Dissertations / Theses on the topic 'Performance art Themes'
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1
Pell, Sarah Jane. "Aquabatics as New Works of Live Art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1639.
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This practice-based thesis (comprising of an exegesis, exhibition, performances
and their documentation) traces a myriad of cognitive and sub cognitive
processes that converge towards a complex practice referred to as 'Aquabatics'.
In broad terms, Aquabatics describes the research nexus of occupational diving
and contemporary performance. The purpose of this body of research has been
to explore underwater performance, behaviour and boarders, in order to both
devise new works of live art and to develop new methodologies and approaches
to art-making. Aquabatics, as a performance strategy, seeks to critique, contest
and explore the liminal natures of human performance, and the role and context
of live artists, in contemporary life.
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Haberman, Margaret A. "Performative Writing in Performance Studies: Filling in Missing Spaces." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/HabermanMA2009.pdf.
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Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.
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AN ABSTRACT OF THE THESIS OF LAURA A. KISE, for the Master of Arts degree in CLINICAL PSYCHOLOGY, presented on April 14, 2010, at Southern Illinois University Carbondale. TITLE: PERFORMANCE ART AS SUBLIMATION: THE CASE OF DANCE MAJOR PROFESSOR: Dr. Stephen Dollinger Creativity and sublimation have been linked throughout the theoretical literature on psychological defense, especially in relation to artistic creativity. As a performance art, dance has been included as a creative form in one of the commonly used measures of creative accomplishments. These links suggest the possibility that dance and sublimation may be related. The purpose of this study was to determine whether dancers endorsed sublimation more than did non-dancers. Participants consisted of 126 female participants recruited from two psychology courses and a university dance company. They completed a questionnaire about level of involvement in dance, Hocevar's Creative Behavior Inventory (including a number of dance items), and the Defense Styles Questionnaire with additional sublimation items (modeled after the sublimation item already in the DSQ) embedded within it. Results indicated that sublimation was a significant predictor of dance, as was SES. SES had a curvilinear relationship with dance such that those identified as well-off were most likely to dance. Four of the six individual sublimation items correlated significantly with dance. Particular motivations to dance also correlated significantly with sublimation and dance. Dance correlated with some of the other CBI creativity scales, but not all, suggesting domain specificity.
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Harrison, Jane. "Indig-curious : what are the challenges for non Aboriginal theatre practitioners in accessing and interpreting Aboriginal themes?" Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32152/1/Jane_Harrison_Thesis.pdf.
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How do non-Indigenous theatre practitioners, especially actors, access and incorporate Aboriginal themes in the plays they create or perform in? Will it ever be acceptable for a non-Aboriginal actor to play an Aboriginal role? In literature there are clear protocols for writing Aboriginal characters and themes. In the visual arts and in dance, non-Indigenous practitioners might 'reference' Aboriginal themes, but what about in theatre performance? This research embodies one cultural dilemma in a creative project and exegesis: exploring the complex issues which emerge when an Aboriginal playwright is commissioned to write an 'Aboriginal themed' play for two non-Aboriginal actors.
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Heinemann, Karen Kruse. "Processing Trauma: Reading Art in 9/11 Novels." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1473.
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While the negative effects of the terrorist attack of September 11, 2001 are still permeating throughout the United States, a few novelists have taken on the extreme task of writing about this historic event. Richard Gray describes the failure of language after the attack took place, yet novelists wanted to write about this tragedy anyway. Reading trauma in 9/11 is inevitable as it is important. In looking at three novels that deal with the events during and the aftermath of 9/11, I hope to consider the way art is used in these texts. In doing so, my thesis will look at the possibility of art being able to heal the wounds of this traumatic event. My second chapter will focus on the novel Extremely Loud and Incredibly Close by Jonathan Safran Foer. This novel depicts the effect 9/11 had on the child protagonist, Oskar, and follows him as he works through the trauma of losing his father in the South Tower. The third chapter of my thesis will discuss Don DeLillo's Falling Man, which offers a depiction of the powerful effect trauma has on the main characters in the novel, particularly Lianne. The performance artist is discussed at length. My fourth chapter will discuss the novel The Submission by Amy Waldman. Just as Maya Lin's submission for her Vietnam memorial sparked controversy, Waldman takes the same approach by casting an American Muslim as the artist and memorial architect for 9/11. While the previous novels focus on the personal effects of trauma on the characters, my chapter on The Submission will elucidate how trauma is negotiated on a national scale. I hope to answer such questions as: What do we expect in a memorial? What should we expect? What are the various demands survivors place on memorials?
