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Journal articles on the topic 'Performing arts and philosophy'

Author: Grafiati

Published: 22 June 2023

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1

Manchester, Ralph A. "Toward a Performing Arts Medicine Definition of Performing Arts." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 101–2. http://dx.doi.org/10.21091/mppa.2009.3022.

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As the Performing Arts Medicine Association (PAMA) celebrates its 20th anniversary this year, it seems to be a good time to discuss a definition of what the field includes—and, by extension, what it doesn't include. Some may think that this might not be the best use of our time, since we have done pretty well so far without a written definition of the performing arts. However, a presentation at the 27th Annual Symposium on the Medical Problems of Musicians & Dancers on health issues of circus performers and some recent articles in Medical Problems of Performing Artists on artistic and rhythmic gymnasts have helped us broaden the scope of our field. While I find this exciting and another indication that performing arts medicine is a vibrant, essential specialty within the universe of health care, it also makes me wonder what else ought to be included in the field and what shouldn't.

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2

Matyja, Jakub Ryszard. "Philosophy of the Performing Arts. A book review." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard V, no. 3 (2014): 164–66. http://dx.doi.org/10.26913/50302014.0112.0011.

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3

Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of others that apparently did not “make the cut.”

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4

Sparshott, Francis, and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Journal of Aesthetics and Art Criticism 52, no. 3 (1994): 357. http://dx.doi.org/10.2307/431436.

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5

Goehr, Lydia, and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Notes 51, no. 1 (September 1994): 100. http://dx.doi.org/10.2307/899185.

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6

Gillespie, Patti P., and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Journal of Aesthetic Education 29, no. 3 (1995): 119. http://dx.doi.org/10.2307/3333549.

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7

Davies, David. "Works and Performances in the Performing Arts." Philosophy Compass 4, no. 5 (September 2009): 744–55. http://dx.doi.org/10.1111/j.1747-9991.2009.00235.x.

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8

Manchester, Ralph A. "Certification in Performing Arts Medicine." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 117–18. http://dx.doi.org/10.21091/mppa.2013.3024.

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The idea of specialty certification in performing arts medicine (or performing arts healthcare) has been discussed for a long time among professionals in the field. An article by Pascarelli and Bishop published nearly 20 years ago mentioned the perceived need for certification and some of the obstacles to creating it. The Performing Arts Medicine Association (PAMA) took a step in this direction at the 31st Annual Symposium on the Medical Problems of Performing Artists by offering a preconference workshop, “The Essentials of Performing Arts Medicine Course: From Classroom to Stage.” This full-day educational session was attended by several dozen performing arts medicine professionals and led by experts from several disciplinary backgrounds in both music and dance. While PAMA has no plan in place currently to offer specialty certification in performing arts medicine, educational offerings such as this one are often part of the requirements to become certified in an interdisciplinary specialty area.

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9

Brandfonbrener, Alice G. "Globalization in Performing Arts Medicine." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 1–2. http://dx.doi.org/10.21091/mppa.2001.1001.

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Two years ago I reported on the 6th European Congress on Performing Arts Medicine and the Physiology of Music Making, which took place in Berlin in October 1998. At that time I commented on the high quality of papers at the meetings, but even more important, I celebrated the stimulation that comes from meeting a wide spectrum of people who share interests and commitment. Recently I have twice again traveled to Europe where I participated in two meetings; the first in Finland where the Savonlinna Arts Medicine Symposium was held in late July, and the second in Mainz, Germany, this year’s site of the now 8th European Congress. These opportunities reinforced my previous enthusiasm, not only for travel but once again for attending high-level performing arts medicine meetings to re-energize one’s intellectual engines with fresh ideas.

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10

Winspur, Ian. "Performing Arts Medicine in Britain." Medical Problems of Performing Artists 17, no. 4 (December 1, 2002): 183–85. http://dx.doi.org/10.21091/mppa.2002.4029.

