Dissertations / Theses on the topic 'Folk performance'
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Wright, Lucy. "Making traditions, practising folk : contemporary folk performance in the Northwest of England : a practice-led enquiry." Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/578919/.
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This practice-led research is about contemporary folk performance in the Northwest of England. It draws on my academic background in ethnomusicology and personal practices as a folk performer and maker, expanded and developed in and through this project. In addition to this written thesis, it contains a body of arts-based outcomes including; garments and apparel, collaborative performances, photography that documents folk as a practice of making (Appendix 2, and interspersed throughout the text) and a DVD showcasing highlights of my final exhibition at the People’s History Museum in Manchester, in April 2014 (Appendix 3). My pluralistic approach aims towards complementarity: no single outcome or practice takes precedence within the research, but instead combine for an embedded and expansive account. The project takes as its starting point Dave Harker’s call for a new way to handle folk materials (Harker, 1985) and the notion of an artistic turn for ethnomusicology research (Coessens, Crispin and Douglas, 2009). Cognisant that the parallel and historically symbiotic relationship between folk performance and ethnomusicology Orcadia Morris Dancers at the ETACCO World Championships, Pontins Southport (2013) 9 has led some scholars, such as Philip Bohlman, to suggest that the latter actually resists newness (Bohlman 2008), I draw on theories of cultural improvisation by Elizabeth Hallam and Tim Ingold (2007) to consider ways in which folk performance might be reoriented forwards - instead of backwards - as something generative rather than simply repetitive. My key questions concern the intersection of folk performance, material practice and place-making, and the most apposite ways of exploring them as a researcher and maker. This has developed my practice from “thinking-through-making,” to making together, and aims towards a way of working that “does not turn away” from research participants during or after the fieldwork phase (Ingold, 2007: 28). Viewing performance as a site in between two main streams of practice-led scholarship, artistic research and arts-based enquiry, my approach builds on the extant practice-led elements of music research (e.g. Small’s “musicking”: 1998 and Baily’s “performance-as-a-research-technique”: 2001) to explore what ethnomusicology, distinct within the social sciences, might have to offer to debates around art as knowledge. The broadest goal of my project is to demonstrate the potential of artistic research as a rigorous, generative model for augmenting ethnomusicology and not merely a convenient means to illustrate theory. While I began this work with a practice as a folk performer, my project brings out for me the artistic practice inherent in folk via making, simultaneously revealing gaps in current approaches and suggesting one possible way in which to proceed. The main contributions to knowledge are my use of an artistic research approach in an ethnomusicological study, and resulting materials towards original 10 ethnographies of selected folk performances, including girls’ carnival morris dancing (Appendix 1). The inclusion of carnival performance into the canon of British folk scholarship is potentially transformational, making an overdue case that current approaches to the identification of tradition are more strongly aesthetically led – based upon how a performance looks over any other condition or quality – than has previously been acknowledged.
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Singh, Brahma Prakash. "The performance of cultural labour: a conceptual framework for understanding Indian folk performance." Thesis, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603539.
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Performance has emerged as an important concept in the field of art, culture, media, communication and socio-anthropological studies. This thesis examines the ' Indian folk performance' from a performance studies perspective, examining performance as that which arises out of the labouring bodies and lived experiences in Indian society. Such performances are embedded in 'everyday lives, struggles, and labour of different classes, castes, and gender' (Rege 2002). These performances can be considered as performances of cultural labour. Performances of cultural labour are recognized by the centrality of performance, the materiality of labouring bodies, and the integration of various al1 forms. Drawing on an understanding derived from the cultural performances of the Indian labouring lower-caste communities, the thesis attempts to provide a conceptual framework for understanding Indian folk culture and performances. For theoretical approaches, I have drawn from Dwight Conquergood's idea of performance studies as a radical intervention (2002) and Ngugi wa Thiong'o's concept of performance (2007) as well as interdisciplinary and integrated approaches to art and culture with a critical ethnography. Performance studies approach with a critical ethnography shows a great potential in such research because if performance stands for identity, then it also stands for the embodiment of oppressed identities, genres and struggles. While performance here functions as an cpistemic as well as an analytical tool, critical ethnography provides an 'ethical responsibility' to address processes of hidden injustices (Madison 2005)
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Patrick, Declan. "Contesting the narratives : identity, representation and performance in Filipino folk dance." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533143.
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Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.
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This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.
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Carpenter, Damian A. "Lead Belly, Woody Guthrie, Bob Dylan and American Folk Outlaw Performance." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1472484428.
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With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles.https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg
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Vinci, Teresa. "Performance practice in Hungarian folk music and its relationship to the Style Hongrois." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2265.
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This study investigates style and performance practice within the oral traditions of Hungarian folk music, and explores intersections with the nineteenth-century idiom style hongrois. Interviews, lessons, and workshops were undertaken as part of a practice-based immersive research experience, and comparisons with the style hongrois made via analysis of scores and recordings of Jeno Hubay (1858-1937). The research strives towards an ‘Historically Informed Performance’ specific to these styles, and explores how they can inform each other. Findings are presented through a dissertation and a CD recording “Never Far Away…” comprising the researcher’s violin performance as leader of an Hungarian folk band.
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Yi, Chung-han. "A performance guide to Heejo Kim's choral arrangements based on traditional Korean folk tune and rhythmic patterns." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9818.
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Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.
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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.
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Music PerformanceD.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses
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Real, Nicolas. "Flute Concerto [Score]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252808.
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Music PerformanceD.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses
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Yi, Chung-han. "A Performance Guide to Heejo Kim's Choral Arrangements Based on Traditional Korean Folk Tunes and Rhythmic Patterns." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9818/.
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Heejo Kim (1920-2001) is one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music. However, at the same time, his efforts in choral arrangements, especially of Korean folk tunes are highly acclaimed by professional choirs and conductors. The purpose of this study is to provide performance guidance on Heejo Kim's choral work, Bat-no-rae, by presenting his biographical background, discussing the use of traditional Korean rhythmic patterns (Jangdan) and modes, and the appropriate application of traditional ornamentations.