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Nutile, Alexa. "(Dis)connections." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1402.
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This paper is a conceptual, theoretical, and methodological exploration of my MFA thesis project (Dis)connections. My work combines time-based media, objects, and performance into a single installation that represents my struggles with anxiety and my desire to connect with people socially. My work is ultimately about the complexity of the structures of language and communication in all their forms and representations. I draw on research into feminist theory and gender studies as well as cultural theory as a way to ground my work in political and social issues that are continually relevant in Western culture, and to propose that by situating my stories within larger structures of power they have the ability to connect to a wider group of people.
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Adlem, Ann. "An evaluation of the instructional practices in voice teaching at Australian performing art institutions." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/443.
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The purpose of this study was to identify and evaluate the practices and techniques of vocal training for student actors at a tertiary level, through a survey of experienced voice practitioners in Australian performing arts schools, appropriate texts, consideration of contexts and my own professional experience. Vocal instruction starts with the basic training of ‘the instrument’ or the vocal capabilities of the body. Following this or concurrent with its teaching, more specific forms of training are addressed. This research project used qualitative research methods to compile a detailed description of the voice teaching practices currently used in Australia. It comprises two parts, namely, a documented analysis of vocal training for acting and a series of interviews with professional voice trainers at performing arts institutions in Australia. The analysis attempted to discern and clarify patterns and themes in vocal training and detail possible similarities/differences with overseas models of teaching identified by the analysis of American and British texts in current use.
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Knijnenburg, Nicholas. "What are the issues that arise in the creation and presentation of a hybrid art work?" Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35838/1/35838_Digitised%20Thesis.pdf.
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As a creative expression, the multi or hybrid art form is in its infancy and still battling to achieve recognition and acceptance. This thesis recognises the importance of this new form and considers the place of artistic hybridity in history to constrnct a clear definition. This definition is used as a template for the construction of a new hybrid work, called Coma Neck 8. Using a Performance as Research methodology Coma Neck 8 provides data for the exploration of issues encountered in preparing and presenting a hybrid work. The issues are categorised as the intention of the work, form, amateur/professional status, logistical context and human context of the work. The synthesis and
analysis of these issues then provides a series of best practice principles for future art makers to consider.
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House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.
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Thesis (M.M.)--University of North Texas, 2002.A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
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Fitzgerald, Thomas A. "New music composition for live performance and interactive multimedia." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/284.
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The focus of this DCA thesis is the development of original creative audio and audio-visual work. Central to this is a study of the nature of interactivity and sonic relationships between electroacoustic and acoustic music, extended further by the application of sonic and visual interactivity. This written documentation accompanies the major part of the DCA submission, a folio of five original works. Its purpose is to clarify, document and contextualise the creation of these works and to illuminate the aesthetic underpinnings and compositional techniques that I have developed during the period 2000 � 2004. The structure of this documentation is in three parts which support the research methodology of reflective investigation. This process begins with an introductory overview (Chapter 1). This is extended in the second part, (Chapters 2�5), an observation of the effect of the culture, contemporary musical environments and related creative practice in my work. The third part, (Chapters 6�10), details the nature, and techniques utilized in the development of the new works. These developments have also embraced the combination of live projected interactive visual imagery with acoustic and electronic instrumentation. Finally, I have investigated the role of sonic spatialisation and texture as expressive and structural devices in music composition.
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Lindner, Stacie M. "Janine Antoni finding a room of her own /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-133229/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Susan Richmond, committee chair; Nancy Floyd, Maria P. Gindhart, committee members. Electronic text (127 p. : iil. (mostly col.)) : digital, PDF file. Description based on contents viewed June 20, 2007. Includes bibliographical references (p. 121-127).
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Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
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Thesis (PhD)--Stellenbosch University, 2012.Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
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Davis, Nameer. "The existential subject of concrete performance poetry." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35868/1/35868_Davis_1996.pdf.
