text:
Regulation
From Wikipedia, the free encyclopedia
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For other uses, see Regulation (disambiguation).
This article is incomplete. Please help to improve it, or discuss the issue on the talk page. (April 2014)
Regulation is an abstract concept of management of complex systems according to a set of rules and trends. In systems theory, these types of rules exist in various fields of biology and society, but the term has slightly different meanings according to context. For example:
in biology, gene regulation and metabolic regulation allow living organisms to adapt to their environment and maintain homeostasis
in government, typically a regulation specifically means a piece of the delegated legislation drafted by subject matter experts to enforce a statutory instrument (primary legislation)
in business, industry self-regulation occurs through self-regulatory organizations and trade associations which allow industries to set rules with less government involvement
in psychology, self-regulation theory is the study of how individuals regulate their thoughts and behaviors to reach goals
Contents
[hide]
1 Social
1.1 Reasons
1.2 History
2 See also
3 References
4 External links
4.1 Wikibooks
Social[edit]
Regulation can take many forms: legal restrictions promulgated by a government authority, contractual obligations (for example, contracts between insurers and their insureds[1]), social regulation (e.g. norms), co-regulation, third-party regulation, certification, accreditation or market regulation.[2]
State-mandated regulation is government intervention in the private market in an attempt to implement policy and produce outcomes which might not otherwise occur,[3] ranging from consumer protection to faster growth or technological advancement. The regulations may prescribe or proscribe conduct ("command-and-control" regulation), calibrate incentives ("incentive" regulation), or change preferences ("preferences shaping" regulation"). Common examples of regulation include controls on market entries, prices, wages, development approvals, pollution effects, employment for certain people in certain industries, standards of production for certain goods, the military forces and services. The economics of imposing or removing regulations relating to markets is analysed in regulatory economics.
Power to regulate should include the power to enforce regulatory decisions. Monitoring is an important tool used by national regulatory authorities in carrying out the regulated activities.[4]
In some countries (in particular the Scandinavian countries) industrial relations are to a very high degree regulated by the labour market parties themselves (self-regulation) in contrast to state regulation of minimum wages etc.[5]
Reasons[edit]
This article contains weasel words: vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed. (March 2018)
Regulations may create costs as well as benefits and may produce unintended reactivity effects, such as defensive practice.[6] Efficient regulations can be defined as those where total benefits exceed total costs.
Regulations can be advocated for a variety of reasons, including:[citation needed]
Market failures - regulation due to inefficiency. Intervention due to what economists call market failure.
To constrain sellers' options in markets characterized by monopoly
As a means to implement collective action, in order to provide public goods
To assure adequate information in the market
To mitigate undesirable externalities
Collective desires - regulation about collective desires or considered judgments on the part of a significant segment of society[vague]
Diverse experiences - regulation with a view of eliminating or enhancing opportunities for the formation of diverse preferences and beliefs[vague]
Social subordination - regulation aimed to increase or reduce social subordination of various social groups[citation needed]
Endogenous preferences - regulation intended to affect the development of certain preferences on an aggregate level[vague]
Professional conduct - the regulation of members of professional bodies, either acting under statutory or contractual powers.[7]
Interest group transfers - regulation that results from efforts by self-interest groups to redistribute wealth in their favor, which may be disguised as one or more of the justifications above.
The study of formal (legal or official) and informal (extra-legal or unofficial) regulation constitutes one of the central concerns of the sociology of law.
