Dissertationen zum Thema „Emotions in the performing arts“
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Brundage, Kimberly A. „Understanding the Role of Emotions and Social Influences in Charitable Giving Decisions“. University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1417865883.
Der volle Inhalt der QuelleWoods, Belinda Jane. „Ritual perspectives : an investigation into the epistemology of performance /“. Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.
Der volle Inhalt der QuelleThe views of art theorists, historians and critics, anthropologists, musicologists and arts practitioners, are held in the light of the author’s creative output through which a range of questions emerge regarding the cultivation of artistic identity, the artist’s role in the refinement of cultural expression, the relevance of live performance in the digital age, the transformational qualities of artistic practice upon the social and intellectual evolution of humanity, and the value of new musical language.
Chapter One examines the relationship between audience and musician from a performer’s perspective, in relation to Milton Babbitt’s article, Who Cares if You Listen? The connection between music performance and ritual practice and the possibility that artistic expression can actively engage audience receptivity is discussed in Chapter Two. Chapter Three contemplates the philosophical stance of the Art for Art’s Sake movement, that art exists in its own right without reference to the emotive experiences of humanity. Topics such as formal structure, the absence or presence of ethical content, the concept of aesthetic emotion and self objectivity, are examined alongside discussions of perception and consciousness. Chapter Four argues that performance, as ritual ceremony, becomes a porous boundary between lived and dream-like experience, through which the audience may pass to experience art on a profound level. The shared gesture of performer and audience becomes a life-enriching act that in turn nourishes all of society.
Smith, Jacqueline. „Emotional well-being in children and adolescents attending specialist schools for the performing arts“. Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264169.
Der volle Inhalt der QuelleRowe, Katherine. „Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.
Der volle Inhalt der QuellePietraroia, Regina. „The Effects of Dance Education on the Emotional Intelligence of Underserved Students“. University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321294319.
Der volle Inhalt der QuellePandolfi, de Rinaldis Gianna. „Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.
Der volle Inhalt der QuelleAlbrecht, Joshua David. „Affective Analysis of Music Using the Progressive Exposure Method: The Influence of Bottom-Up Features on Perceived Musical Affect“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338310010.
Der volle Inhalt der QuelleDiaz, Raymond. „Primo Passaggio: Measures Associated with Different Interpretations Sung by an Elite Soprano Performer“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.
Der volle Inhalt der QuelleSchindeler, Marda. „Alberta performing arts policy“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.
Der volle Inhalt der QuelleSchindeler, Marda, und University of Lethbridge Faculty of Arts and Science. „Alberta performing arts policy“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.
Der volle Inhalt der Quelleiii, 97 leaves : ill. ; 28 cm.
Human, Martie. „Encore - performing arts centre“. Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.
Der volle Inhalt der QuelleLoy, Brittany Elizabeth. „A Study of The Impact of Employee Engagement and Empowerment on Performance Management in Nonprofit and Community Theater“. Franklin University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=frank1627685378575136.
Der volle Inhalt der QuelleButtolph, K., Cynthia R. Chambers, J. Gaines und T. Wynn. „Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.
Der volle Inhalt der QuelleBernardi, Nicholas J. „Vitality of the performing arts“. This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Der volle Inhalt der QuelleRichards, Alison 1951. „Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice“. Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.
Der volle Inhalt der QuelleGallagher, Kelly A. „RUBBER MEETS ROAD: RESEARCHING, WRITING, AND PRODUCING ANORIGINAL PLAY“. Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1526384703233597.
Der volle Inhalt der QuelleChambers, Cynthia R. „The Power of Performing Arts—inclusion in the Arts“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.
Der volle Inhalt der QuelleNgan, Chiu-long Sunny, und 顔昭朗. „Performing arts centre at Quarry Bay“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986729.
Der volle Inhalt der QuelleChoa, Gillian Ann, und 蔡敏志. „The performing arts' concern: the alternativeleader“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.
Der volle Inhalt der QuelleGuo, Ying Ping. „Folded Intersection: a performing arts center“. Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9606.
Der volle Inhalt der QuelleMaster of Architecture
Mugira, Fredrick. „PERFORMING ARTS FOR HIV/AIDS COMMUNICATION“. Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21060.
Der volle Inhalt der QuelleNgan, Chiu-long Sunny. „Performing arts centre at Quarry Bay“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949159.
Der volle Inhalt der QuelleChambers, Cynthia R. „Performing Together through Inclusive Arts Programming“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3869.
Der volle Inhalt der QuelleFine, Jenny. „Performing Tenderness“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.
Der volle Inhalt der QuelleReynoso, Humberto. „Performing Binaries“. CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.
Der volle Inhalt der QuelleMatravers, Derek Cameron. „Art and the emotions“. Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386125.