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This dissertation is a claim for the act of Concrete Performance Poetry (and the Poet) as the "bridge" between existence and experience. I have structured the argument to locate the theory I have drawn on, and the practice of Performance Poetry, in three specific areas. "The Performance" (Chapter One); "The Concrete" (Chapter Two); and "The PoeU Poetry" (Chapter Three).
Chapter One. The Performance provides a circumstance for the PHENOMENOLOGICAL rapport between the PERFORMER and
LANGUAGE deriving from John Austin's SPEECH-ACT and Maurice Merleau-Ponty's EMPIRICAL and EXISTENTIAL speech. I also engage Charles Sanders Pierce's triadic model of interpretation to argue for the position of the Performer as the MECHANISM or INTERPRETANT of experience within the imperative to form the moment of existence.
Chapter Two. This chapter has as its locus, the CONCRETE and I have used Lisolette Gumpel's claim that there are two areas in which the concrete operates. (1) In the realm of existence - emanating from a concrete world and (2) in the realm of experience - emanating from a language system.
Chapter Three. This chapter examines the ACT of Concrete
Performance Poetry and the specific dialogue between experience and existence - language and performer - as instanced in the work of
Jas H. Duke and David Antin.
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Izygon, Michel. "Evaluation des performances annuelles de la centrale solaire THEMIS comparaison des performances de différentes centrales solaires /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37606111r.
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Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.
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Erdner, Kevin. "THE EFFECTS OF A BRIEF MINDFULNESS INTERVENTION ON ACADEMIC PERFORMANCE." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2282.
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An increasing number of publications from a variety of human service fields have sought to utilize mindfulness meditation as a means to reduce psychological distress and increase positive psychological outlooks. These studies typically involve mindfulness training and typically last anywhere from 4 hours to 8 weeks. To date, no published research has established the minimal amount of time for effective outcomes to benefit from mindfulness exposure. The purpose of this study is to evaluate whether brief exposure to mindfulness training before a discrete event can lead to positive outcomes in that event and increased mindfulness in a group of university students. A group of 26 undergraduate and graduate students in two different classes were exposed to either a control task (listening to music) or a mindfulness intervention just prior to taking a quiz. The session lasted no more than 30 minutes and the mindfulness intervention itself was timed to not exceed 15 minutes. Visual inspection of the data yielded some positive outcomes in terms of increased performing on a quiz in comparison to quiz grades the week before. Statistical analysis suggested that these outcomes were not statistically significant. This study adds to the research on mindfulness as an intervention for positive outcomes. Implications for future research on practical benefits of mindfulness were discussed.
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Findlay, Jules. "Mrs Gallagher, Acts of disobedience : performance and installation in rural New Zealand : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1366/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.Appendix 4 contains 2 DVDs. Includes bibliographical references. Also held in print (55 leaves : col. ill. ; 22 x 30 cm. + 2 DVDs) in City Campus Collection (T 709.93 FIN)
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Maase, Jakob W. "Keeping the Magic: Fursona Identity and Performance in the Furry Fandom." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1512.
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The furry subculture (also known as the anthropomorphic fandom) creates identity through anthropomorphism and therianthropy. Anthropomorphism is the giving of human traits to the non-human. Therianthropy is the giving of animal traits to the human. Through play and creating art, these individuals of the furry subculture take on an anthropomorphic identity (what furries call a fursona) while bridging local and global groups through communication technologies. For this folklore project I conducted ethnographic field works interviews with the Bowling Green, Kentucky fur group. I also build off of the interviews project with an online furry role-play group as well as a Manhattan, Kansas fur group. This thesis explores furry folklore: how members of the furry fandom create, relate to, and express their fursonas. This was done by looking at people’s narrative of joining the fandom and stories of their fursona creation, furry art, fursuits, and fursuit performance. At the same time it covers the complexities of furries as a network and how they mitigate stigma and identity.
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Steyn, Esther. "Are unit trust performances inflated at quarter-ends." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53290.