History[edit]
Regulation of businesses existed in the ancient early Egyptian, Indian, Greek, and Roman civilizations. Standardized weights and measures existed to an extent in the ancient world, and gold may have operated to some degree as an international currency. In China, a national currency system existed and paper currency was invented. Sophisticated law existed in Ancient Rome. In the European Early Middle Ages, law and standardization declined with the Roman Empire, but regulation existed in the form of norms, customs, and privileges; this regulation was aided by the unified Christian identity and a sense of honor in regard to contracts.[8]:5
Beginning in the late 19th and 20th century, much of regulation in the United States was administered and enforced by regulatory agencies which produced their own administrative law and procedures under the authority of statutes. Legislators created these agencies to allow experts in the industry to focus their attention on the issue. At the federal level, one of the earliest institutions was the Interstate Commerce Commission which had its roots in earlier state-based regulatory commissions and agencies. Later agencies include the Federal Trade Commission, Securities and Exchange Commission, Civil Aeronautics Board, and various other institutions. These institutions vary from industry to industry and at the federal and state level. Individual agencies do not necessarily have clear life-cycles or patterns of behavior, and they are influenced heavily by their leadership and staff as well as the organic law creating the agency. In the 1930s, lawmakers believed that unregulated business often led to injustice and inefficiency; in the 1960s and 1970s, concern shifted to regulatory capture, which led to extremely detailed laws creating the United States Environmental Protection Agency and Occupational Safety and Health Administration.
See also[edit]
Consumer protection
Rulemaking
Regulatory state
Deregulation
Environmental law
Public administration
Regulation of science
Regulatory capture
Regulatory economics
Tragedy of the commons
Public choice theory
Precautionary principle
References[edit]
Jump up ^ Marcos Antonio Mendoza, "Reinsurance as Governance: Governmental Risk Management Pools as a Case Study in the Governance Role Played by Reinsurance Institutions", 21 Conn. Ins. L.J. 53, (2014) http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2573253
Jump up ^ Levi-Faur, David, Regulation and Regulatory Governance, Jerusalem Papers in Regulation and Governance, No.1, 2010
Jump up ^ Orbach, Barak, What Is Regulation? 30 Yale Journal on Regulation Online 1 (2012)
Jump up ^ Eraldo Banovac. Monitoringgrundlagen der kroatischen Regulierungsbehörde für Energie. EW − das Magazin für die Energie Wirtschaft, Vol. 103, No. 1-2, 2004, pp. 14-16.
Jump up ^ Anders Kjellberg (2017) ”Self-regulation versus State Regulation in Swedish Industrial Relations” In Mia Rönnmar and Jenny Julén Votinius (eds.) Festskrift till Ann Numhauser-Henning. Lund: Juristförlaget i Lund 2017, pp. 357-383
Jump up ^ McGivern, Gerry; Fischer, Michael Daniel (1 February 2012). "Reactivity and reactions to regulatory transparency in medicine, psychotherapy and counselling" (PDF). Social Science & Medicine. 74 (3): 289–296. doi:10.1016/j.socscimed.2011.09.035. PMID 22104085.
Jump up ^ Harris, Brian; Andrew Carnes (February 2011). Disciplinary and Regulatory Proceedings. Jordans. ISBN 978-1-84661-270-1.
Jump up ^ John Braithwaite, Péter Drahos. (2000). Global Business Regulation. Cambridge University Press.
External links[edit]
Wikiquote has quotations related to: Regulation
Look up regulation in Wiktionary, the free dictionary.
Centre on Regulation in Europe (CERRE)
New Perspectives on Regulation (2009) and Government and Markets: Toward a New Theory of Regulation (2009)
US/Canadian Regulatory Cooperation: Schmitz on Lessons from the European Union, Canadian Privy Council Office Commissioned Study
A Comparative Bibliography: Regulatory Competition on Corporate Law
Wikibooks[edit]
Legal and Regulatory Issues in the Information Economy
Lawrence A. Cunningham, A Prescription to Retire the Rhetoric of 'Principles-Based Systems' in Corporate Law, Securities Regulation and Accounting (2007)
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text:
Euridice (Peri)
From Wikipedia, the free encyclopedia
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Euridice
Opera by
Jacopo Peri
Giulio Caccini
The Prologue, from the score published in Florence in 1600
Librettist
Ottavio Rinuccini
Language
Italian
Based on
Ovid's Metamorphoses
Premiere
6 October 1600 (1600-10-06)
Palazzo Pitti, Florence
Euridice (also Erudice or Eurydice) is an opera by Jacopo Peri, with additional music by Giulio Caccini. It is the earliest surviving opera, Peri's earlier Dafne being lost. (Caccini wrote his own "Euridice" even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years later.) The libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses[1] which recount the story of the legendary musician Orpheus and his wife Euridice.
