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Dissertations / Theses on the topic 'Therapy for performing artists'

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Published: 22 June 2023

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1

Ngor, Aaron Seav. "The Influence of Dry Cupping Therapy on Musicians with Chronic Neck Pain: An Initial Case Series." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525726057063134.

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2

Gucciardo, Alfonso Gianluca. "La médecine des arts du spectacle vivant : Histoire, diffusion internationale, pensée, éthique et pratiques." Electronic Thesis or Diss., Montpellier 3, 2022. https://ged.scdi-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2022MON30057.

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Notre travail a pour objectif de traiter de la médecine des arts de la scène, et plus largement de la méde­cine des arts du spectacle vivant. En Europe et dans le monde, ce domaine médical n'est en effet pas tou­jours connu, compris, organisé ou reconnu. À partir d'une discussion sur la signification philosophique et épistémologique de ce sujet, et en nous appuyant sur notre pratique de médecin phoniâtre depuis vingt deux ans, notamment dans le domaine de la bioéthique et de la médecine de la voix, nous avons entrepris une lecture éthique et bioéthique visant à comprendre ses limites et ses possibilités, ainsi que ce qui est partageable et compréhensible par les pro­fessionnels susceptibles de l’exercer: médecins, rééducateurs, enseignants en art (de la voix, de la musique, de la danse ou du cirque), philosophes et, évidemment, ar­tistes. Il nous est apparu que, loin d’appartenir aux thérapeutiques "complémentaires" ou "non fondées sur des preuves", la médecine des arts et du spectacle ne doit pas être comprise uniquement comme une médecine multidisciplinaire, mais comme une branche interdisciplinaire reposant sur des connais­sances philosophiques et pédagogiques utiles à la santé physique, psychique et émotionnelle des artistes. En analysant plusieurs modèles internationaux, dont plusieurs auxquels nous contribuons, nous avons pu faire le constat que cette interdisciplinarité n'est pas toujours évidente. Nous avons enfin émis l’hypo­thèse que la médecine des arts et du spectacle vivant est une méde­cine non seulement pour l'artiste mais aussi et avant tout pour les arts du spectacle eux-mêmes qui, parfois, doivent également être soignés. Nous avons approfondi ce dernier sujet en conduisant une étude historique et éthique du phénomène du soin et de la cure de l'art et de l'interprète, des origines à nos jours
Performing Arts (PA) Medicine, meant as a "medicine for the art of living entertainment", is still not known and not well un­derstood and framed and recognized, in Europe as well as in the other Continents. Starting from a discussion on the philosophical and epistemolo­gical meaning of this branch of medicine, we have arrived at a personal ethical and bioethical reading in order to un­derstand its limits and strengths for doctors, rehab professionals, teachers of the arts of voice, music, dance and circus, philoso­phers and, obviously, artists. PA Medicine (whose name we also dealt about) is far from that me­dicine to­day called "complementary"/"not-Evidence Based", and is a branch of medical and philosophical and pedagogi­cal knowledge useful to the artist's and art's physical, psychic and emotional health. PA Medicine is a Medicine not only for the artist but for the PA themsel­ves which, at times, also need to be cured. We have deepened this last topic also starting from an historical and ethic study of the phenome­non of the “care and curing” of arts and of performers, from the origins to today
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3

Knight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.

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My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.
African and African American Studies
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4

Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

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Descoteaux, Jillian M. "Substance Use Patterns of Performing Artists: A Preliminary Study." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408643234.

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6

Erwin, Lauren E. "The Making of Camp Shakespeare For Young Performing Artists." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2458.

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In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.
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7

Wall, Sharron. "Careers of freelance creative and performing artists : implications for education." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64100.

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8

Chinburg, Jenna. "The Perception of Trust Between Athletic Trainers and Musical Performing Artists." Thesis, San Jose State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634918.

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Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps members and their athletic trainers. The study included 12 semi-structured interviews in which Drum Corps International (DCI) members defined and analyzed the perception of trust held within this population in relation to athletic trainer interaction. Trustworthiness techniques of member checks, triangulation, external auditing, connoisseurship, and negative case analyses were used. The qualitative methods determined perception of trust through emergent themes and the effect of trust on the patient-clinician relationship. The study further identified factors that maintained or inhibited the aspect of trust between performer and athletic trainer. Accessibility, clinical competence, dependability, comfort, and having a plan of action were found to be the most prominent themes and promote success within this relationship. Overall, trust plays a role in determining patient rapport, compliance, and timely return-to-play through the patient-clinician relationship in the performing arts setting.