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Thesis (MBA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: Suspicion has long existed that the performance of unit trusts is artificially inflated at quarter-ends, as those are the periods focussed on in the press. Studies investigating this have been done in the USA, but to date no similar study has been done in South Africa. This study examines the daily net asset value (NAV) performances of South Africa's domestic equity funds for the period from 1996 to 2002, as obtained from the MoneyMate database. Specifically, returns in excess of the benchmark index at quarterends are compared to excess returns at other month ends. The benchmark index performance is subtracted to correct for movement in the market. Domestic equity funds are divided into nine sectors and in much of this study, the funds in a sector are examined collectively. Results show that unit trust performance does peak at year-ends and quarter-ends, with a subsequent drop at the start of years and quarters. Furthermore, more funds beat the JSE All Share Index at year-ends and quarter-ends, than is normally the case. In contrast, this pattern was not repeated in the percentage of funds beating zero. Following these results, tests were done to establish whether a relationship exists between an end-of-quarter positive return and a subsequent beginning-of-quarter negative return. The suspected relationship was confirmed specifically in the funds from the period from 2000 to 2002. From this study, it would appear that inflating unit trust performances at quarter-ends is not yet extinct in South Africa. Advice to potential investors would therefore be to invest at the beginning of a quarter and to sell at the end.
AFRIKAANSE OPSOMMING: Daar bestaan lank reeds die vermoede dat die opbrengste van effektetrusts op kwartaaleindes opwaarts bestuur word, siende dat dit die opbrengste is wat dekking in die media geniet. Daar is al in die VSA studies gedoen wat hierdie vermoede ondersoek, maar tot op hede was daar nog geen soortgelyke studie in Suid-Afrika nie. Hierdie studie ondersoek die daaglikse opbrengste van die netto batewaarde van Suid- Afrika se binnelandse effektetrusts vir die tydperk 1996 tot 2002, soos verkry van die databasis MoneyMate. Die verskil tussen opbrengste van die effektetrusts en die indeks op kwartaaleindes is vergelyk met die verskil op ander maandeindes (die verskil tussen opbrengste is geneem om bewegings in die mark in ag te neem). Plaaslike effektetrusts word in nege sektore verdeel, en in die grootste deel van hierdie studie word die effektetrusts in 'n sektor as 'n geheel ondersoek. Resultate toon dat effektetrusts opbrengste wel pieke toon op jaareindes en kwartaaleindes, en dan weer val in die begin van jare en kwartale. Verder is daar ook meer effektetrusts wat beter vaar as die JSE Alle Aandele Indeks op jaareindes en kwartaaleindes as wat normaalweg die geval is. In kontras word hierdie patroon nie herhaal as gekyk word na die persentasie van effektetrusts wat nul klop nie. Na aanleiding van hierdie resultate is toetse gedoen om vas te stel of daar 'n verband bestaan tussen positiewe opbrengste op kwartaaleindes en die daaropvolgende negatiewe opbrengste aan die begin van kwartale. Hierdie verband is veral gevind vir die tydperk 2000 tot 2002. Uit hierdie studie wil dit blyk dat, in Suid-Afrika, die opbrengste van effektetrusts op kwartaaleindes wel kunsmatig verhoog word. Raad aan voornemende beleggers sou dus wees om aan die begin van 'n kwartaal te koop, en aan die einde te verkoop.
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Gowan, Gerry. "A journey into no-man's land." Thesis, Queensland University of Technology, 1997.
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This research examines two years of original writing and
performance in stand-up comedy and performance art. The
researcher/artist has attempted to realize in performance
what has been conceptualized as the silenced imaginary of
the Other. Accepting notions of a Symbolic Order which
governs culture, of which woman is not the subject, and in
which woman has no voice, it was proposed that in the ritual
of theatre this Symbolic Order might be refused and the
researcher/performer might find it possible to express her
own imaginary. The experimentation was done within two
theatrical forms which have a history of transgressive
performance and performances were created and performed over
a two year period, first in Australia and then in Britain.
The research is based on postmodern feminist philosophical
notions about the nature of culture and possible resistance
of that culture by those who find its narrative wanting. It
is an attempt to generate an understanding of what is
possible when in the simulated reality of the theatre a
woman rejects inherited visions of herself and seeks to
allow the flow of her own imaginary, her own desire. This
paper documents a rigorous search to develop a new voice in
performance.
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Martin, Kezia Faye. "The Effectiveness of Brief ACT Exercises on Practice Performance for Basketball Players." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2687.
