Dissertations / Theses on the topic 'Performance practice'
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Baldry, William James. "Turntablist performance practice." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13494/.
Full textHarris, Ellen T. "Baroque Vocal Performance Practice." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37220.
Full textEvans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.
Full textFjellman, Andreas. "Mental practice for military performance." Thesis, Swedish National Defence College, Swedish National Defence College, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-836.
Full textThe aim was to examine whether the Swedish Armed Forces can use mental training to develop the soldiers and officers in the military profession, a secondary objective was to examine how mental training methods can be integrated into the Swedish Armed Forces' daily activities. The study was carried out in the form of a literature review. The search of literature was done in scientific and military data bases, and retrieval from the Department of Leadership and Management (ILM) in Karlstad. The literature and articles were reviewed which resulted in only 19 out of 64 collected works were judged to have acceptable scientific quality and be of relevance for the topic. The results of the survey show that the use of mental training techniques goal setting, imagery, self-talk and relaxation strategies can produce positive effects for individual development of soldiers and officers. First, by allowing them to improve performance and stress management ability, secondly by creating motivation. An integration of the mental training techniques requires a training of officers carried out by experts and an individual motivation in soldiers.
Threadgold, Terry. "Feminist textual practice performance and critique." Monash University, School of Literary, Visual and Cultural Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/8576.
Full textMussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.
Full textJoyce, Sam. "Performance driven design systems in practice." Thesis, University of Bath, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687303.
Full textLeveroy, Deborah. "Enabling performance : dyslexia and acting practice." Thesis, University of Kent, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655222.
Full textHu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Full textPalter, Morris S. "The solidification of performance practice issues in solo percussion performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3171113.
Full textAn examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.
Hind, Claire. "Dark and deep play in performance practice." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555904.
Full textSarco-Thomas, Malaika. "Twig dances : improvisation performance as ecological practice." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/936.
Full textKeenan, Anthony. "Orchestrating high performance services : theory and practice." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679249.
Full textHopfinger, Sarah. "Performance (in) ecology : a practice-based approach." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8040/.
Full textMoloney, Megan M. "The power of hybrid practice : the active-passive practice continuum and its effects on performance." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/31002.
Full textMenrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.
Full textBeswick, Katie A. "The council estate in performance : performance practice and the production of space." Thesis, University of Leeds, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.689669.
Full textStolp, 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.
Full textSensitive 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.
McElroy, Lori Barbara. "Embedding integrated building performance assessment in design practice." Thesis, University of Strathclyde, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501849.
Full textSundström, Andreas. "Representing Performance | Performing Representation : Ontology in accounting practice." Doctoral thesis, Stockholms universitet, Företagsekonomiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119958.
Full textAt the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 2: Manuscript. Paper 3: Manuscript. Paper 4: Manuscript.
Gilman, Mark William. "Performance related pay in practice : organisation and effect." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4315/.
Full textDelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Full textThis thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
Tzakou, Anna. "Geopoetics : a mindfulness (sati) site-specific performance practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/30598.
Full textColin, Noyale. "Becoming together : collaborative labour in contemporary performance practice." Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/21169/.
Full textWilliams, Kate Z. "Effects of practice and feedback on interview performance." Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1233081282/.
Full textHoldsworth, Nadine. "7:84 (England) : performance and ideological transaction." Thesis, Loughborough University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283318.
Full textNixon, Ellie. "Towards an 'embodied poetics' : an exploration of devising processes based on the work of Jacques Lecoq and Gaston Bachelard." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20777.
Full textLee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.
Full textMetsvahi, Liisi. "Overcoming stage fright starting in the practice room." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3257.
Full textEduard Oja Piano Quintet
Medverkande: Anna-Lena Ohlwein, Doris Mägi, Viktoria Hillerud, Joline Granath
Eriksson, Jesper. "My Improvisation Practice : the act of improvising in individual instrumental practice, collaboration projects and performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1654.
Full textSjälvständiga arbete, Master, 40 hp.