Der volle Inhalt der QuelleChinnery, Michael. „Creating a Christian based performing arts company“. FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2341.
Der volle Inhalt der QuelleChoa, Gillian Ann. „The performing arts' concern : the alternative leader /“. View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39873584.
Der volle Inhalt der QuelleStrain-Bell, Sheila L. „Organizational conflict : in a performing arts organization“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.
Der volle Inhalt der QuelleMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.
Arthurs, Katherine E. „St. Martin's Episcopal School Performing Arts Department“. ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/35.
Der volle Inhalt der QuelleMintz, Charlotte. „Vilar Performing Arts Center: An Internship Report“. ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/126.
Der volle Inhalt der QuellePribish, Robert E. „A performing arts center on the Potomac“. Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53270.
Der volle Inhalt der QuelleMaster of Architecture
Dontsa, Luvuyo. „Contemporary political performing arts in South Africa“. Thesis, SOAS, University of London, 1990. http://eprints.soas.ac.uk/29483/.
Der volle Inhalt der QuelleFabbri, Rita <1992>. „Performing arts between Deaf and hearing world“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10067.
Der volle Inhalt der QuelleTse, Po-fung Jordon. „LIVE performance informal performance space within the city /“. Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31985464.
Der volle Inhalt der QuelleIncludes special report study entitled : Identification of streetscape with performance space & identification of performance space with streetscape. Includes bibliographical references. Also available in print.
Warg, Jakob. „Emotionella ting : applied emotions“. Thesis, Konstfack, Grafisk Design & Illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5862.
Der volle Inhalt der QuelleHunicutt, Julie. „In The Telling| Theatrical Devising Practice as Performance Pedagogy“. Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.
Der volle Inhalt der QuelleA detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.
Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.
Yeagley, Jeremy R. „Commercial music for the classical trumpeter“. Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589665.
Der volle Inhalt der QuelleThe modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody.
The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology.
The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter.
Felbo, Bjarke. „Teaching machines about emotions“. Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/119084.
Der volle Inhalt der QuelleCataloged from PDF version of thesis.
Includes bibliographical references (pages 69-77).
Artificial intelligence algorithms are becoming an increasingly important part of human life with many chat bots and digital personal assistants now interacting directly with us through natural language. Such human-computer interaction can be made more useful by enriching the underlying algorithms with a detailed sense of emotion. In my thesis I propose new ways to detect, encode and modify emotional content in text. First, I show how we can leverage the vast amount of texts on social media with emojis to train a classifier that can accurately detect various kinds of emotional content in text. Secondly, I introduce a state-of-the-art domain adaptation method that is explicitly designed to tackle issues occurring in the messy real-world text data that existing NLP methods struggle with. Lastly, I propose a new algorithm that could be used to decompose text inputs into disentangled representations and then manipulate these representations in a controlled manner to obtain a modified version of the input.
by Bjarke Felbo.
S.M.
Langenbach, William Ray. „Performing the Singapore state 1988-1995“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041027.174118/index.html.
Der volle Inhalt der QuelleBarrios, Oswaldo A. „School of performing arts in Georgetown, Washington, DC“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53281.
Der volle Inhalt der QuelleChambers, Cynthia R., und K. Buttolf. „Building Skills, Strengths, and Interests through Performing Arts“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3889.
Der volle Inhalt der QuelleBASTIA, ELENA. „Il marketing management nelle imprese di performing arts“. Doctoral thesis, Università degli Studi di Milano-Bicocca, 2013. http://hdl.handle.net/10281/43853.
Der volle Inhalt der QuelleRosatelli, Meghan. „A Framework for Digital Emotions“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/239.
Der volle Inhalt der QuelleHo, Wing-ip. „The performing arts in Hong Kong is venue so critical? /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36790254.
Der volle Inhalt der QuellePaley, Sky Matthew Riel. „Theatrical Spaces as Platforms for Resistance and Revolt| The History of St. Croix and Its Present-Day Predicament through the Lens of the Play Antiman“. Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784929.
Der volle Inhalt der QuelleThis thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.
You, Jihee. „The vision of new management in the performing arts /“. Philadelphia, Pa. : Drexel University, 2002. http://dspace.library.drexel.edu/handle/1860/403.
Der volle Inhalt der QuelleHanson-Broten, Susan. „Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.
Der volle Inhalt der QuelleHanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. „Making a living in the performing arts; reform in Canadian postsecondary performing arts curriculum: equipping artists with essential career management skills“. Ottawa, 2000.
Den vollen Inhalt der Quelle findenLe, Thi Kieu Huong. „Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia“. School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.
Der volle Inhalt der QuelleThis thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.