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Sharma, Devendra. "PERFORMING NAUTANKI: POPULAR COMMUNITY FOLK PERFORMANCES AS SITES OF DIALOGUE AND SOCIAL CHANGE." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150982520.
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Williamson, Linda Jane. "Narrative singing among the Scots travellers : a study of strophic variation in ballad performance." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/8223.
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Two modes of singing were evident in narrative performances recorded by Scots travellers: singing set melodies to memorized or re-created texts, and improvising on a variable melody to a memorized or a variable text. In travellers' society both modes are acceptable but the majority of travellers today prefer set melodies. The improvisatory mode was traditional and used by the older travellers born before World War I, five of whom became my informants or Ewan NacColl's, re. Travellers' Songs from England and Scotland (1977). The tradition of narrative improvisation appears to be obsolete with the death of Mrs Martha Johnstone (Perthshire), 1980. But her 108 sung performances, 66 songs and 34 narratives recorded between 1955 and 1978, by four fieldworkers, provide valuable material for the study of strophic variability -- its function in the singer's interpretation of an essential story (Lord, 1960 and Buchan, 1972) in performance. Strophic variability is related to the Danish ballad singers' usage of variable intonations, and the author's musical analysis of the diachronic variants of Martha Johnstone's improvisatory ballads follows Thorkild Knudsen's theory of ballad melody or "melodic idea" (1967, 1976). The majority of travellers' performances, however, do not exhibit such extreme structural variations. Their ballads feature regularity manifested in a "standard strophe." In performance the regularly recurring standard strophe is fluid, composed of musical equivalents or structural options at the level of pitch, figure, motive, phrase or strophe, which the singer may or may not choose to realize. Explanations for the presence or absence of variation or variants (musical equivalents) are discussed, particularly memory failure and uncertainty on the part of the singer. A high frequency of irregular strophes is evident in travellers' narrative songs. It can be shown that irregular strophes are often "fixed" in singers' versions. According to the author's thesis on variation as a process of volition and cognition, such irregular strophes are viewed as intentional and purposeful e.g., for expressing the climax or denouement of a narrative, or for heightening a particular dramatic or narrative episode within the singer's story. Testimonies from singers, their explanations and definitions bear out the truth of the analysis. Fifty-three examples of narrative performances by seven of the author's informants and six of MacColl's are featured in the work; thirty-nine are complete song transcriptions; fourteen are included on an accompanying cassette. Three especial singers, are from different "homeground areas" of the travellers in Scotland, are the subjects of the study - Martha Johnstone (Perthshire), Duncan Williamson (Argyllshire) and Johnnie Whyte (Angus). The work is the result of ten years' fieldwork among the Scots travellers and four years' continuous travelling with one extended family.
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Boneh, Galia. "Moving from entertainment towards art a new model for creating performance on HIV/AIDS /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568127991&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Sönmezler, Ahmet. "Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306145.
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The structure and content of Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba are heavily influenced by Turkish folk music. A stylistic and accurate performance of these pieces becomes possible through the study of Turkish folk music and its performance practices. This document provides information that may help the reader understand what some of the aspects of Turkish folk music are and show how Italian composer and guitarist Carlo Domeniconi (b. 1947) used them in two of his most popular solo classical guitar compositions. This document not only serves as an informative tool to highlight several characteristics of Turkish folk music but also as a guide to interpret Variations on an Anatolian Folk Song and Koyunbaba in the Turkish style. Chapter four, Performer's Guide, includes a number of musical examples that are specifically edited to bring out Turkish stylistic aspects of interpretation. Many performers can benefit from these detailed musical examples.
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Yu, Youngmin. "Musical performance of Korean identities in North Korea, South Korea, Japan and the United States." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Meyer, Julianne. "Words Carried in with the Tide: Boundaries of Gender in FisherPoetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19723.
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The FisherPoets Gathering is an annual event where expressive art performed exposes the explicit and implicit gender dynamics of the occupation of commercial fishing. Through these performances, women tackle gender issues that bridge the gap between the fishing industry and the event. Through performance and interactions with fellow female FisherPoets, the women validate themselves as fishermen and comment on the behavior of their male colleagues. These performance-based expressive art forms enable them to address the fishing industry’s gender power dynamics and begin to make social change.
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Misgeld, Maria. "FOOTPRINTS OF THE FOREST : Exploring the indoor space as an artistic quality in herding call." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3592.
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This project is based on questions about the significance of the acoustic space for kulning (herding calls). Swedish vocal folk music and in particular kulning, is at the center of my expressive, musical language. I was seduced by the tonality, variety, flexibility in Swedish folk singing as well as the individual freedom of expression. In this work I want to reflect past and present, based on the voice and singing style from my own perspective. The questions were: How can I kula if I don´t have a forest, the natural environment for kulning? Can I create a virtual forest indoors, for my voice to sound in a similar way as outdoors, that would feel like kulning outdoors? Can I find an analog or electronic backdoor to a perfect kulning sound in indoor spaces? Can I create new music with the idea that the room is an extension of the kulning sound? and in the end, how do I convey the artistic qualities of kulning to someone else? I have investigated those questions in the artistic project - The Dome - Part I, Part II and Part III by creating spatial music for voices, in two different dome-shaped indoor spaces. The insight that the room is an extension of the sound of kulning made me understand the importance of uncompromising acoustics. I revalue techniques, directions and positions. Try out tools to create - virtual SoundScapesusing digital technology. Experiment with exercises that can give my voice long durability. Try out composition models to get musical ideas to implement in new music. The artistic outcomes of this research are new concepts for kulning in electroacoustic and analog indoor spaces. The result of the project has become a number of methods for composition, improvisation, performing and teaching. The project has been documented in a website: http://footprints.mariamisgeld.se
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Maria, Fernandez de Larrinoa Pedro. "Carnival performance and folk aesthetics in a French Pyrenean Basque valley in the twentieth century : an anthropological study." Thesis, London School of Economics and Political Science (University of London), 2000. http://etheses.lse.ac.uk/2256/.