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Britain provides universal health coverage free at the point of delivery for its citizens (and most visitors) provided by the National Health Service (NHS). The NHS was established in 1947 in the flush of post-World War II idealism and was planned and structured along contemporary socialist economic and management principles--a large centrally funded and run government monopoly. It is huge, for it employs currently 1.5 million people and it remains one of the last and certainly the largest bastion of such economic thinking and planning in Britain and in Europe. In its 50 years of existence, it has at times provided excellent care for the British nation. But at this point in time, top-heavy with management and administration, chronically underfunded and understaffed, unresponsive to the rapidly changing needs of society and of developing medical technology, it is on the verge of crumbling. Inherent in such a system is the lack of recognition of individuality or of an individual patient’s special needs, and no group of patients feels this more acutely than performers.

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11

Manchester, Ralph A. "Globalization of Performing Arts Medicine." Medical Problems of Performing Artists 22, no. 4 (December 1, 2007): 133–34. http://dx.doi.org/10.21091/mppa.2007.4029.

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Performing arts medicine has had a global reach since the early days of the field, but there are ample indicators that we are increasing our impact around the world. In this editorial, I take a brief look at the formative years of our specialty and then jump ahead 25 years to assess the progress to date.

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12

Manchester, Ralph A. "Progress in Performing Arts Medicine." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 93–94. http://dx.doi.org/10.21091/mppa.2010.3020.

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The announcement last month that Medical Problems of Performing Artists will now be indexed in Medline/PubMed is truly an important development for the field of performing arts medicine. While many of us wish that this had happened sooner, we should all be proud of our combined efforts that made it possible. In addition to the publisher Mike Bokulich, who has labored tirelessly to reach this goal, I also want to publicly thank (again) Alice Brandfonbrener, the founding editor of MPPA. Without her 20 year labor of love, we would not have been in a position to be included in Medline now.

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13

Manchester, Ralph A. "Research in Performing Arts Medicine." Medical Problems of Performing Artists 30, no. 1 (March 1, 2015): 66–67. http://dx.doi.org/10.21091/mppa.2015.1011.

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The field of performing arts medicine has grown significantly over the last few decades. While we still have a long way to go before we can confidently state that we know how to prevent and treat the maladies that interfere with artistic performance, we are making progress on several fronts. In preparation for giving one of the keynote addresses at the 2015 University of South Florida--Performing Arts Medicine Association Conference titled Caring for Artists and Arts that Heal, I reviewed the types of articles that have been published in Medical Problems of Performing Artists over the last 10 years. I also did a comparison of those articles to articles published in the Journal of Dance Medicine and Science and in the American Journal of Sports Medicine. In this editorial, I will present my findings.

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Manchester, Ralph A. "Diversity in Performing Arts Medicine." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 45–46. http://dx.doi.org/10.21091/mppa.2006.2010.

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As the diverse populations of the planet interact on a more frequent and intense basis, it becomes increasingly important for every individual and organization to examine its own approach to this vital issue. The field of performing arts medicine should pay particular attention to diversity for a number of reasons, some of which will help to advance our specialty and improve the lives of performing artists, while others may help save the world.

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15

Cheetham, Mark A., and Dale Jacquette. "Schopenhauer, Philosophy, and the Arts." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 447. http://dx.doi.org/10.2307/430944.

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16

Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (June 1, 2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.

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Manchester, Ralph A. "Professional Education in Performing Arts Medicine." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 139–40. http://dx.doi.org/10.21091/mppa.2010.4030.

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As the body of knowledge that comprises the field of performing arts medicine has grown, it has simultaneously become more important and more difficult for everyone who is concerned about the health of performing artists to stay current with the state of the art. In this regard, performing arts medicine is no different from any other field, but we have a huge challenge as we try to meet the educational needs of the broad variety of professionals who treat, teach, manage and do research on musicians, dancers, and other performing artists. A panel discussion on this subject was part of the 2010 Aspen Symposium on the Healthcare of Performing Artists. ... I will try to summarize where our efforts to educate performing arts medicine professionals stand today and what our options are for the future.