The opera was first performed in Florence on 6 October 1600 at the Palazzo Pitti with Peri himself singing the role of Orfeo.[2]
Contents
1 Composition history
2 Roles
3 Synopsis
3.1 Act 1
3.2 Act 2
4 Musical numbers
5 See also
6 References
7 External links
Composition history[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2012) (Learn how and when to remove this template message)
Euridice was created for the marriage of King Henry IV of France and Maria de Medici. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.)
Since both the libretto and score were dedicated to the new Queen of France, Marie de' Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the Queen and King of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo's most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn't travel as far as Florence to retrieve Medici.[1]
At the premiere, many of the other roles were filled by members of Caccini's entourage, including his daughter Francesca Caccini. Peri composed all of the music for the first production, but owing to the integral involvement of Caccini and his performers, some of Peri's music was finally replaced by that of Caccini. When Caccini discovered that Peri intended to publish the opera with the added Caccini pieces, he rushed to finish his own version of Euridice using the same libretto, and managed to have his published before Peri's. In his preface, Peri notes that all of the music was completed by the date of the first performance earning his efforts the designation Prima Euridice.
In creating the music for Euridice, Peri envisioned a vocal style that is half sung and half spoken. For less dramatic parts he created vocal lines close to the style of spoken language set over a sustained accompaniment. For impassioned scenes he explored stronger and more rapid melodies with steadily changing harmonies. Peri's critics have observed that within the score of Euridice, he created no musically remarkable examples of either. However, he did use ranges and widths of register, as well as frequency and power of cadences, to distinguish different characters and dramatic moods.[1] The voice and accompaniment are carefully paced to emphasize the tension and release in the text. Rhythmic and melodic inflections in the vocal lines closely, almost scientifically, imitate dramatic speech. In addition, impassioned exclamations are set with unprepared dissonances and unexpected movements in the bass.
All qualitative judgments aside, even his greater detractors admit that with Euridice Peri managed to establish sound principles for operatic composition.[3]The work establishes in opera the dual resource of aria and recitative, and it explores the use of solo, ensemble and choral singing.
Roles[edit]
Role
Voice type
La Tragedia soprano castrato
Euridice soprano
Orfeo tenor
Aminta, a shepherd tenor
Arcetro, a shepherd contralto castrato
Tirsi, a shepherd tenor
Caronte bass
Dafne boy soprano
Plutone bass
Proserpina soprano castrato
Radamanto tenor
Venere soprano castrato
Nymphs and shepherds, shades and deities of hell
Synopsis[edit]
Peri's Euridice [4][page needed]tells the story of the musician Orpheus and Euridice from Greek Mythology. According to myth, Orpheus was a great musician who journeyed to the underworld to plead with the gods to revive his wife Euridice after she had been fatally injured.
Act 1[edit]
It opens with a simple melody by a singer representing the Tragic Muse, La Tragedia, and a short ritornello. Shepherds nearby and the Tragic Muse sing a conversation in recitatives and choruses, Daphne enters to notify everyone that Euridice has been fatally bitten by a serpent.
Scene 1
All of the nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice.
Scene 2
Orfeo is content after his wedding but is soon interrupted by Dafne. She brings the terrible news that Euridice has been bitten by a venomous snake and has died. Orfeo then vows to rescue her from the underworld.
Scene 3
Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.
Act 2[edit]
This opens with Orpheus pleading with Venere, Plutone, Prosperina, Caronte, and Radamanto in the underworld for the return of his beloved wife Euridice. Nearly the entire scene is carried in recitative. When the act closes, Orpheus is back with Tirsi and the other shepherds.
Scene 4
Venus and Orfeo arrive at the gates of the underworld. Venus suggests that through his legendary voice he might persuade Pluto to return Euridice to life. Orfeo succeeds and is allowed to leave with his bride.