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This thesis concerns folk performance in the French Basque Pyrenees. It is based on fieldwork research which was conducted in the easternmost area of the Basque Country, a region known in the French language as Pays de Soule or, in Basque, as Zuberoa. In particular, it examines Maskarada performance, a genre of carnival theatre popular in the area which involves the young people of a village, who disguise and mask themsselves in order to dance, sing and stage stories in a highly ritualistic way. A study of Maskarada performance in Zuberoa shows that meaningful changes have taken place throughout the twentieth century. These changes are reflected both in the enactment of the folk arts themselves and in the sociological characteristics of the region. Because these changes have affected indigenous understandings of carnival theatre and festivity, this thesis focuses on the changing socio-cultural criteria which lead the organisation of Maskarada performance in Zuberoa today. Maskarada performance echoes issues of social and cultural identity, publicly projecting notions of the self and otherness, as well as of gender and political awareness. This thesis takes a perspective which reveals that traditional folk arts are not fixed but dynamic, reflecting social change and the dynamics of traditional culture in rural Basque society.
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Bidgood, Lee. "Book Review of 'Exploring American Folk Music, Ethnic, Grassroots, and Regional Traditions in the U.S.’ by Kip Lornell." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1040.
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Rosenberg, Susanne. "Kurbits-ReBoot : svensk folksång i ny scenisk gestaltning." Doctoral thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1348.
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This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.
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Chen, Wei-Sian. "HARVEST FESTIVAL BY YANN-JONG HWANG: A PIANO DUET INSPIRED BY TAIWANESE FOLK TUNES." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/86.
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The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan.
With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory.
This document examines the background of Yann-Jong Hwang; briefly introduces Taiwan, the Amis tribe, and the Harvest Festival event; provides a structural analysis of all four sections of Harvest Festival; and concludes with an appendix consisting of a complete score of Harvest Festival.
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Yang, Yang. "The challenges inherent in promoting traditional folk song performance and pedagogy in Chinese higher education : a case study of Hua'er." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7504/.
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The focus of this doctoral research is on understanding the challenges inherent in bringing authentic' folk singing into mainstream higher education music curricula in China. The research fieldwork adopted a multi-methods approach in three stages, with experienced folk musicians, music tutors and undergraduate students in local higher education colleges in Gansu, China. The initial observation was on identifying and quantifying distinctive musical features of videoed, case study folk song performances within the oral culture and to note their social context within this particular region of China. The chosen music was Hua'er, which is a musical art form that was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2009 by the Educational, Scientific and Cultural Organization, United Nations (UNESCO). Quantitative data from eighteen, field-based authentic folk song recordings from five contemporary folk practitioners were subjected to psychoacoustic analyses in order to search for common performance features. Subsequent qualitative analyses embraced interview and observational data from two follow-up interviews of the recorded case study performers. In the final fieldwork phase, teaching and learning approaches were observed in higher education based lessons by a folk song master and a music tutor with one music student in a college. Implications are drawn for the enrichment of music education in Chinese universities, which is dominated by non-indigenous musics at present, by providing research-based insights into indigenous folk song and performance as well as suggestions for related successful pedagogical strategies.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.
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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Heredos, Rosemary M. "Medieval Minstrels and Folk Balladeers: An Analysis of Orfeo in Celtic Music and Literature." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462977417.
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Silva, Leonardo da. "Canção Caipira: Poesia, Performance, Plasticidade." Niterói, 2017. https://app.uff.br/riuff/handle/1/3454.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O objetivo principal deste trabalho é analisar, sob a tutela da semiótica discursiva, algumas canções caipiras em busca de uma dimensão plástica, que se revela tanto por seu plano de conteúdo quanto por seu plano de expressão. A atenção voltada para a materialidade da canção pode nos levar a descobrir os caminhos que ainda estão se construindo na articulação entre categorias plásticas e musicais. Para pensarmos na passagem do audível das canções para uma dimensão da visualidade e da plasticidade, a noção de figuratividade ocupa um lugar central, ao lado da tematização e da narratividade (BERTRAND, 2003). Todavia, o estudo se abre para a interdisciplinaridade, por essa razão, aproveitamos os conceitos de “produção de presença” e o conceito de Stimmung (GUMBRECHT, 2010, 2014)
The main objective of this paper is to analyze, under the tutelage of discursive semiotics, some folk songs in search of a plastic dimension, which is revealed as much for its content as plan for their expression level. The attention focused on the materiality of the song can lead us to discover the ways that are still being built on the relationship between visual and musical categories. To think of the passage of the listening of the songs to a dimension of visuality and plasticity, the notion of figuration occupies a central place, next to the thematization and narrativity (BERTRAND, 2003). However, the study is open to interdisciplinarity, for this reason, we take the concept of "production of presence" and the concept of Stimmung (GUMBRECHT, 2010, 2014)
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Olson, Ted. "Blind Alfred Reed: Appalachian Visionary." Digital Commons @ East Tennessee State University, 2015. https://amzn.com/B01AHK4WLU.
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Liner notes by Ted Olson, song lyrics, and discography; produced by Ted Olson.
"In this collection, all of Reed’s songs, both faith-based and secular, recorded for the Victor Talking Machine Company over two sessions in 1927 in Bristol TN and Camden, NJ and two sessions in 1929 in New York City, are on one 22 track CD, complemented by well researched essays by Producer Ted Olson and LOTS of archival photos. Reed played fiddle and sang and on some sessions he was accompanied on guitar by his son Orville. ... Olson has included the younger Reed’s solo recordings." --Steve Ramm Review on Amazonhttps://dc.etsu.edu/etsu_books/1117/thumbnail.jpg
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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.
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Fabellini, Antonella. "El performance en la clase ELE: : La danza, un recurso pedagógico para el desarrollo de la competencia lingüística y sociocultural." Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78379.