Program examenskonsert:
ImprovisationKvintett
Jesper Eriksson saxofon, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst.
Jesper ErikssonKvartett (2014), uruppförande
Alexander Rydberg violin, Jesper Eriksson saxofon, Emma Augustsson cello, Anton Svanberg tuba.
ImprovisationTrio
Jesper Eriksson saxofon, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk
Extranummer: Friimprovisationsorkester
Jesper Eriksson saxofon, Alexander Rydberg violin, Emma Augustsson cello, Anton Svanberg tuba, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk, Bernhard Greter piano.
Palmer, Anna J. "Performance measurement in the public sector : in theory and practice." Thesis, University of Leicester, 1991. http://hdl.handle.net/2381/7665.
Full textLesneski, Lynn. "The effects of using distributed practice on math performance." Menomonie, WI : University of Wisconsin--Stout, 2005. http://www.uwstout.edu/lib/thesis/2005/2005lesneskil.pdf.
Full textTeigland, Robin. "Knowledge networking : structure and performance in networks of practice." Doctoral thesis, Handelshögskolan i Stockholm, Institute of International Business (IIB), 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hhs:diva-1958.
Full textHunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.
Full textA detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.
Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.
Bagan, Christopher Bagan. "Performance practice considerations in Schönberg's Fünf Klavierstücke, Op. 23." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43771.
Full textCraddock, Kate Concinnity. "Collaboration in performance practice: trust, longevity and challenging proximity." Thesis, Northumbria University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599890.
Full textKanno, Mieko. "Timbre as discourse : contemporary performance practice on the violin." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/2512/.
Full textAlharbi, Saleh H. "Employees' perceptions of fairness in practice of performance appraisal." Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:16431.
Full textBriggman, Chandra A. (Chandra Alisa). "Corporate budgeting In practice : driving strategic focus and performance." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/90215.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (pages 74-76).
This paper identifies insights and methods used in practice to address two weaknesses in the traditional corporate budgeting process. One point of failure is the weak linkage between organizational strategy and budgeting - resulting in the proliferation of activities that do not support strategic priorities. The second point of failure is a strong linkage between budgeting and performance evaluation and incentives that leads to behavioral dysfunctions among employees. Together, these challenges create significant barriers to successful strategy execution in organizations. This paper defines the intended role of budgeting, details the challenges that resulted from the two points of failure, and offers a sample of thought-provoking approaches to support practitioners' use of corporate budgeting to help execute organizational strategies more effectively.
by Chandra A. Briggman.
M.B.A.
Lynn, Mark J. "The Avatar by Steve Rouse: A Performance Practice Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31541/.
Full textBroomfield, Kelcey Anyá. "The Liberation WILL be Televised: Performance as Liberatory Practice." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami156391494189893.
Full textStrohman, Gregory. "Psychoacoustic Entropy Theory and Its Implications for Performance Practice." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281332.
Full textD.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses
Rangsungnoen, Grid. "Best practice in performance evaluation of Thai public universities." Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/48575.
Full textA thesis is submitted in fulfilment of the requirements for the degree Doctor of Business Administration (DBA), Faculty of Business and Enterprise, Swinburne University of Technology - 2008. Typescript. Bibliography: p. 246-257.
Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
Full textAdvisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
Eyre, Heather Ann. "Measuring the performance of spatial interaction models in practice." Thesis, University of Leeds, 1999. http://etheses.whiterose.ac.uk/2657/.
Full textGrellier, Jane Isobel. "Learning reflective practice: an autoethnographic performance in six movements." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/2523.
Full textWilliams, Sean Barry Kelly. "Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7890.
Full textSnowball, Georgia. "Ecological practice : Performance making in the age of the anthropocene." Thesis, Federation University Australia, 2017. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/166474.
Full textDoctor of Philosophy
Bruenger, David. "The cadenza: performance practice in alto trombone concerti of the eighteenth century." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332843/.
Full textWu, I.-Ying. "Being formless : a Daoist movement practice." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/6472/.
Full text