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The purpose of this study was to add to the existing body of research supporting the efficacy of ACT in improving performance and psychological challenges athletes experience. Three collegiate women’s basketball players participated in the current study in a multiple baseline design across participants. Two of the three subjects received the ACT only condition and individualized ACT plus mindfulness (IACT+M) treatment conditions. Subject three entered the IACT+M condition directly following baseline. Free throws, Mikan drill and three-ball dribbling where the three skills being assessed as well as psychological flexibility using two the assessment tools. The results suggest that brief ACT interventions may be useful for improving practice performance for collegiate basketball players. Participant one had an average increase for free throws by M=12.9%, a M=5% increase in the Mikan drill, and M=3.3% increase in the three-ball drill. Participant two had an average increase of M=7.3% for free throws, M=1.8% increase in the Mikan drill and M=0.4% increase in the three-ball drill. Participant three had an average increase of M=13% for free throws, 1.8% increase in the Mikan drill and a M=2% increase in the three-ball drill.
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Brandenburg, Alisa Anne. "Inducing Knowledge by Enduring Experience: the Function of a Postmodern Pragmatic Aesthetic in Linda Montano's "Living Art"." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1115104-000557/unrestricted/BrandenburgA121504f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-1115104-000557 Includes bibliographical references. Also available via Internet at the UMI web site.
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Czerniak, Mary Lou. "How art teachers' Internet integration training and confidence levels effect the teachers' perceptions of resulting student performance." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000czerniakm.pdf.
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Douglass, Mark. "Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849634/.
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This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s musical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.
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Issen, Theodore. "Effects of guided mindfulness practice on job performance and burnout amongst classroom paraprofessionals." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2617.
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Those in human services, including social workers, hospital staff, and staff working with individuals with disabilities, experience high levels of stress and burnout. Those working in special education with individuals who display maladaptive behaviors can be particularly susceptible to this. This can lead to negative effects on physical and mental health. Stress and burnout can also lead to staff being less likely to perform aspects of their jobs optimally. Acceptance and Commitment Therapy (ACT) posits that much burnout both results from and results in focusing on past or future events. Mindfulness training, in addition to ACT, can teach individuals to focus on the present moment. This study investigated the effects of mindfulness practice on (self-report inventory measures) of mindfulness (MAAS), psychological flexibility (AAQ-II) and WAAQ), and burnout (MBI), as well as on staff performance measures of number of staff initiated interactions with students and accuracy of data collection. for three individuals working at a school for children who display maladaptive behaviors. Post-treatment, all three of the participants improved in MAAS scores. Two improved in AAQ-II scores, and two also improved in WAAQ scores. MBI scores improved for two participants, mostly in the subsection of ‘burnout’. Two participants initiated more interactions with students post-treatment, and data collection accuracy improved post-treatment for two participants. All three participants improved post-treatment in at least three of the target areas. Implications and possibilities for future research are discussed.
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Davis, Adam Benjamin. "The Art of Marimba Articulation: A Guide for Composers, Conductors, and Performers on the Expressive Capabilities of the Marimba." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248483/.
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Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.
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Fishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.
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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.
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Friis, Leonarda B. "Are some fund managers better than others : the relationship between manager characteristics and fund performance." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49749.