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This study aims to analyse the use of performance, particularly dance, as a useful didactic tool for the development of linguistic and sociocultural competence in the learning field of Spanish as a foreign language. This professionalizing research is carried out through a comparative analysis of the application of a didactic proposal in two different Spanish learning contexts: an academic institute in the United States and a swedish secondary school.The data, gathered through the interpretative analysis of the responses provided in questionnaires given to the students and teachers at the end of the class and also through the observation process of the sessions, evidence that dance could support the development of linguistic competence since it creates a relaxed learning environment where learners assess their language skills and moreover, generates emotions that promote the specific use of linguistic elements when interaction occurs. Besides, the results demonstrate that the choice of the kind of dance (traditional-folk dance and ethnic dance) and the authenticity of the materials made possible to further the development of cultural competence.En esta investigación se aborda el uso del performance, y en particular la danza, como un recurso didáctico útil para el desarrollo de la competencia lingüística y sociocultural, en el ámbito de aprendizaje del español como lengua extranjera (ELE). Se trata de un trabajo profesionalizador en el que se realiza un análisis comparativo de una propuesta didáctica puesta en práctica en dos entornos de aprendizaje ELE distintos: un contexto académico estadounidense y un instituto de secundaria sueco.Los datos, obtenidos a través del análisis de las respuestas proporcionadas en los cuestionarios entregados a los alumnos y a los docentes al finalizar el proyecto didáctico y también a través de la observación en el aula de las distintas sesiones, evidencian que la danza puede favorecer el desarrollo de la competencia lingüística puesto que establece entornos de aprendizaje relajados donde los aprendientes ponen a prueba sus destrezas lingüísticas y además provoca emociones que promueven el uso específico de elementos lingüísticos cuando ocurren interacciones. Además, los resultados demuestran que la elección de un tipo de danza (la tradicional-folclórica y la étnica) y la autenticidad de los materiales permitieron también el desarrollo de la competencia sociocultural.
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Ruiz-Caraballo, Noraliz. "Continuity and Change in the Puerto Rican Cuatro Tradition: Reflections on Contemporary Performance Practice." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448876345.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Lunelli, Diego Conto. "Performance e religiosidade : ritmo, canto e poesia oral nos rituais de batuque e umbanda em Caxias do Sul/RS." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3379.
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Esta dissertação trata das práticas poéticas e musicais das religiosidades afro-brasileiras na cidade de Caxias do Sul/RS, a Umbanda e o Batuque, a partir da perspectiva da performance e da vocalidade, baseada especialmente nas contribuições de Paul Zumthor (1915 - 1995). Para a elaboração da pesquisa foram realizados dois processos metodológicos. Inicialmente uma pesquisa bibliográfica para dar conta da observação de questões relativas à formação social da região estudada, formação das religiões brasileiras de matriz africana e da base conceitual sobre a poesia oral. O segundo processo metodológico foi de uma etnografia, desenvolvida em uma casa de religião afro-brasileira de Caxias do Sul, o Ile Axé de Ogum Onire, durante dois anos. Esta pesquisa teve um caráter investigativo inédito, pois são poucas as pesquisas existentes sobre religião que abordam a poesia oral e, ao mesmo tempo, inexistem pesquisas baseadas na performance segundo Zumthor que abordem as religiões afro-brasileiras praticadas no Rio Grande do Sul. Outros objetivos importantes deste trabalho foram observar as práticas ritualísticas a partir da perspectiva de região cultural, pois as religiões como práticas sociais tem particularidades importantes a serem observadas de acordo com o contexto no qual acontecem, e também observar as práticas musicais como marcas regionais, não só como particularidades do estado, mas também da região de Caxias do Sul. Ao final do processo de pesquisa foi possível perceber a presença constante, e especialmente a importância, da voz, do ritmo e da melodia na poesia oral dos rituais religiosos de matriz africana em Caxias do Sul. A poesia oral, como monumento significativo das práticas socioculturais de um grupo, é uma manifestação de resistência, ancestralidade, cultura, identidade e expressão das religiões afro-brasileiras.Submitted by Paula Leal (pffleal@ucs.br) on 2017-12-13T17:39:13Z No. of bitstreams: 1 Dissertacao Diego Conto Lunelli.pdf: 4415121 bytes, checksum: a60a6e5b369c1f33cf07eb71fbb70f72 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
This dissertation approaches the poetic an musical practice in the Afro-Brazilian religiosities practiced in the city of Caxias do Sul in Rio Grande do Sul, Umbanda and Batuque, from the perspective of the performance and vocality, theory based especially on Paul Zumthor (1915 - 1995). For the elaboration of this dissertation two methodological processes were used, initially a bibliographical research to observe questions related to the social formation of the studied region, formation of the Brazilian religions with African roots and the conceptual base on oral poetry. The second methodological process was an ethnography, developed in a Afro-Brazilian religion house of Caxias do Sul, called Ilê Axé de Ogun Onire, for two years. This research had an unprecedented investigative character, as far as we know there is a few researches on religion that studies oral poetry and, at the same time, performance research according to Zumthor (1997) does not refers to the Afro-Brazilian religions practiced in Rio Grande do Sul. Another important objective of this work were to observe ritualistic practices from the perspective of cultural region, since religions as social practices have important peculiarities to be observed according to the context in which they happened, and also to observe the musical practices as regional marks, also in the region of Caxias do Sul. At the end of the research process it was possible to see the constant presence, and especially the importance, of the voice, the rhythm and the melody in the oral poetry of religious rituals with African roots in Caxias do Sul. Oral poetry, as a significant monument of the sociocultural practices of a group is an expression of resistance, ancestry, culture, identity and expressivity of Afro-Brazilian religions.
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Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.
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Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.
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Brito, Mariana do Socorro da Silva. "A construção da performance das seis danças romenas de Béla Bártok: memorial de um processo criativo centrado no corpo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/174079.
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Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional.This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.
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Noh, Wonil. "A Conductor's Guide to Hyo-Won Woo's Choral Music as Reflected in "Oh! KOREA"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404580/.
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The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.
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Mitchell, Aaron Paul. "A Conductor's Guide to Ariel Ramírez's Misa Criolla." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243354657.
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David, Fabrice. "Étude anthropologique de la création chorégraphique d'un spectacle de danse bretonne : Abenn Dimeurh de l'ensemble musique et danse Kevrenn Alré (Bretagne, France)." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL011.
