Relevant bibliographies by topics / Rehearsing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Rehearsing'

Author: Grafiati
Published: 24 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Rehearsing"

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Murray, Donald M. "Rehearsing rehearsing." Rhetoric Review 5, no. 1 (September 1986): 50–56. http://dx.doi.org/10.1080/07350198609359133.

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Fuchs, Elinor. "Rehearsing Age." Modern Drama 59, no. 2 (July 2016): 143–54. http://dx.doi.org/10.3138/md.59.2.1.

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Sicre, Daphnie. "Rehearsing Revolution." Theater 49, no. 1 (2019): 146–51. http://dx.doi.org/10.1215/01610775-7253837.

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Barrish, Phil, and Jane Gallop. "Rehearsing a Reading." Diacritics 16, no. 4 (1986): 14. http://dx.doi.org/10.2307/464799.

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Sirois, François. "Rehearsing One's Death." Journal of Palliative Care 11, no. 3 (September 1995): 50–52. http://dx.doi.org/10.1177/082585979501100311.

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Morabito, Fabio. "Rehearsing the Social." Journal of Musicology 37, no. 3 (2020): 349–82. http://dx.doi.org/10.1525/jm.2020.37.3.349.

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The history of Beethoven’s late quartets has usually been told by separating (and redeeming) the composer’s aesthetic priorities from the difficulties encountered by the works’ early performers, publishers, and listeners. This article weaves together Beethoven’s interests with those of his publisher Maurice Schlesinger and the violinist Pierre Baillot, whose ensemble first performed the late quartets in Paris between 1827 and 1829. I navigate the traffic among these parties to reassess what was difficult about this music and, on this basis, test new routes to explore early nineteenth-century string quartet culture. One issue these different agents faced—whether in presenting the quartets to the Viennese public (Beethoven), selling them in Paris (Schlesinger), or performing them (Baillot)—was that the late quartets seemed to call for a new kind of ensemble rehearsal. The genre’s proverbial sociability, historically supporting an almost immediate and shared grasp of the performers’ interplay, was compromised in Beethoven’s late quartets by a loss in topicality. The erosion of topical references and familiar textures in these quartets made it harder for performers to predict how to coordinate their moves. Musical topics, I argue, functioned as a means of communication not only with listeners but also among performers within an ensemble. In contrast, the sociability of Beethoven’s late quartets had to be patiently engineered through dedicated rehearsals, a step that distanced this music from past quartet cultures and shaped a new notion of making music together.
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Jones, Mark, and Shelly Mehigan Chair. "Rehearsing the debate." Primary Health Care 9, no. 3 (April 1, 1999): 12–13. http://dx.doi.org/10.7748/phc.9.3.12.s9.

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Engel, John D. "Rehearsing the future." Spirituality and Health International 4, no. 3 (September 2003): 17. http://dx.doi.org/10.1002/shi.174.

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Proehl, Geoffrey S. "Rehearsing Dramaturgy: Olivia's Moment." Theatre Topics 9, no. 2 (1999): 197–205. http://dx.doi.org/10.1353/tt.1999.0014.

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Thomson, Lynn M. "Teaching and Rehearsing Collaboration." Theatre Topics 13, no. 1 (2003): 117–28. http://dx.doi.org/10.1353/tt.2003.0022.

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Dissertations / Theses on the topic "Rehearsing"

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Lynch, Dianne. "Rehearsing the real : children's identity development in virtual spaces." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100647.

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Children who have grown up with the Internet as a dominant form of cultural production bring to their identity development a complex and unique set of expectations and assumptions about identity fluidity and presentation. In addition, these "cyberchildren" are spending much of their social-interaction time in environments populated and controlled by adults, and yet beyond the purview or authority of the adults in their "real" lives. Understanding the nature of their identity development in virtual spaces and its implications for their real-world behaviors offers new opportunities for interventions that more effectively empower children to navigate and negotiate their experiences in relationship with online audiences. The study proposes that Goffman's dramaturgical metaphor can be productively applied to cyberspace, where children are rehearsing their identity performances in backstage, virtual environments; transferring their most salient and valuable identities to middle-stage spaces in real life, where they are performed for their peers and friends; and finally adopting them for presentation in front-stage, public spheres. The work draws on sociological interaction, dramaturgical analysis, information flow theory, and cyberstudies theory to propose a new theoretical framework. Its mixed-methodology approach incorporates a quantitative online survey, including benchmark questions drawn from three national surveys, and open-ended questions analyzed through qualitative methodologies. Taken together, the results confirmed the author's hypotheses that: (1) Cyberchildren have access to adult information and situations; (2) Traditional interventions to protect children in cyberspace are largely ineffective; (3) Cyberchildren maintain distinct online and real-life identities; and (4) Cyberchildren perceive of their virtual identities as valuable and salient.
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Moss, Bruce Burbank. "Differential approaches to rehearsing and conducting an instrumental ensemble." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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Willcuts, Bradley. "Devising, Revising and Rehearsing in a 30 Year War." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3865.