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Thesis (MBA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: This paper investigates fund manager performance in order to determine whether some fund managers are better than others. The focus of the paper is to examine if fund performance is related to the characteristics of fund managers that may indicate ability, knowledge, or effort. The data consists of South African regulated unit trust growth and growth-and-income funds investigated over a seven-year period, and comprehensive and detailed information on the various fund managers supplied by the MoneyMate database from the University of Stellenbosch. The research objective has been to find out whether fund manager characteristics help explain fund performance and risk. Stepwise regression analysis as the research methodology is applied, where the two dependent variables, performance and risk, are regressed on the eight independent variables; manager age, tenure of the manager with the fund, years of education, whether the manager hold a MBA or CA/CFA qualification, management team size, fund age and fund objective. The findings of the study are highly significant and show that fund performance and risk are impacted upon by managers' qualifications. One can expect better risk-adjusted performance from a fund manager who holds a CA/CFA and/or MBA qualification. Results show that these managers outperform managers without these qualifications.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek fondsbestuurder prestasie met die doel om te bepaal of sommige bestuurders beter is as ander. Die fokus van die studie ondersoek of fondsprestasie verband hou met die eienskappe van fondsbestuurders. Die data bestaan uit Suid-Afrikaanse effektetrust groei en groei-en-inkomste fondse bestudeer oor 'n periode van sewe jaar, en omvattende besonderhede van die fondsbestuurders soos verskaf deur die MoneyMate databasis van die Universiteit van Stellenbosch. Die doel van die navorsing is om bewyse te vind wat mag aandui dat fondsbestuurdereienskappe wel fondsprestasie en risiko's kan beïnvloed en verduidelik. Die metode van stapsgewyse regressie word toegepas, waar die impak van die agt onafhanklike veranderlikes (ouderdom van die fondsbestuurder, sy jare by die fonds, sy aantal jare van tersiêre onderrig, of die bestuurder 'n MBA of CA/CFA kwalifikasie besit, spangrootte, ouderdom van die fonds en die fonds se doelstelling) op die twee afhanklike veranderlikes (prestasie en risiko) ondersoek word. Die bevindinge van die studie is hoogs betekenisvol en dui daarop dat 'n fonds se prestasie en risiko's wel beïnvloed word deur die kwalifikasies van die fondsbestuurder. Beter risiko aangepaste prestasies kan verwag word van bestuurders wat 'n MBA en/of CA/CFA kwalifikasie besit. Die resultate toon wel dat fonds bestuurders ander bestuurders uitpresteer wat nie daardie kwalifikasie besit nie.
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Riggs, Rawlianne. "The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505176/.
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Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.
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Owen, Gregory J. "The influence of whole body vibration on knee extensor stiffness and functional performance a thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Health Science, February 2004." Full thesis. Abstract, 2004. http://puka2.aut.ac.nz/ait/theses/OwenG.pdf.
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Shayter, Ashley. "Evaluating the Efficacy of ACT-Based Exercises and Realistic Training to Improving Staff Performance During Crisis Intervention Encounters." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1452.
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Use of restraint during crisis intervention is of great concern as these situations evoke stress responses in the direct care staff that respond to them. This stress response often leads to non- neutral reactions. Acceptance and Commitment Therapy (ACT) has been used to effectively de- literalize task-related stimuli in individuals that share similar physiological symptoms of stress to those that direct care staff might experience during crisis. The purpose of this study was to evaluate how an ACT intervention would improve direct care staff performance during crisis interventions and increase accuracy of incident report writing. Results indicated that four out of the six participants improved their performance following ACT training, while the most improvement was observed in accuracy in incident report writing. This study expands upon the limited research available on the utility of ACT in the workplace. Implications of this study suggest that ACT may be a beneficial intervention to increase staff performance during crisis.
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Conradie, Annemi. "Travelling snapshots of the Rainbow Nation : the commodification and performance of 'authentic' cultural identities in contemporary South African postcards." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4251.
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
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Lun, Jonathan. "Development of a vacuum arc thruster for nanosatellite propulsion." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1527.
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Thesis (MScEng (Mechanical and Mechatronic Engineering))--University of Stellenbosch, 2009.This thesis describes the development of a vacuum arc thruster (VAT) to be used as a potential low mass (< 500 g), low power (< 5–10W) propulsion system for nanosatellites. The thruster uses a high voltage capacitive circuit to initiate and power the arc process with a 400 ns high current (150–800A) pulse. A one-dimensional steady state analyticalmodel describing the cathode region of the vacuum arc was developed. The model made use of mass and energy balances at the sheath region and cathode surface respectively to predict key quantities such as thrust, ion velocity, ion-to-arc current ratio and erosion rate. Predicted results were shown to be within the limits of reported literature (∼63 μN/A, 26.12 km/s, 0.077 and 110 μg/C respectively). A sensitivity analysis of the analytical model found that a high electric field in the cathode region impedes and decelerates ion flow, which is used for thrust. This was confirmed experimentally for thrust values at arc voltages greater than 2000 V. Both direct and indirect means of measuring thrust were achieved by using a deflecting cantilever beam and an ion collector system, respectively. The transient response of the cantilever beam to impulsive thrust was analytically modeled, whilst the ion current was found by measuring the current induced on a plate subject to ion bombardment. Knowledge of the ion current density distribution was successfully used to approximate the effective normal thrust vector. Direct and indirect thrust levels were roughly 140 and 82 μN/A of average arc current, respectively. Measured thrust was found to be higher than predicted thrust due to thrust contributions fromthe ablation of Teflon insulation. The discrepancy is also due to the uncertainty in quantifying free parameters in the analytical model such as the fraction of generated ions flowing away from the cathode region. The thrust-topower ratio, specific impulse and efficiency of the vacuum arc thruster at an average arc current of 200 A was measured to be 0.6 μN/W, 160 s and 0.05 %, respectively. A thruster performance analysis and specification showed that the VAT is capable of achieving specific orbital and slew manoeuvres within a constant 5–10 W average power. It was concluded that thruster performance could be improved by using a two-stage arc circuit consisting of a high voltage, low current, short pulse trigger and a low voltage, high current, long pulse driver.