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Cette thèse s'intéresse au processus de création chorégraphique d'un spectacle de danses traditionnelles en Bretagne. Elle a été menée à partir d’un terrain effectué au sein de la Kevrenn Alré, ensemble de musique et danse bretonnes basé à Auray dans le Morbihan, de novembre 2010 à novembre 2012. Comme la majorité des groupes bretons, cet ensemble crée son spectacle annuel pour le besoin d'un concours organisé par sa confédération. La recherche analyse les activités et les modes collectifs de production mis en œuvre lors de la fabrication du spectacle Abenn dimeurh sur le thème des préparatifs d'une noce en pays d'Auray vers 1900. La description ethnographique d'un moment de concours et l'analyse des dynamiques internes de la Kevrenn Alré permettent d'abord d'appréhender la relation du groupe à son environnement socio-culturel et d'interroger la façon dont le cadre compétitif façonne le processus de création d'un spectacle. La fabrication d'Abenn Dimeurh est ensuite observée en détaillant les différentes étapes organisées par les chorégraphes : émergence du thème, collectage, présentation du projet aux danseurs, écriture chorégraphique. Cette observation met en lumière la façon dont les responsables de la Kevrenn Alré, pour faire aboutir leur projet artistique, doivent articuler un processus de création nettement ordonnancé et une organisation collective des activités. Au fil du processus sont engagées différentes formes de coopération qui montrent que les acteurs envisagent la notion du collectif et le travail en groupe autour d'une vision commune du sens de l'effort et de la responsabilité partagée. Il se dégage de l’analyse que la définition du travail artistique comme une activité collective est opératoire dans le contexte de la danse bretonne de spectacle en tenant compte des spécificités de l'univers associatif. Dans cet univers, les membres de la Kevrenn Alré s'efforcent de concilier le plaisir du partage et la réussite au concours. De ce constat émerge que le processus de création marque la production de son empreinte en engendrant un spectacle qui exprime leur vision de la culture bretonneThis thesis focuses on the process of choreographic creation of a folk dance performance in Brittany. It is based on fieldwork conducted in Kevrenn Alré, a Breton music and dance ensemble based in Auray in Morbihan, from November 2010 to November 2012. Like most Breton groups, Kevrenn Alré create their show to compete in the annual contest organized by the folk dance organization to which they belong. The research analyses the collective activities and modes of production implemented during the creation of the performance Abenn dimeurh on the theme of the preparations for a wedding in the Auray region around 1900.The ethnographic description of a dance contest and the analysis of Kevrenn Alré's internal dynamics first allow us to understand the group's relationship to its socio-cultural environment and to examine how the competitive framework shapes the creative process of a show. The making of Abenn Dimeurh is then observed by investigating the various steps organized by the choreographers: finding the theme, collecting data, presenting the project to the dancers, making and staging the choreographic score. This observation highlights the way Kevrenn Alré's leaders, in order to carry out their artistic project, must articulate a clearly organized creative process and a collective organization of activities. Throughout the process, various forms of cooperation are initiated, showing that the actors consider the notion of being and working together around a common vision of joint endeavour and shared responsibilities. The analysis shows that the definition of artistic work as a collective activity is operative in the context of Breton folk dance performance, taking into account the specificities of voluntary associations. In this environment, the members of Kevrenn Alré struggle to bring together the pleasure of shared activities and success in the contest. From all this, it emerges that the creative process leaves its imprint on the production by generating a performance that expresses their vision of Breton culture
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Beisswenger, Donald. "Singing Schools in Southcentral Kentucky." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2128.
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Singing school teachers, who teach rural church congregations to sing from shape-note gospel songbooks, are still working in southcentral Kentucky, but the demand for them is smaller than it was in the first half of the twentieth century. The interdependence network in which singing school teachers, songbook publishers, and community singing events were key parts began to weaken in the 1940s as a result of the growth in popularity of professional gospel quartet concerts and gospel record albums. Many gospel music enthusiasts who once looked to songbooks as a major source for new material and for developing singing skills turned to albums and concerts in the 1940s. Singing school teachers began to be called on less frequently.
The first three chapters of this thesis contain an overview of the gospel singing events, the songbook publishers, and the singing schools. The nature of the relationship between these three gospel music institutions is established. In the fourth chapter, I profile three singing school teachers of southcentral Kentucky. In the conclusion, the development of popular religious music since the early 1800s is summarized and the importance of researching Southern white gospel music as a step toward a greater understanding of Southern music traditions as a whole is examined.
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Semadeni, Matthew Briggs. "Leaving the corporate fold examining spin-off actions and performance /." Texas A&M University, 2003. http://hdl.handle.net/1969/289.
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Mellish, E. S. "Dancing through the city and beyond : lives, movements and performances in a Romanian urban folk ensemble." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1432797/.
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This thesis investigates the lives, movements and performances of dancers in a Romanian urban folk ensemble from an anthropological perspective. Drawing on an extended period of fieldwork in the Romanian city of Timisoara, it gives an inside view of participation in organised cultural performances involving a local way of moving, in an area with an on-going interest in local and regional identity. It proposes that twentyfirst century regional identities in southeastern Europe and beyond, can be manifested through participation in performances of local dance, music and song and by doing so, it reveals that the experiences of dancers has the potential to uncover deeper understandings of contemporary socio-political changes. This micro-study of collective behaviour, dance knowledge acquisition and performance training of ensemble dancers in Timisoara enhances the understanding of the culture of dance and dancers within similar ensembles and dance groups in other locations. Through an investigation of the micro aspects of dancers’ lives, both on stage in the front region, and off stage in the back region, it explores connections between local dance performances, their participants, and locality and the city. It draws on multi-layer concepts of local belonging that interact with notions of continuity and visibility, local cultural norms, and performance aesthetics. This thesis follows the dancers through their ensemble lives, starting from their apprenticeship when they learn local dance moves and acquire a sense of belonging to the ensemble. It examines the role of the key choreographers as pseudo-parents within their ensemble family and the authorities that provide time-depth and stability through the maintenance of local cultural norms within ensemble life and in performance aesthetics. It examines the dancers’ involvement in local event organisation during the performance process, and concludes that the continuity of local dance, music and song is dependent on its local and translocal visibility.
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Testad, Gunnel. ""Solidariteten, det vackra i denna strid...". Spelet om Norbergsstrejken 1891-92 : En studie i arbetarkultur." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-75218.