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Abstract DEVISING, REFINING, AND REHEARSAL IN A 30 YEAR WAR By Bradley Harris Willcuts, M.F.A. A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015 Thesis Chair: David Leong Devising, Refining and Rehearsing in a 30 Year War is an account of the process of developing movement and choreography for the production of Mother Courage and her Children at Arena Stage in Washington D.C. It was my largest project during the two years I spent at Virginia Commonwealth University studying an MFA. The title reflects the chronological process that my mentor, director, and colleague David Leong and I went through to produce the work that earned a Helen Hayes Nomination for Outstanding Choreography in a Play. The show starred Kathleen Turner and was directed by acclaimed artistic director of the Arena Stage, Molly Smith. The demands of the work not only had serious responsibilities, but they also asked for a higher caliber of iv work than I had ever been a part of before. It proved to be the single most influential theatrical experience of my career. The movement work needed to be approached with great research and merit due to the highly stylized nature of the project and the national acclaim for it’s opening. This thesis documents that process and the successful outcome of the work which David Leong and I spent over 8 months on.
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Mottin, Monica. "Rehearsing for life : theatre for social change in Kathmandu, Nepal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.

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The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.
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Relf, Jan. "Rehearsing the future : utopia and dystopia in women's writing, 1960-1990." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303370.

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Bergman, Blix Stina. "Rehearsing Emotions : The Process of Creating a Role for the Stage." Doctoral thesis, Stockholms universitet, Sociologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-41021.

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This thesis takes as its starting point the dramaturgical metaphor of the world as a stage, which is used in sociological role theories. These theories often presume what stage acting is about in order to use it as a simile for every day acting. My intention is to investigate how stage actors actually work with their roles, in particular how they work with emotions, and how it affects their private emotions. The thesis draws on participant observation and interviews with actors during the rehearsal phase of two productions at a large theatre in Sweden. The results show that the inhabiting of a role for the stage is more difficult and painstaking than has been assumed in role theories so far. Shame and insecurity are common, particularly in the start up phase of the rehearsals. Interestingly, these emotions do not disappear with growing experience, but instead become recognized and accepted as part of the work process. The primary focus is the interplay between the actors' experience and expression of emotions, often described in terms of surface and deep acting, concepts which are elaborated and put into a process perspective. Analysis of the rehearsal process revealed that actors gradually decouple the privately derived emotional experiences that they use to find their way into their characters from the emotions that they express on the stage. Thus private experiences are converted to professional emotional experiences and expressions, triggered by situational cues. When the experience has been expressed the physical manifestation can be repeated with a weaker base in a simultaneous experience, since the body remembers the expression. It is important though, that the emotional expression is not completely decoupled from a concomitant experience; then the expression looses its vitality. The ability to professionalize emotions makes the transitions in and out of emotions less strenuous but can infiltrate and cause problems in the actors' intimate relations.
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Paz, Moscoso Valeria. "Roberto Valcárcel : renaming repression and rehearsing liberation in contemporary Bolivian art." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/17659/.