Scene 5
Orfeo and Euridice return from the underworld and rejoice.
Musical numbers[edit]
Parts[5]
Scenes
Individual works
Characters
Prologue Scene 1 Prologo – Io, che d'alti sospir vaga e di pianti La Tragedia
Act 1 Scene 1
Ninfe, ch'i bei crin d'oro Pastore del coro, Ninfa del coro
Vaghe ninfe amorose Arcetro, Pastore del coro, Ninfa del coro
Donne, ch'a' miei diletti Euridice, Ninfa del coro
Credi, ninfa gentile Aminta, Pastore del coro
In mille guise e mille Euridice, Coro
Al canto, al ballo, all'ombra, al prato adorno Coro, Pastore del coro, Ninfa del coro, Altre Ninfe del coro
Scene 2
Antri, ch'a' miei lamenti Orfeo
Sia pur lodato il ciel, lodato Amore Arcetro, Orfeo
Tirsi viene in scena sonando la presente Zinfonia Orfeo, Tirsi
Deh come ogni bifolco, ogni pastore Arcetro, Orfeo
Lassa! Che di spavento e di pietate Dafne, Arcetro, Orfeo
Per quel vago boschetto Dafne, Arcetro
Non piango e non sospiro Orfeo
Ahi! Mort' invid' e ria Arcetro, Dafne, Ninfa del coro
Sconsolati desir, gioie fugaci Aminta, Ninfa del coro
Cruda morte, ahi pur potesti Coro, Ninfa del coro, Due Ninfa e un Pastore del coro
Scene 3
Se fato invido e rio Arcetro, Coro
Con frettoloso passo Arcetro, Dafne, Coro
Io che pensato havea di starmi ascoso Arcetro, Pastore del coro
Se de' boschi i verdi onori Coro
Poi che dal bel sereno Pastore del coro, Coro
Act 2
Scene 4 Scorto da immortal guida Venere, Orfeo
L'oscuro varc'onde siam giunti a queste Venere
Funeste piagge, ombrosi orridi campi Orfeo
Ond'e cotanto ardire Plutone
Deh, se la bella Diva Orfeo
Dentro l'infernal porte Plutone, Orfeo
O Re, nel cui sembiante Prosperpina
A si soavi preghi Orfeo, Plutone
Sovra l'eccelse stelle Caronte, Plutone, Orfeo
Trionfi oggi pietà ne' campi inferni Plutone, Orfeo,
Poi che gl'eterni imperi Deita D'Inferno primo coro, Secondo coro, Radamanto
Scene 5 Già del bel carro ardente Arcetro, Coro
Voi, che sì ratt'il volo Aminta, Coro, Arcetro
Quand'al tempio n'andaste, io mi pensai Aminta, Pastore del coro
Chi può del cielo annoverar le stelle Aminta, Arcetro
Gioite al canto mio selve frondose Orfeo, Ninfa del coro
Quella, quella son io, per cui piangeste Euridice, Ninfa del coro, Dafne, Arcetro, Orfeo, Aminta
Modi or soavi or mesti Orfeo
Felice semideo, ben degna prole Aminta
Ritornello strumentale Tutto il coro
Biond' arcier, che d'alto monte (ritornello instrumentale)
It should be noted that various chorus names are as they appear in the original Italian score. Pastore, Ninfa/Ninfe, and Deita D'Inferno refer to choruses of shepherds, nymphs and Deities of Hell respectively.
See also[edit]
List of Orphean operas
References[edit]
Notes
^ Jump up to: a b c "Le tre Euridici: Characterization and Allegory in the Euridici of Peri and Caccini". Journal of Seventeenth-Century Music. Retrieved 2011-06-23.
Jump up ^ Pietropaolo, Domenico and Parker, Mary Ann (2011). The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto, p. 60. University of Toronto Press
Jump up ^ Oldmeadow, p. 121
Jump up ^ Hill
Jump up ^ Sources for the libretto divide the work into a prologue (one scene) and one Act with six scenes. Modern recordings tend to divide the opera into a prologue, a first act, with scenes 1–3, and a second act, with scenes 4–5. It is unclear why these different descriptions have emerged, but the confusion is largely cosmetic: in the end, the score, libretto and recording cited here all contain the same individual musical numbers.