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This thesis is a monograph on The Play about the Norberg Strike 1891–92, a pioneering project and performance relating to working-class cultural expressions. The project was initiated in the summer of 1975, and the first successful performances were held in June and July 1977. The democracy of cultural life was very positively manifested in The Play and in Swedish media, it was described as the first working-class play. It served as a model for other similar productions, set in many places in Sweden. The investigation began with field studies, which facilitated the choice of a suitable theory. A starting-point was that a specific working-class culture exists, subordinated to the dominant middle class culture. Social class distinction is an underlying concept for hegemony, and also for the spanning theoretical framework used in my investigation. It comprises a public sphere theory, formulated by Oskar Negt and Alexander Kluge in their book Öffentlichkeit und Erfahrung (1972). Their concept counter-public sphere is applied to The Play. The main purpose was to describe the characteristic features of The Play, by delineating and analysing the production phase, particularly the aesthetically elaborated parts, i.e. the script production, the staging, the performance, and the reception, all consistent with the working-class culture and the local conditions in Norberg. A more subordinated purpose was to complete the common definition of the term working-class play. The Play about the Norberg Strike succeeded in putting the negative influences of the bourgeois public sphere aside, replacing it with positive categories. The work processes were of vital importance, as was the forming of new platforms and communication channels based on the local working-class experiences and lives. Consequently, The Play became a genuine expression and a solid breakthrough for working-class experiences.
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Coutinho, Emanuel Ferreira. "FOLE: A Conceptual Framework for Elasticity Performance Analysis in Cloud Computing Environments." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13197.
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Currently, many customers and providers are using resources of Cloud Computing environments,such as processing and storage, for their applications and services. Through ease of use, based on the pay per use model, it is natural that the number of users and their workloads also grow. As a result, providers should expand their resources and maintain the agreed level of quality for customers, otherwise breaks the Service Level Agreement (SLA) and the resulting penalties. With the increase in computational resources usage, a key feature of Cloud Computing
has become quite attractive: the elasticity. Elasticity can be defined as how a computational cloud adapts to variations in its workload through resources provisioning and deprovisioning.
Due to limited availability of information regarding configuration of the experiments, in general is not trivial to implement elasticity concepts, much less apply them in cloud environments.
Furthermore, the way of measuring cloud elasticity is not obvious, and there is not yet a standard
for this task. Moreover, its evaluation could be performed in different ways due to many
technologies and strategies for providing cloud elasticity. A common aspect of elasticity performance
analysis is the use of environmental resources, such as CPU and memory, and even without a specific metric, to allow an indirectly assess of elasticity. In this context, this work
proposes FOLE, a conceptual framework for conducting performance analysis of elasticity in Cloud Computing environments in a systematic, flexible and reproducible way. To support the framework, we proposed a set of specific metrics for elasticity and metrics for its indirect measurement.
For the measurement of elasticity in Cloud Computing, we proposed metrics based on concepts of Physics, such as strain and stress, and Microeconomics, such as Price Elasticity of Demand. Additionally, we also proposed metrics based on resources allocation and deallocation
operation times, and used resources, to support the measurement of elasticity. For verification and validation of the proposal, we performed two experiments, one in a private cloud and other in a hybrid cloud, using microbenchmarks and a classic scientific application, through a designed infrastructure based on concepts of Autonomic Computing. Through these experiments,
FOLE had validated their activities, allowing the systematization of a elasticity performance
analysis. The results show it is possible to assess the elasticity of a Cloud Computing environment
using specific metrics based on other areas of knowledge, and also complemented by metrics related to time and resources operations satisfactorily.Atualmente muitos clientes e provedores estÃo utilizando recursos de ambientes de ComputaÃÃo em Nuvem, tais como processamento e armazenamento, para suas aplicaÃÃes e serviÃos. Devido à facilidade de utilizaÃÃo, baseada no modelo de pagamento por uso, à natural que a quantidade de usuÃrios e suas respectivas cargas de trabalho tambÃm cresÃam. Como consequÃncia, os provedores devem ampliar seus recursos e manter o nÃvel de qualidade acordado com os clientes, sob pena de quebras do Service Level Agreement (SLA) e consequentes multas. Com o aumento na utilizaÃÃo de recursos computacionais, uma das caracterÃsticas principais da ComputaÃÃo em Nuvem tem se tornado bastante atrativa: a elasticidade. A elasticidade pode ser definida como o quanto uma nuvem computacional se adapta a variaÃÃes na sua carga de trabalho atravÃs do provisionamento e desprovisionamento de recursos. Devido à pouca disponibilidade de informaÃÃo em relaÃÃo à configuraÃÃo dos experimentos, em geral nÃo à trivial implementar conceitos de elasticidade, muito menos aplicÃ-los em ambientes de nuvens computacionais. AlÃm disso, a maneira de se medir a elasticidade nÃo à tÃo Ãbvia, e bastante variada, nÃo havendo ainda uma padronizaÃÃo para esta tarefa, e sua avaliaÃÃo pode ser executada de diferentes maneiras devido Ãs diversas tecnologias e estratÃgias para o provimento da elasticidade. Um aspecto comum na avaliaÃÃo de desempenho da elasticidade à a utilizaÃÃo de recursos do ambiente, como CPU e memÃria, e mesmo sem ter uma mÃtrica especÃfica para a elasticidade, à possÃvel se obter uma avaliaÃÃo indireta. Nesse contexto, este trabalho propÃe o FOLE, um framework conceitual para a realizaÃÃo de anÃlise de desempenho da elasticidade em nuvens computacionais de maneira sistemÃtica, flexÃvel e reproduzÃvel. Para apoiar o framework, mÃtricas especÃficas para a elasticidade e mÃtricas para sua mediÃÃo indireta foram propostas. Para a mediÃÃo da elasticidade em ComputaÃÃo em Nuvem, propomos mÃtricas baseadas em conceitos da FÃsica, como tensÃo e estresse, e da Microeconomia, como Elasticidade do PreÃo da Demanda. Adicionalmente, mÃtricas baseadas em tempos de operaÃÃes de alocaÃÃo e desalocaÃÃo de recursos, e na utilizaÃÃo desses recursos foram propostas para apoiar a mediÃÃo da elasticidade. Para verificaÃÃo e validaÃÃo da proposta, dois estudos de caso foram realizados, um em uma nuvem privada e outro em uma nuvem hÃbrida, com experimentos projetados utilizando microbenchmarks e uma aplicaÃÃo cientÃfica clÃssica, executados sobre uma infraestrutura baseada em conceitos de ComputaÃÃo AutonÃmica. Por meio desses experimentos, o FOLE foi validado em suas atividades, permitindo a sistematizaÃÃo de uma anÃlise de desempenho da elasticidade. Os resultados mostram que à possÃvel avaliar a elasticidade de um ambiente de ComputaÃÃo em Nuvem por meio de mÃtricas especÃficas baseadas em conceitos de outras Ãreas de conhecimento, e tambÃm complementada por mÃtricas relacionadas a tempos de operaÃÃes e recursos de maneira satisfatÃria.