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This study analyses the invisible forms of repression in the Bolivian art system by interpreting Roberto Valcárcel’s artwork in the light of Herbert Marcuse’s ideas on repression and liberation as expounded in Eros and Civilization. It considers, on the one hand, Valcárcel’s artwork in relation to the liberating role that Marcuse attributes to art (via phantasy, polymorphous eroticism, and Orphic paradigm). On the other hand, it explores the strategies devised by Valcárcel against repression, such as self-promotion, multiple texts, play, humour and unmasking certain repressive truths. The reading of Valcárcel’s work via Marcuse is supported by archival research from contemporary newspapers, exhibition documentation and Bolivian art history, which provide relevant information about the sorts of latent repression to which Valcárcel’s artworks responds. The dissertation is organised in five chapters in which examples of repressive beliefs are unveiled. Chapter One examines El Movimiento Erótico (The Erotic Movement, 1983) and the manifold strategies used by Valcárcel to escape the traps of a presumed type of sexual liberation (sexist and genital oriented) and capitalism’s culture industry. Chapter Two discusses artworks where the intentional construction of open meaning challenges the norm of a univocal creation and consumption of art. Chapter Three studies some of Valcárcel’s humorous identities in contrast with the dramatic, and overly serious self-perception of Bolivians artists. Chapter Four explores Valcárcel’s use of play, black humour and deceit as effective devices to escape hidden authoritarianism in society during dictatorial regimes. Chapter Five analyses how Valcárcel’s work unveils the latent repression in the idealisation of indigenous heritage through play and anti-thesis. The dissertation introduces a new topic into the study of art in Bolivia – veiled repression – at the same time that it sheds light on the potential of the artwork of Roberto Valcárcel to open new ways of historicizing and thinking about art in Bolivia.
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Downing, Brendan J. "Rehearsing for Their Revolution: A Portraiture of Rural Appalachian Young Adolescent Conscientization and Liberation." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1565829713271047.

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Jeffs, Kathleen. "Golden Age Page to Stratford Stage : Rehearsing and Performing the Royal Shakespeare Company's Spanish Season." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504042.

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Mietola, Matti. "Practicing is listening : practicing viola with the help of self-recording." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2239.

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In this thesis I have examined the benefits of working with a help of self-recording. I wanted to experiment self-monitoring with different working methods to improve my practicing skills as well my performing skills as I prepared for my examination concert. This process consisted of a lot of recording, listening and practicing and repeating this cycle numerous times. I wanted to implement different practice methods and reflect on different aspects of playing the viola. This thesis is written from a violist point of view. The main focus of this work is audio recording as a tool in self-monitoring practice. I have been using two main methods in reviewing the audio material gathered from practice sessions:  1) time between recording and reviewing the material and 2) recording, analyzing and practicing in line with the recordings within a practice session. I wanted to take self-recording process into more regular use because I see it as an essential part of the self-teaching process. A music student has to go through a lot of practicing hours and most of these are spent alone in a practice room. Some of this time is wasted and misused in learning unwanted habits. I wanted to learn to practice in the most deliberate way and use my practice hours as effectively as possible by structuring my practice in self-teaching phases and putting the emphasis on self-monitoring.

CONCERT REPERTOAR

C. Stamitz: Viola Concerto in D Major, Op. 1*

Allegro

I. Stravinsky: Elegie

R. Schumann: Märchenbilder, Op. 113**

I. Nicht Schnell

II. Lebhaft

III. Rasch

IV. Langsam, mit melancholischen Ausdrück

B. Bartok: Concerto for Viola and Orchester, Sz. 120, BB 128*

I. Moderato

Pianist:

*= Erik Lanninger

**= Eeva Tapanen

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Books on the topic "Rehearsing"

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Rubin, Leon. Rehearsing Shakespeare. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843.

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Craft, Michael. Rehearsing: A novel. San Diego: Los Hombres Press, 1993.

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Potter, Jon. Rehearsing with Rat. Studio City, CA: Players Press, 1997.

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Williamson, John E. Rehearsing the band. Galesville, MD: Meredith Music Publications, 2008.

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Williamson, John E. Rehearsing the band. Galesville, MD: Meredith Music Publications, 2008.

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McConnell, Fiona, ed. Rehearsing the State. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118661192.

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Espaillat, Rhina P. Rehearsing absence: Poems. Evansville, Ind: University of Evansville Press, 2001.

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Rehearsing the future. Copenhagen: The Danish Design School Press, 2010.

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Rae, Fiona. Fiona Rae: Rehearsing the Spontaneous. London: ICA, 1993.

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Jonathan, Feist, ed. Tips for singers: Performing, auditioning, and rehearsing. Boston, MA: Berklee Press, 2008.

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Book chapters on the topic "Rehearsing"

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Van Steen, Gonda. "Rehearsing Revolution." In Liberating Hellenism from the Ottoman Empire, 67–108. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106505_3.

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Harris, Anne, and Stacy Holman Jones. "Rehearsing/Devising." In Writing for Performance, 95–121. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-594-4_6.