Sources
Hill, John Walter (2005). Baroque Music: Music in Western Europe, 1580–1750. Norton. ISBN 0-393-97800-1.
Oldmeadow, Earnest (1909). Great Musicians. Forgotten Books.
Other sources
Brown, Howard Mayer. "Euridice (i)", Grove Music Online, ed. L. Macy (accessed February 7, 2006), grovemusic.com (subscription access).
Burkholder, Peter J., Donald Jay Grout, and Claude V. Palisca (1960/2010). A History of Western Music, 8th edition. New York: Norton. 986 pages
Porter, William V.. "Jacopo Peri", Grove Music Online, ed. L. Macy (accessed February 7, 2006), grovemusic.com (subscription access).
Weiss, Piero, and Richard Taruskin (1984). Music in the Western World: A History in Documents. Belmont: Scrimer. 556 pages.
External links[edit]
Score
Euridice (Peri): Original Score and Modern Edition at the International Music Score Library Project (IMSLP)
Libretto
LibrettidOpera.it
Recording
Peri, Jacopo (1995). Euridice / Jacopo Peri. Authentic CD .P441 A.1–5 Arts Music
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Orpheus and Eurydice
Characters
Eurydice
Orpheus
Orphean operas
Euridice (1600, Peri)
Euridice (1602, Caccini)
L'Orfeo (1607, Monteverdi)
Orfeo dolente (1616, Belli)
La morte d'Orfeo (1619, Landi)
Orfeo (1647, Rossi)
Orfeo (1672, Sartorio)
La descente d'Orphée aux enfers (c. 1686, Charpentier)
Orpheus (1726, Telemann)
Orfeo ed Euridice (1762, Gluck)
discography
L'anima del filosofo (1791, Haydn)
Orpheus in the Underworld (1858, Offenbach)
Orpheus und Eurydike (1921, Krenek)
L'Orfeide (1925, Malipiero)
Orpheus and Eurydice (1975, Zhurbin, rock opera)
The Mask of Orpheus (1986, Birtwistle)
The Second Mrs Kong (1994, Birtwistle)
The Corridor (2009, Birtwistle)
Musicals
Orpheus & Eurydice
Hadestown
Plays
Eurydice/Point of Departure (1941, Anouilh)
Orfeu da Conceição (1956, de Moraes)
Orpheus Descending (1957, Williams)
Eurydice (2003, Ruhl)
Films
The Orphic Trilogy
The Blood of a Poet (1930)
Orphée (1950)
Testament of Orpheus (1960)
Black Orpheus (1959)
Evrydiki BA 2O37 (1975)
Parking (1985)
Orfeu (1999)
Poetry
Sir Orfeo (c. late thirteenth century)
The Tale of Orpheus and Erudices his Quene (c. 1480)
Sonnets to Orpheus (1922)
"Eurydice" (1999)
Novels
The Einstein Intersection (1967)
Gravity's Rainbow (1973)
The Medusa Frequency (1987)
The Ground Beneath Her Feet (1999)
Veniss Underground (2003)
Art
Landscape with Orpheus and Eurydice
Albums
Reflections (1970)
Abattoir Blues / The Lyre of Orpheus (2004)
Metamorpheus (2005)
Hadestown (2010)
Orfeas (2010)
Reflektor (2013)
Ballet
Orpheus (1948)
Chaconne (1976)
Video games
The Battle of Olympus
Don't Look Back
Related
The Gaze of Orpheus
Orpheus Monument
Orpheus no Mado
Orphism
Authority control
WorldCat Identities
GND: 300525265
LCCN: n81003166
VIAF: 184548044
Retrieved from "https://en.wikipedia.org/w/index.php?title=Euridice_(Peri)&oldid=846304081"
Categories:
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Operas
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Operas about Orpheus
Hidden categories:
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