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9

Hanson-Broten, Susan. "Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.

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Hanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. "Making a living in the performing arts; reform in Canadian postsecondary performing arts curriculum: equipping artists with essential career management skills." Ottawa, 2000.

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11

Ruiz-Resto, Jose Valentino. "The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists' Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners' Perceived Expressivity." Thesis, University of South Florida, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10112583.

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The purpose of this study was to explore the union of technical and imagery-based instruction (hereinafter, T-I instruction) in two phases. Phase one: The researcher (1) explored T-I instruction’s influences on aspiring performing artists’ acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists’ feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners’ perceived expressivity of aspiring performing artists’ performances that were either influenced by T-I instruction or technical instruction; (2) listeners’ perceived expressivity of aspiring performing artists’ performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions’ influence on the progressive differences in the means of listeners’ perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the Perceived Expressivity Questionnaire (PEQ).

Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: Learning and Quality of Life. Results for Phase two: Cronbach’s alpha statistical procedure revealed an unacceptably low internal consistency for listeners’ perceived expressivity of aspiring performing artists’ performances (α = .02). Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing artists’ use of 11 musical components. The Brief Essay Responses from the Perceived Expressivity Questionnaire (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners’ perceive music as expressive. Further discussion on the finding and implications for performing artists and educators’ use of T-I instruction are offered in this document.

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12

Lindsey, Ilyse, Schelsey Mahammadie-Sabet, and Nicole Rademacher. "Art-making and Wellbeing with Professional Artists During a Pandemic." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/956.

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This research project aims to explore the relationship between art-making and wellbeing in professional artists during the COVID-19 pandemic. The study involves 14 respondents who were invited to complete a Qualtrics survey as well as a process of arts-based inquiry. Researchers analyzed participants’ survey and art responses using an iterative collaborative process to identify emergent themes. These themes included a non-optional and internally-located drive to create; positive emotional, social, and physiological impacts associated with art-making and art-sharing; and, positive impacts on art practice associated with the pandemic. These findings emphasized the unique strengths and challenges associated with the professional artist identity.
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Perry, Lianne R. "An interpretation of the essence of goal-setting and excellence among top athletes and performing artists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0010/MQ41757.pdf.

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14

McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.

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15

Bramante, Albert C. "Correlation between Self-Esteem, Self-Efficacy, Personality, Fear of Success, and Self-Defeating Behaviors of Performing Artists." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/879.

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There is substantial evidence that self-defeating behaviors appear regularly among populations considered psychologically stable. While there has been abundant research on self-esteem, self-efficacy, personality traits, and fear of success as independent constructs, little is known regarding the combined effect of these constructs on the self-defeating behaviors of performing artists. Examining self-defeating behaviors among performing artists is significant because this population is susceptible to self-sabotaging behaviors, underscoring the need to understand their behaviors. The purpose of this quantitative correlational study was to examine whether self-esteem, self-efficacy, personality, and fear of success predicted self-defeating behaviors among performing artists. Bandura's self-efficacy theory and the Baumeister self-esteem theory were used as the theoretical foundations for the study. A cross-sectional self-administered survey was used to collect data about how self-esteem, self-efficacy, personality, and fear of success affected the self-defeating behavior of performing artists from a convenience sample of 100 performing artists in New York City. The following assessment tools were used: Rosenberg Self-Esteem Scale, General Perceived Self-Efficacy Scale, Big Five Inventory, Fear of Success Scale, and the Lay Procrastination Scale. Results indicated a significant relationship between the self-efficacy, self-esteem, personality, and fear of success on self-defeating behavior in performance artists. The implications for positive social change include the potential to help current and future performing artists recognize and manage their self-defeating behaviors, thus preventing disengagement at work, depression, and frustration.
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Tsiris, Giorgos. "Performing spirituality in music therapy : towards action, context and the everyday." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23037/.