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Whittaker, Laryssa. "Rehearsing Values." In The Routledge Companion to the Study of Local Musicking, 251–63. New York; London: Routledge, 2017.: Routledge, 2018. http://dx.doi.org/10.4324/9781315687353-23.

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Dodd, Melanie, and Shumi Bose. "‘Rehearsing fictions’." In Spatial Practices, 177–86. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351140041-18.

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Rubin, Leon. "Introduction." In Rehearsing Shakespeare, 1–9. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-1.

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Rubin, Leon. "Translation." In Rehearsing Shakespeare, 95–117. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-5.

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Rubin, Leon. "Collaboration." In Rehearsing Shakespeare, 118–35. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-6.

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Rubin, Leon. "Beginnings." In Rehearsing Shakespeare, 10–36. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-2.

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Rubin, Leon. "Acting Company Preparation." In Rehearsing Shakespeare, 37–55. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-3.

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Rubin, Leon. "Rehearsal Processes." In Rehearsing Shakespeare, 136–62. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429422843-7.

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Conference papers on the topic "Rehearsing"

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Balsa, Joao, Luis Antunes, Helder Coelho, and Luis Moniz. "Rehearsing Policies for GHGs Emission Control." In 2010 Second Brazilian Workshop on Social Simulation (BWSS). IEEE, 2010. http://dx.doi.org/10.1109/bwss.2010.28.

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Langrial, Sitwat, Harri Oinas-Kukkonen, Päivi Lappalainen, and Raimo Lappalainen. "Rehearsing to control depressive symptoms through a behavior change support system." In CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2468425.

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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo, et al. "HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater." In 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.

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"REHEARSING FOR THE FUTURE - Scenarios as an Enabler and a Product of Organizational Knowledge Creation." In International Conference on Knowledge Management and Information Sharing. SciTePress - Science and and Technology Publications, 2009. http://dx.doi.org/10.5220/0002297700460054.

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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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Macedo Calejo, Marta, and Graça Magalhães. "Design as a Critical Research." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3263.

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Historically the imaginary and the hegemonic thinking, in the Western North globe has been marked by the epistemology and capitalists archetypes. Notwithstanding the design as a practice and discipline seem shielded on a simplistic discourse of functional / communicative efficiency, wandering through multiple aestheticism apparently neutral in relation to the symbolic but in fact they never are because what really happens is that the aesthetic appearance of the generated forms will always be a review of the powers ruling. We start from understanding that the act of creating an aesthetic artefact will also be a movement of inscription in a discursive platform (that precedes it) thus being itself an narrative act and representing a positioning in relation to certain symbolic reality. On the presented reflection Design is seen as a discipline and / or an instrument of action, whose operational relevance tends to question and simultaneously rehearsing a response to not just the question why but also for what? Apparently Design is a content mediator, but also, it is structure, body and idea. We think design praxis as discipline and enrolment tool for critical thought and social transformation. For guiding research in this text, we propose the following question: Can Design form an engagement with the symbolic for them in order to be an active part in the production of critical thinking in the place where it belongs? Methodologically our argument will be present in two different moments: 1. first, exploratory nature where we rescue the draw issues in the practice of design and 2. second, analytical nature concerning the subject issues (graphic and / or utility ) of design and how it incorporates formal rites, political events and social practices of contemporary everyday life. We consider the praxis of design as a discipline and critical thinking enrolment tool as agents of social transformation. With this study we seek to contribute to design’s phenomenology by studying the artefacts of configuration as well as the possible messages they convey and what impact they may have on the social network.DOI: http://dx.doi.org/10.4995/IFDP.2016.3263
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Reports on the topic "Rehearsing"

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Kibbe, Barbara Kibbe, and Diana Scearce Scearce. Rehearsing the Future: An Introduction to Developing and Using Scenarios. San Francisco, CA United States: S. D. Bechtel, Jr. Foundation, December 2020. http://dx.doi.org/10.15868/socialsector.37868.

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Paschalidou, Maria. Rehearsing memories - Naming the dead. Performative aspects of political loss. Universitetet i Bergen KMD, March 2021. http://dx.doi.org/10.22501/kmd-ar.1197726.

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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You might also be interested in the extended bibliographies on the topic 'Rehearsing' for particular source types:
Journal articles Dissertations / Theses Books
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