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Manchester, Ralph A. "Qualitative Research in Performing Arts Medicine." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 63–64. http://dx.doi.org/10.21091/mppa.2011.2010.

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The article by Guptill in this issue of MPPA presents the results of a type of research that has not been published to a great extent in the performing arts healthcare literature to date. Only a few articles that are based on qualitative research have been published in this journal. The vast majority of original research published in this and other music and dance medicine journals (and indeed, most other biomedical journals) starts out with a specific hypothesis and then collects quantifiable data to prove or disprove the hypothesis; we can think of this traditional approach as being quantitative research. ... While there is considerable ongoing debate about the role of qualitative research, I will attempt to give a broad overview of how it could be useful as we try to move the field of performing arts medicine forward.

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Manchester, Ralph A. "Energy Expenditure in the Performing Arts." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 183–84. http://dx.doi.org/10.21091/mppa.2011.4029.

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Two papers in this issue of MPPA examine energy expenditure while playing a wind instrument and dancing. Measurement of the amount of energy required to play an instrument, dance, or sing has been done in the past, but these two papers advance our understanding of how performing artists carry out their professional activities. Since most of us don’t think about our daily lives in terms of METs or kilojoules, I will first review some basic information about human energy intake and expenditure before examining how energy expenditure studies can expand our knowledge base.

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20

Manchester, Ralph A. "Economic Uncertainty and Performing Arts Medicine." Medical Problems of Performing Artists 27, no. 4 (December 1, 2012): 173–74. http://dx.doi.org/10.21091/mppa.2012.4032.

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Performing artists are used to dealing with uncertainty-—how will the next performance go, what will the new conductor expect, will my current combination of jobs and gigs be enough to pay the bills? Likewise, health care professionals have to deal with uncertainty on a regular basis—-is the patient’s chest pain due to myocardial ischemia or something else, will the treatment I prescribed for the pianist with arm pain be effective? But all of us on every continent are dealing with a great deal of economic uncertainty these days. ... How will these economic trends affect performing artists and the health care professionals who provide care for them?

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21

Manchester, Ralph A. "Technology in Performing Arts Healthcare Research." Medical Problems of Performing Artists 29, no. 3 (September 1, 2014): 121–22. http://dx.doi.org/10.21091/mppa.2014.3026.

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Two articles in this issue of Medical Problems of Performing Artists use specific technologies to advance our understanding of particular aspects of performance health. Clemente et al. used three-dimensional accelerometers to measure the motion of the head, jaw, and neck in pianists. Saito et al. used electromyography (EMG) in the soleus muscles of dancers along with transcranial magnetic stimulation to show that the corticospinal tract adapts to the demands of dancing. These two examples of the use of technology in performing arts medicine research led me to review past issues of the journal to get a better sense of which technologies have been more or less frequently used and how they have contributed to the state of the art.

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22

Manchester, Ralph A. "Three Wishes for Performing Arts Healthcare." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 263–64. http://dx.doi.org/10.21091/mppa.2015.4047.

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As I think back over my 30-plus years as a physician and researcher in performing arts healthcare and try to imagine what might happen in the next 30 years, I sometimes fantasize about having three wishes that some supernatural force would grant. While waiting for something like that to happen is not likely to be an effective strategy for improving the health of performing artists around the world, the thought exercise might help to flesh out some ideas that could lead to further progress. While others will come up with different wishes (that I’m sure would be at least as valid), here are mine.

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23

Gulla, Amanda N., Holly C. Fairbank, and Stephen M. Noonan. "Maxine Greene: an Approach to Aesthetic Education and a Vision of Social Imagination." Beijing International Review of Education 4, no. 3 (November 14, 2022): 479–90. http://dx.doi.org/10.1163/25902539-04030014.