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White, Robert D. (Robert David) 1976. "Effects of impact and vibration on the performance of a micromachined tuning fork gyroscope." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/16723.
Full textAbstract:
Thesis (S.B. and S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 1999.Includes bibliographical references (p. 188).
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
by Robert D. White.
S.B.and S.M.
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Azgin, Kivanc. "High Performance Mems Gyroscopes." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608194/index.pdf.
Full textAbstract:
This thesis reports development of three different high performance, low g-sensitive micromachined gyroscopes having single, double, and quadruple masses. The single mass gyroscope (SMG) is developed for comparison of its performance with the double mass gyroscope (DMG) and quadruple mass gyroscope (QMG). DMG is a tuning fork gyroscope, diminishing the effects of unpredictable g-loadings during regular operation, while QMG is a twin tuning fork gyroscope, developed for a uniform and minimized g-sensitivity. DMG and QMG use novel ring spring connections for merging the masses in drive modes, providing uniform and anti-phase drive mode vibrations that minimize the cross-coupling and the effects of intrinsic and extrinsic accelerations on the scale factor and bias levels of the gyroscopes. The sense mode of each mass of the multi-mass gyroscopes is designed to have higher resonance frequencies than that of the drive mode for possible matching requirements, and these sense modes have dedicated frequency tuning electrodes for frequency matching or tuning. Detailed performance simulations are performed with a very sophisticated computer model using the ARCHITECT software.
These gyroscopes are fabricated using a standard SOIMUMPs process of MEMSCAP Inc., which provides capacitive gaps of 2 µm and structural layer thickness of 25 µ
m. Die sizes of the fabricated gyroscope chips are 4.1 mm x 4.1 mm for the single mass, 4.1 mm x 8.9 mm for the double mass, and 8.9 mm x 8.9 mm for the quadruple mass gyroscope. Fabricated gyroscopes are tested with dedicated differential readout electronics constructed with discrete components. Drive mode resonance frequencies of these gyroscopes are in a range of 3.4 kHz to 5.1 kHz. Depending on the drive mode mechanics, the drive mode quality (Q) factors of the fabricated gyroscopes are about 300 at atmospheric pressure and reaches to a value of 2500 at a vacuum ambient of 50 mTorr. Resolvable rates of the fabricated gyroscopes at atmospheric pressure are measured to be 0.109 deg/sec, 0.055 deg/sec, and 1.80 deg/sec for SMG, DMG, and QMG, respectively. At vacuum, the respective resolutions of these gyroscopes improve significantly, reaching to 106 deg/hr with the SMG and 780 deg/hr with the QMG, even though discrete readout electronics are used. Acceleration sensitivity measurements at atmosphere reveal that QMG has the lowest bias g-sensitivity and the scale factor g sensitivity of 1.02deg/sec/g and 1.59(mV/(deg/sec))/g, respectively. The performance levels of these multi-mass gyroscopes can be even further improved with high performance integrated capacitive readout electronics and precise sense mode phase matching.
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Coutinho, Emanuel Ferreira. "FOLE: Um framework conceitual para avaliação de desempenho da elasticidade em ambientes de computação em nuvem." reponame:Repositório Institucional da UFC, 2014. http://www.repositorio.ufc.br/handle/riufc/18673.
Full textAbstract:
COUTINHO, Emanuel Ferreira. FOLE: Um framework conceitual para avaliação de desempenho da elasticidade em ambientes de computação em nuvem. 2014. 151 f. Tese (Doutorado em ciência da computação)- Universidade Federal do Ceará, Fortaleza-CE, 2014.Submitted by Elineudson Ribeiro (elineudsonr@gmail.com) on 2016-07-12T19:32:22Z No. of bitstreams: 1 2014_tese_efcoutinho.pdf: 4432785 bytes, checksum: c8a0bea866dc212f28683d4c6ecef785 (MD5)
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Currently, many customers and providers are using resources of Cloud Computing environments,such as processing and storage, for their applications and services. Through ease of use, based on the pay per use model, it is natural that the number of users and their workloads also grow. As a result, providers should expand their resources and maintain the agreed level of quality for customers, otherwise breaks the Service Level Agreement (SLA) and the resulting penalties. With the increase in computational resources usage, a key feature of Cloud Computing has become quite attractive: the elasticity. Elasticity can be defined as how a computational cloud adapts to variations in its workload through resources provisioning and deprovisioning. Due to limited availability of information regarding configuration of the experiments, in general is not trivial to implement elasticity concepts, much less apply them in cloud environments. Furthermore, the way of measuring cloud elasticity is not obvious, and there is not yet a standard for this task. Moreover, its evaluation could be performed in different ways due to many technologies and strategies for providing cloud elasticity. A common aspect of elasticity performance analysis is the use of environmental resources, such as CPU and memory, and even without a specific metric, to allow an indirectly assess of elasticity. In this context, this work proposes FOLE, a conceptual framework for conducting performance analysis of elasticity in Cloud Computing environments in a systematic, flexible and reproducible way. To support the framework, we proposed a set of specific metrics for elasticity and metrics for its indirect measurement. For the measurement of elasticity in Cloud Computing, we proposed metrics based on concepts of Physics, such as strain and stress, and Microeconomics, such as Price Elasticity of Demand. Additionally, we also proposed metrics based on resources allocation and deallocation operation times, and used resources, to support the measurement of elasticity. For verification and validation of the proposal, we performed two experiments, one in a private cloud and other in a hybrid cloud, using microbenchmarks and a classic scientific application, through a designed infrastructure based on concepts of Autonomic Computing. Through these experiments, FOLE had validated their activities, allowing the systematization of a elasticity performance analysis. The results show it is possible to assess the elasticity of a Cloud Computing environment using specific metrics based on other areas of knowledge, and also complemented by metrics related to time and resources operations satisfactorily.
