Two Different Worlds: A Post-pandemic Interview with the Dramaturgs Dr. Merle Fahrholz anost pandemic measures had already been released in Germany, they agreed to a half-hour online meeting and talked with Ruth Müller-Lindenberg (RML) about their experiences with the digitization of opera since the beginning of the pandemic, and about the learnings they drew from the pandemic times for the future of opera.作者: cruise 時(shí)間: 2025-3-24 18:48 作者: avarice 時(shí)間: 2025-3-24 19:56
Muthu Ramachandran,Zaigham Mahmoodtrainees’ heart rate variability during opera performance. Together, the chapter provides a snapshot of the possibilities and constraints of opera training and research on opera training under lockdown measures.作者: 浮雕寶石 時(shí)間: 2025-3-24 23:49
Opera (Training (Research)) During Lockdown,trainees’ heart rate variability during opera performance. Together, the chapter provides a snapshot of the possibilities and constraints of opera training and research on opera training under lockdown measures.作者: 抗原 時(shí)間: 2025-3-25 03:53 作者: Thyroiditis 時(shí)間: 2025-3-25 11:04
Quo Vadis Classical Music? Remarks on the Post-pandemic Condition,ries around the globe during the first 2 years of the COVID-19 pandemic. A special focus is put on the various streaming initiatives that emerged to counterbalance the lack of possibilities to visit concerts in person. Another topic is the challenges of organizing cultural events under ‘social dista作者: 邊緣 時(shí)間: 2025-3-25 11:46 作者: Noisome 時(shí)間: 2025-3-25 15:50
The Pandemic as a Peephole into the Ongoing Digital Transformation of Opera,onnel of the three Berlin opera houses. For interpretation, they conceive of the opera house as a “mediatized world,” a whole-life world being subject to ongoing media-technological change in terms of “digitalization,” which not only affects the artistic output but also the whole work organization, 作者: 描繪 時(shí)間: 2025-3-25 21:29
The Role of Artistic Directors of Classical Music Festivals in COVID-19 Crisis Communication,xperience for patrons, sponsors, media representatives, and—of course—the audience. Artistic directors play a particularly important role in festivals, as their reputation significantly contributes to the event’s standing in the international festival scene and they make crucial decisions regarding 作者: 態(tài)度暖昧 時(shí)間: 2025-3-26 01:50 作者: Coma704 時(shí)間: 2025-3-26 04:49
Digital Concert Experience: An Online Research Project on Live Streaming During the Pandemic, streams of Western classical music in ecologically valid settings. Based on an online survey, a latent profile analysis identified three different audience segments of classical concert streams. These are differentiated by different preferences for stream characteristics. In a subsequent experiment作者: 領(lǐng)導(dǎo)權(quán) 時(shí)間: 2025-3-26 11:31 作者: Handedness 時(shí)間: 2025-3-26 13:00
Combining Two Different Worlds: A Post-pandemic Interview with the Dramaturgs Dr. Merle Fahrholz an At the beginning of the pandemic, they served as chief dramaturgs: MF at the . and UL at the .. On May 16th, 2022, during a time when lockdowns and most pandemic measures had already been released in Germany, they agreed to a half-hour online meeting and talked with Ruth Müller-Lindenberg (RML) abo作者: Phagocytes 時(shí)間: 2025-3-26 19:07 作者: 毗鄰 時(shí)間: 2025-3-27 00:18
Muthu Ramachandran,Zaigham Mahmood the rehearsal procedures but also the staging itself. During the staging of an adaptation of Gioachino Rossini’s . in October 2020 by the University of British Columbia Opera program, which is described here as an example, rather than having 65 singers on stage, as previously planned, staging was a作者: Bricklayer 時(shí)間: 2025-3-27 03:34 作者: semble 時(shí)間: 2025-3-27 08:12
Muhammad Aufeef Chauhan,Christian W. Probstxperience for patrons, sponsors, media representatives, and—of course—the audience. Artistic directors play a particularly important role in festivals, as their reputation significantly contributes to the event’s standing in the international festival scene and they make crucial decisions regarding 作者: 印第安人 時(shí)間: 2025-3-27 11:27
Muhammad Aufeef Chauhan,Christian W. Probstnitiative ., evoke new hopes for gaining new and younger audience segments. In my study, I conducted seven in-depth interviews with . recipients from Germany, the UK, Ireland, and the USA and analyzed statements on their experiences with streaming opera by employing qualitative content analysis. The作者: Ergots 時(shí)間: 2025-3-27 16:54
Muhammad Aufeef Chauhan,Christian W. Probst streams of Western classical music in ecologically valid settings. Based on an online survey, a latent profile analysis identified three different audience segments of classical concert streams. These are differentiated by different preferences for stream characteristics. In a subsequent experiment作者: Incompetent 時(shí)間: 2025-3-27 20:46
https://doi.org/10.1007/978-3-030-83549-1f the post-pandemic classical concert audience in the German capital. Specifically, it determines typical media usage patterns employed for listening to classical music in the every day, with the surprising finding that a third of the audience rarely ever listens to classical music in such contexts.作者: MAPLE 時(shí)間: 2025-3-27 22:34
https://doi.org/10.1007/978-3-030-83549-1 At the beginning of the pandemic, they served as chief dramaturgs: MF at the . and UL at the .. On May 16th, 2022, during a time when lockdowns and most pandemic measures had already been released in Germany, they agreed to a half-hour online meeting and talked with Ruth Müller-Lindenberg (RML) abo作者: Genome 時(shí)間: 2025-3-28 03:52 作者: ANN 時(shí)間: 2025-3-28 08:26 作者: Saline 時(shí)間: 2025-3-28 14:23
https://doi.org/10.1007/978-3-031-42975-0COVID-19 Pandemic; Digital Transformation; Experimental Concert Research; Music Business; Opera Manageme作者: 知識(shí)分子 時(shí)間: 2025-3-28 17:03
978-3-031-42977-4The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: accordance 時(shí)間: 2025-3-28 18:59
Classical Music and Opera During and After the COVID-19 Pandemic978-3-031-42975-0Series ISSN 2522-0829 Series E-ISSN 2522-0837 作者: growth-factor 時(shí)間: 2025-3-29 02:40
10樓作者: 最高峰 時(shí)間: 2025-3-29 06:25
10樓