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Abstract In this article we will introduce the reader to Dr. Maxine Greene and her philosophy of Aesthetic Education developed during her many years of teaching at Columbia University’s Teachers College. Greene saw the arts as “integral to the development of persons – to their cognitive, perceptual, emotional, and imaginative development” (2001, p. 7)+. Her theories about the arts in education were developed into a methodology and practice at the Lincoln Center Institute for the Arts in Education (lci), the educational branch of Lincoln Center for the Performing Arts in New York City. lci was founded in 1975 by Marc Schubart, lci’s Director and Chairman Emeritus, who had the idea to bring together a prominent philosopher of arts and education and a world class arts organization. Schubart and Greene were convinced that the inclusion of and engagement with works of art was vital to student success and would help schools to become authentic spaces for learning. lci was dedicated to developing the possibilities that the arts could offer in educational settings and exploring what Greene’s “Aesthetic Education” might look like in K-12 classrooms. lci was the first arts organization to have an educational philosophy and a “philosopher-in-residence,” a role in which Greene served until the end of her life.

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24

Wilkoszewska. "Performing Somaesthetics in Philosophy, Art, and Life." Journal of Aesthetic Education 54, no. 3 (2020): 108. http://dx.doi.org/10.5406/jaesteduc.54.3.0108.

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25

Alperson, Philip A. "The Philosophy of the Visual Arts." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 525. http://dx.doi.org/10.2307/431529.

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26

Manchester, Ralph A. "Biomedical Ethics in Performing Arts Medicine Research." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 87–88. http://dx.doi.org/10.21091/mppa.2007.3020.

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As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The public's confidence in medical researchers has been shaken in the last few years as the result of a few well-publicized “bad outcomes” in clinical studies being done at leading academic medical centers in the U.S. and elsewhere. While we are unlikely to do gene-transfer or new drug development studies in an effort to address the health problems of musicians and dancers, we should still hold ourselves to the same ethical standards that apply to the rest of the healthcare world.

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Manchester, Ralph A. "The Biopsychosocial Model and Performing Arts Medicine." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 121–22. http://dx.doi.org/10.21091/mppa.2011.3020.

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The article by Schneider and Chesky in this issue of MPPA presents an interesting look at how social support affects performance anxiety. Performance anxiety is one of the most discussed topics in performing arts medicine, in part because it is a multifaceted phenomenon with medical, psychological, and academic/financial aspects. This has led to considerable controversy about the best way to manage "stage fright," ranging from pharmacologic intervention to various types of psychotherapy to a variety of homespun approaches. Some of the fiercest arguments among those who are concerned about the well-being of musicians (and other performing artists) focus on the appropriateness of treating performance anxiety with medications that target the physical symptoms versus using some type of talk therapy.

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28

Manchester, Ralph A. "Performing Arts Medicine--Past, Present and Future." Medical Problems of Performing Artists 27, no. 2 (June 1, 2012): 55–56. http://dx.doi.org/10.21091/mppa.2012.2012.

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We have a lot to be proud of as we look back on the last three decades, as we look around at what is happening in the field of performing arts medicine now, and as we look forward to the potential that the future holds. From the early 1980s, when Dr. Brandfonbrener decided it was time to focus on improving the health of musicians by organizing the first Aspen meeting, to the first issue of this journal and the founding of the Performing Arts Medicine Association over the next 5 years, the founding of the International Association for Dance Medicine and Science in 1990, and the Health Promotion in Schools of Music initiative in the last decade, performing arts medicine has enjoyed steady growth. As we work to design the future of performing artist health, it may be useful to look at a “sister” specialty that got an earlier start—-sports medicine.

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Manchester, Ralph A. "The Popular and the “Proper” Performing Arts." Medical Problems of Performing Artists 28, no. 4 (December 1, 2013): 179–80. http://dx.doi.org/10.21091/mppa.2013.4036.