Atualmente muitos clientes e provedores estão utilizando recursos de ambientes de Computação em Nuvem, tais como processamento e armazenamento, para suas aplicações e serviços. Devido à facilidade de utilização, baseada no modelo de pagamento por uso, é natural que a quantidade de usuários e suas respectivas cargas de trabalho também cresçam. Como consequência, os provedores devem ampliar seus recursos e manter o nível de qualidade acordado com os clientes, sob pena de quebras do Service Level Agreement (SLA) e consequentes multas. Com o aumento na utilização de recursos computacionais, uma das características principais da Computação em Nuvem tem se tornado bastante atrativa: a elasticidade. A elasticidade pode ser definida como o quanto uma nuvem computacional se adapta a variações na sua carga de trabalho através do provisionamento e desprovisionamento de recursos. Devido à pouca disponibilidade de informação em relação à configuração dos experimentos, em geral não é trivial implementar conceitos de elasticidade, muito menos aplicá-los em ambientes de nuvens computacionais. Além disso, a maneira de se medir a elasticidade não é tão óbvia, e bastante variada, não havendo ainda uma padronização para esta tarefa, e sua avaliação pode ser executada de diferentes maneiras devido às diversas tecnologias e estratégias para o provimento da elasticidade. Um aspecto comum na avaliação de desempenho da elasticidade é a utilização de recursos do ambiente, como CPU e memória, e mesmo sem ter uma métrica específica para a elasticidade, é possível se obter uma avaliação indireta. Nesse contexto, este trabalho propõe o FOLE, um framework conceitual para a realização de análise de desempenho da elasticidade em nuvens computacionais de maneira sistemática, flexível e reproduzível. Para apoiar o framework, métricas específicas para a elasticidade e métricas para sua medição indireta foram propostas. Para a medição da elasticidade em Computação em Nuvem, propomos métricas baseadas em conceitos da Física, como tensão e estresse, e da Microeconomia, como Elasticidade do Preço da Demanda. Adicionalmente, métricas baseadas em tempos de operações de alocação e desalocação de recursos, e na utilização desses recursos foram propostas para apoiar a medição da elasticidade. Para verificação e validação da proposta, dois estudos de caso foram realizados, um em uma nuvem privada e outro em uma nuvem híbrida, com experimentos projetados utilizando microbenchmarks e uma aplicação científica clássica, executados sobre uma infraestrutura baseada em conceitos de Computação Autonômica. Por meio desses experimentos, o FOLE foi validado em suas atividades, permitindo a sistematização de uma análise de desempenho da elasticidade. Os resultados mostram que é possível avaliar a elasticidade de um ambiente de Computação em Nuvem por meio de métricas específicas baseadas em conceitos de outras áreas de conhecimento, e também complementada por métricas relacionadas a tempos de operações e recursos de maneira satisfatória.
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White, Braden Spencer. "Measurement of Wood Pallet Performance Subjected to Uniform Loading in Racked, Fork Tine, and Floor Stacked Support Conditions." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/33730.
Full textAbstract:
Wood pallets are heavily used throughout the United States and the World to transport, store, and protect goods. During a lifecycle, pallets typically experience various stresses from warehouse storage racks, materials handling equipment, and floor stacking situations. The components within the pallet interact to withstand load and impact forces. Every year product damage and human injury/death result from improperly designed pallets, non-reliable packaging systems, and careless materials handling methods.
In use wood pallets are exposed to a variety of loads and support conditions. This research investigates the effect of different pallet designs and support conditions on pallet stiffness. Uniform loads were applied to pallet designs containing thick or thin components and three, four, or five non-notched and notched stringers. The pallets were supported using racked across the length, racked across the width, fork truck tine, and floor stack support conditions. Structural analysis was used to determine the test loads for each pallet bending test. Pallet deflections were measured in specific locations for each bending test.
Pallet test results indicated that heavy duty pallets are 6.5 times stiffer than light duty pallets tested in the racked across width (RAW) support condition. Non-notched pallets tested are 51% stiffer than notched pallets in the racked across length (RAL) support condition. Test results also indicated that a wider fork tine support span decreases average pallet stiffness by 29% and 49% for 4 and 5 stringer pallets, compared to 3 stringer. The heavy duty pallets tested are, on average, 48.3% stiffer than light duty pallets in the fork tine support condition. For the notched fork tine support condition, the average pallet stiffness decreased by 29% and 3% for four and five stringer pallets, compared to three stringer.
Pallet joints were tested to measure joint stiffness. Joint rotation tests were conducted to determine rotation modulus and joint withdrawal tests were conducted to determine joint withdrawal stiffness. The joint stiffness measurements were used as spring constants in structural analysis based on semi-rigid joint performance. Heavy duty pallet joints were approximately half as stiff (6758 in-lbs/radian) in rotation as light duty pallet joints (12907 in-lbs/radian). Light duty pallet joints were less stiff (44008 lbs/in) in withdrawal than heavy duty pallet joints (57823 in/lbs).
The results from this research were used to compare with results from ANSYS (Version 11) structural model estimates. The average predicted error for all pallet bending tests was 13% (heavy duty) and 3% (light duty).
Master of Science
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Polychronos, Theofanis. "Performance analysis of Binary FSK signals with L-Fold diversity selection combining techniques in a Nakagami-M fading channel." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1998. http://handle.dtic.mil/100.2/ADA353062.
Full textAbstract:
Thesis (M.S. in Electrical Engineering) Naval Postgraduate School, September 1998."September 1998." Thesis advisor(s): Tri T. Ha, Ralph D. Hippenstiel. Includes bibliographical references (p. 61). Also available online.
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Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.
Full text