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Arreola, Dora A. "Staging Through Rituals: Directorial Exploration of The Imaginary Invalid." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/266/.
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Ryan, Shay. "Pots of red jam : a performance-as-research project with older women." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35875/1/35875_Ryan_1996.pdf.
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The study uses a performance-as-research model to devise an essentially woman-friendly process in a collaborative petformance project called Pots of Red Jam around the theme of older women. A rhizomatic system of validation is used, which involves personal experience, feminist methodology and peer review. The first part explores themes relevant to older women in popular literature. Fallowing chapters investigate feminist methodology
and examples of other women's projects. Application for future projects of this kind are offered. The script of Pots of Red Jam is included in the study.
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Ruot, Charles W. "A study of the relationship between golf performance and depth perception, arm/hand steadiness, grip strength and dynamic balance /." View online, 1987. http://repository.eiu.edu/theses/docs/32211998881753.pdf.
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Faure, Xavier. "Optimisation d'enveloppe hybride pour bâtiment à haute performance énergétique /." Paris : Éd. Edilivre, 2008. http://catalogue.bnf.fr/ark:/12148/cb41273755b.
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Stanley, David Thomas. "A Countertenor Aria Collection Continuum for Studio Training and Performance." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248503/.
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An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.
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Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.
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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
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Bowling, Micah. "Intraoral Pressure and Sound Pressure During Woodwind Performance." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849677/.
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For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments.
My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.
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Shih, Wen-Ling. "Simplification and Octavation in Double Bass Performance: An Overview of Historical and Contemporary Practices." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984192/.
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Two important performance practices in the modern orchestral performance are discussed in this document: simplification and octavation. Due to the differing opinions and common practices which bass players have around these two performance practices, simplification and octavation have become two of the most complex issues faced by orchestral sections. The first part of the document will provide a brief history of simplification and octavation. The second part of the document will offer recommendation for double bass orchestral practice in the 21st century and examine key works of the bass repertoire in which simplification and octavation occur. The research and practice of leading pedagogues and major orchestral players and the solutions they have developed to reduce the discrepancy inherent within section playing will be discussed. This document will propose several empirical solutions to major excerpts in the bass repertoire, demonstrating how it is to achieve the most uniformed playing, and offer applicable and suggestive guidelines for contemporary orchestral double bass performers.
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Edmonson, Jordan. "Predictors of Music Performance Anxiety in Adolescent Musicians." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011842/.
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Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.
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Pockrus, Jason. "The Saxophone in China: Historical Performance and Development." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248502/.
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The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
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Nasir, Subriyer. "Membrance performance and build-up of solute during small-scalle reverse osmosis operation /." Full text available, 2007. http://adt.curtin.edu.au/theses/available/adt-WCU20071112.141059.
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McDannald, Brandon K. "Performance Editions of Three Works for Winds by Gyorgy Druschetzky." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248398/.
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Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart's Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky's life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition.
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Blinkhorn, Jessica Elaine. "Stories from a Chair: A Life Exquisite." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/58.
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Exquisite is defined as carefully selected or sought out. I believe myself to be a selected soul placed in a body of circumstance. My work is self-explorative and telling of those circumstances in hopes of evoking empathy. Our bodies function and exist on many different levels. What I understand as normal for most differs vastly from what is normal for me. I aim to offer my perspective on the world, establish understanding, and blur the lines of normalcy.
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Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.
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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
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Price, Gary Norman. "Assessing growth performance of european olive (Olea europaea L.) on Mount Weld pastoral station /." Full text available, 2006. http://adt.curtin.edu.au/theses/available/adt-WCU20071128.111046.
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.