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The two articles on the health of marching band musicians and the one on Irish traditional musicians in this issue of the journal are the most recent examples of research on the health of performing artists who participate in non-classical art forms. While it may not be easy for everyone to agree on the definitions of classical (or, more broadly, “art”) versus popular music (or dance), that hasn’t stopped scholars from trying. The point of this editorial is not to debate the relative merits of art music or dance with popular music or dance—each art form has its passionate practitioners and supporters, some of whom do all the debating that is needed. What I will try to do is to review how much attention we have paid to the more popular art forms as the field of performing arts medicine has evolved over the last three decades.

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30

Ackermann, Bronwen J. "Diversity and Training in Performing Arts Medicine." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 122–23. http://dx.doi.org/10.21091/mppa.2019.2020.

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Medical Problems of Performing Artists has addressed the needs of clinicians for many decades, providing evidence and opinion pieces on performing artists' healthcare regarding a wide range of health issues that may either affect or cause problems when performing. Traditionally, two major challenges facing the best approaches to managing the health of performing artists has been (i) limited scientific research evidence supporting preventative approaches, specific assessments and treatment methods for the vast array of conditions seen, and (ii) a lack of training programs specifically targeting performing artists' healthcare. Not only are there many important differences between general healthcare and managing the health of performing artists, but there are variations between individuals performing on the same instrument, and a vast array of styles and genres of performing arts that create very different demands on performers. In relation to the first point, a previous lack of available scientific literature has hindered evidence-informed performing arts medicine practice; however, high-quality research has recently progressed rapidly. This edition of MPPA also highlights the incredible breadth of information emerging, recognising the complex and multiple health demands facing diverse performing arts domains.

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31

Stecker, Robert, Peter A. French, Theodore E. Uehling, and Howard K. Wettstein. "Midwest Studies in Philosophy. Vol. 16, Philosophy and the Arts." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 519. http://dx.doi.org/10.2307/431527.

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32

Kirkkopelto, Esa. "For What Do We Need Performance Philosophy?" Performance Philosophy 1, no. 1 (April 10, 2015): 4. http://dx.doi.org/10.21476/pp.2015.117.

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In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new academic practice in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism.

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33

Rothfield, Philipa. "Philosophy and the Bodily Arts." Parallax 14, no. 1 (January 2008): 24–35. http://dx.doi.org/10.1080/13534640701781347.

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.

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Wahyuningtyas, Bhernadetta Pravita. "The Preservation of The Traditional Performing Arts’ Sacred Place." Humaniora 5, no. 2 (October 30, 2014): 593. http://dx.doi.org/10.21512/humaniora.v5i2.3116.

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This study explains the management of “Bharata” reputation, an Icon of classic, legendary, theatrical; traditional performing arts of Indonesia. Puppet has noble values in terms of moral education and philosophy of life; and “Bharata” becomes the "sacred" place for the preservation of the noble values of the puppet. “Bharata” is an institution that manages sustainable reputation and have to defend against the onslaught of competition from other institutions as a tourism destination. “Bharata” is a picture of a long journey and process of proving the majesty of traditional culture that owned by Indonesia. This study used post positivist paradigm. The nature of the study was descriptive and the selected approach was qualitative with in-depth interviews and observation for collecting data. Narrative analysis was used to analyze this study. The aim of this study has reviewed the reputation management of “Bharata” in its struggle of facing the globalization. The reputation management of “Bharata” is the results of coordination and socialization process within the institution; it is achieved through cooperation of each department by communication power.

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36

Manchester, Ralph A. "Occupational Medicine, Worker's Compensation, and the Performing Arts." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 1–2. http://dx.doi.org/10.21091/mppa.2013.1001.

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Performing arts medicine has made significant progress over the last three decades, and not infrequently we have looked to the field of sports medicine for inspiration and strategies. It seems that we have looked to occupational medicine less often as a model to emulate, but that may be worth reconsidering. The article by Chimenti et al. in this issue of MPPA found that only a small percentage of injured musicians filed a claim for worker’s compensation, even though most of them had sought medical care.

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37

Owens, Douglas T. "Hearing Loss: A Primer for the Performing Arts." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 147–54. http://dx.doi.org/10.21091/mppa.2008.4031.

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Noise-induced hearing loss (NIHL) is a major health problem that affects an estimated 16.1% of American adults, but for musicians, the onset of noise-induced, or any type of hearing loss, can be a career-changing event. The potential for dangerous sound pressure levels in musical environments has been documented in numerous studies, with exposures in both short and long durations shown to be harmful. Yet, in theory, NIHL is completely preventable. This review discusses basic information concerning the hearing mechanism and NIHL, audiometry, standards, protective strategies, and terminology. It aims to provide a general understanding of these processes as they relate to musicians and other performing artists.

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Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.

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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).

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Ryzlovsky, Pavel. "Towards Standardized Terminology in Performing Arts Medicine Research." Medical Problems of Performing Artists 23, no. 3 (September 1, 2008): 143. http://dx.doi.org/10.21091/mppa.2008.3028.

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40

Ackermann, Bronwen J. "The Digital Era of Performing Arts Medicine Research." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 230–31. http://dx.doi.org/10.21091/mppa.2019.4035.

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As MPPA moves into the next decade, the challenges faced by maintaining print media in an increasingly paperless society has led to the journal being published online only from March 2020 onwards. While it is a little sad to farewell the colourful covers and textures of the paper journal, there will be advantages in accessibility and immediacy of publishing with the new online system, and we look forward to the new era. Indeed, modern technology has changed the way we analyse a multitude of variables in research, and we see in this issue several examples of performance analysis using highly sophisticated devices.

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SPARSHOTT, FRANCIS. "Book Reviews: Paul Thom, for An Audience: A Philosophy of The Performing Arts." Journal of Aesthetics and Art Criticism 52, no. 3 (June 1, 1994): 357. http://dx.doi.org/10.1111/1540_6245.jaac52.3.0357.

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Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (March 1987): 71–80. http://dx.doi.org/10.1017/s0265051700005738.

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Young musicians wishing to study music in higher education now have a variety of options open to them. One of these, a relatively recent development, is Creative/Performing Arts degree courses, where students can study music in an interdisciplinary setting. This article sets out to trace the emergence of such courses and to present in a descriptive and informative way their philosophy, admissions procedures, general principles of organisation, curricular content and approach, assessment policies and graduate employment possibilities.

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Senyshyn, Yaroslav. "Kierkegaard, Music, and Its Relation to the Performing Arts." Toronto Journal of Theology 39, no. 1 (June 8, 2023): 71–80. http://dx.doi.org/10.3138/tjt-2023-0002.

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Kierkegaard's conceptualization of his aesthetic stage of existence is lacking even with a very unstinted acknowledgment of his undeniably profound and brilliant insights. For Kierkegaard the aesthetic stage is based only on the immediacy of feeling, thus a transitoriness that ultimately leads to boredom and despair. This presentation agrees with Adorno's triadic understanding of what the aesthetic means in Kierkegaard's aesthetic writings as opposed to his religious ones. It is argued in this presentation that Kierkegaard's aesthetic stage or sphere of existence is a good deal more than passion at the sensuous level. There are too many great artists who struggled and made their lives ethically, spiritually, or religiously meaningful in blatant contradiction of Kierkegaard's demeaning of the aesthetic stage of existence. Many artists would not accept Kierkegaard's a priori assumption that sensual immediacy is the basic state of the aesthetic individual. Nevertheless, Kierkegaard's profound insights into the aesthetic sense of live music performance are an invaluable result of his informed intuition and other aesthetic writings; i.e., he asserts in some writings that the aesthetic derives only from immediacy, yet there are other writings (e.g., on music and acting) from which one can infer a broader sense of the aesthetic. It is also possible to formulate a practical realization of Kierkegaard's aesthetic philosophy by way of his profound observations on dramatic acting and applying these uncannily insightful concepts to music performance.

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DiSalvo, Carl Francis. "Philosophy and Visual Representation: Imaging the Impossible." Leonardo 32, no. 2 (April 1999): 83–86. http://dx.doi.org/10.1162/002409499553019.

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Visualization techniques used in science and the arts for the advanced analysis of information and theories can and should be similarly used in the humanities. Within the discipline of philosophy there are both the possibility and the necessity to examine and present ideas using visualization techniques. The author created a CD-ROM entitled Blinded … in an attempt to use visualization techniques to analyze and represent a metaphysical action proposed by the French philosopher George Bataille. He discusses the creation of that work and the theories involved in the conjunction of philosophy and visualization.

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Gerdes, Ellen V. P. "Shen Wei Dance Arts: Chinese Philosophy in Body Calligraphy." Dance Chronicle 33, no. 2 (July 9, 2010): 231–50. http://dx.doi.org/10.1080/01472526.2010.485948.

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Iseminger, Gary, and Andrew Harrison. "Philosophy and the Visual Arts: Seeing and Abstracting." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 191. http://dx.doi.org/10.2307/431840.

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CHEETHAM, MARK A. "Dale Jacquette, Ed., Schopenhauer, Philosophy, and The Arts." Journal of Aesthetics and Art Criticism 55, no. 4 (September 1, 1997): 447–48. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0447.

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Arjmand, Susan. "A Curriculum on Performing Arts Medicine: Perspectives on Theory and Implementation." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 18–25. http://dx.doi.org/10.21091/mppa.2009.1005.

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The development of professional organizations and clinics dedicated to performing arts medicine and increasing public awareness of the medical problems of performing artists have been evident over the last 25 years, yet there are few formal training programs in performing arts medicine for healthcare practitioners and no standardized, widely used education tools available for that purpose. This paper proposes a method by which performing arts medicine topics might be introduced to medical practitioners using accepted tools of curriculum design. The goals and objectives of a proposed curriculum are presented, as well as a needs assessment, educational strategies, assessment methods, implementation and dissemination ideas, and suggestions for curriculum maintenance and renewal. Several features are paramount to successful curriculum change: leadership, cooperative climate, participation of organization members, evaluation, human resource development, and politics. The role of the team leader is crucial, in that a leader needs to understand the cognitive orientations of both performing arts medicine and primary care as well as of education theory.

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Popalisky, David J., and Marie G. Herbert. "“Defining the Performing Artist”: How a Health Psychology Course Integrates into University Performing Arts Training." Medical Problems of Performing Artists 15, no. 4 (December 1, 2000): 148–54. http://dx.doi.org/10.21091/mppa.2000.4029.

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University dance and theatre students are at risk for a range of eating disorders because their bodies are their primary instrument of focus and performance and because of the developmental challenges of young adulthood. The head of the dance program and a psychologist from the same private university’s counseling center collaborated to create a course to address the psychological and physical health needs of this group of students. The history of the development of the course is presented, followed by a discussion of its content, preliminary assessment of its effectiveness, and future directions.

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Brandfonbrener, Alice G. "Thoughts on Spreading the Good News of Performing Arts Medicine." Medical Problems of Performing Artists 15, no. 4 (December 1, 2000): 139. http://dx.doi.org/10.21091/mppa.2000.4027.

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Quality control has been a primary area of concern to members of PAMA since its formation in 1989, and I know this concern is shared by many others. What does it take to be a performing arts practitioner or establish a credible clinic? Now, at a time when performing arts medicine is growing and developing around the world, there are some issues that need to be discussed, even if they are admittedly difficult or impossible to resolve.

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