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Despite various theoretical explorations of spirituality in music therapy, including debates about its perceived threat to music therapy’s development as a legitimate profession, only a relatively small number of empirical studies have been conducted to date. Exploring mostly individual experiences of spirituality, these studies tend to focus on positive aspects of spirituality, such as peak moments. With no single definition of spirituality, this thesis sets outs to open up a space where diverse, even conflicting, spiritualities are explored. It is based on two complementary studies through which I explore music therapists’ perceptions of spirituality and its (ir)relevance to music therapy (pilot study) as well as the performance of spirituality in everyday music therapy contexts (follow-up study). The pilot study is an international survey of 358 qualified and trainee music therapists whilst the follow-up study is an ethnographically-informed exploration of spirituality within three UK-based music therapy contexts. The survey findings provide an insight into music therapists’ perceptions of spirituality, including its place in their training, practice and professional life. Music therapists’ dilemmas and suggestions for future actions regarding spirituality are also highlighted. Adopting a performative view of spirituality, the ethnographically-informed study offers an exploration of spirituality in-action and in-situ. The findings expand beyond immediate music-making situations, to include broader professional practices, systems and frameworks pertaining to spirituality in and around music therapy. This involves a critical investigation of professional vocabularies, identities, and organisational values and agendas in connection to music therapists’ stances and practices. The thesis suggests a hybrid pneumatology in music therapy. Characterised by interpretative elasticity, spirituality emerges as a ‘boundary object’; a hybrid construct which affords the co-existence of unfinished spiritualities as well as their multiple and heterogeneous translations. Repositioning spirituality as a vital subject area in music therapy, the thesis draws implications for further developments in the field.
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Tansino, Danielle T. "Art as therapy for the therapist the role and experience of artistic expression in the life and work of psychotherapists who also identify as artists : a project based upon an independent investigation /." Click here for text online. Smith College School for Social Work website, 2007. http://hdl.handle.net/10090/1017.

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Thesis (M.S.W.)--Smith College School for Social Work, Northampton, Mass., 2007
Thesis submitted in partial fulfillment for the degree of Master of Social Work. Includes bibliographical references (leaves 85-86).
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18

Wright-Harmon, Joy. "Performance Rights in Sound Recordings: the Impact of the Performance Rights Act on Radio, Records, and Performing Artists." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115185/.

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The original works of copyright holders included tangible creations, as music written on a page, thereby, extending copyright protection to songwriters and music publishers. Until 1995, absent from U.S. copyright law was protection for copyright owners of intangible sound recordings. the Performance Rights Act (PRA) seeks to amend the US copyright law in order to grant copyright holders of sound recordings the right to performance royalties from terrestrial broadcast radio. If passed, the legislation would be unprecedented in the United States. the PRA has implications for broadcast radio, record labels, and performing artists. This study includes historical and legal perspective of previous attempts at legislation of this nature and predicts outcomes of current legislation.
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Getchell, Chelsea. "Experience and Awareness of Musculoskeletal Disorders among ETSU Student and Faculty Visual Artists." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/506.

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Musculoskeletal disorders are a chronic and debilitating issue; these injuries can result in pain and disability that affect daily life and the ability to work in certain careers. Visual artists are no exception to this reality. However, reliable research is scarce regarding this population. The purpose of this study is to examine the level of experience and awareness of visual artists regarding the subject of musculoskeletal disorders and ergonomics within their chosen career field. The methods employed for this paper involved a survey where participants answered questions about workplace ergonomics, movements, and experience of muscle pains. Further indications of research may result from this study involving the assessment, diagnosis, implementation, and intervention in the prevention of musculoskeletal disorders among visual artists.
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Best, Alexandra D. "Comparison of treatment management between orthodontists and general practitioners performing clear aligner therapy." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4158.

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The purpose of this study was to investigate differences in case confidence, treatment management, and Invisalign® expertise between orthodontists and general dentists. A survey was mailed to 1,000 randomly selected orthodontists and general dentists, respectively, who are Invisalign® providers, and results were analyzed. The results indicated that orthodontists treated significantly more Invisalign® cases and received more Invisalign® training than general dentists (P
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.

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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Torkia, Caryne. "Development of the self-efficacy scale for performing life activities post stroke." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121213.

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The onset of a stroke can cause limitations in all areas of activities and participation. Self-efficacy, a situation-specific form of self-confidence, is a predictor of functional performance post stroke. Self-efficacy is the perception one has about his or her abilities to execute a given task or behaviour successfully (Bandura 1997). Thus self-efficacy plays a crucial role in shaping an individual's expectations for future achievements and influences the planning and execution of actions required to reach their goals. Given the high prevalence of people experiencing long-term problems in activities and participation post stroke, obtaining information on individuals' self-efficacy for performing activities and participation is important during inpatient stroke rehabilitation. While a few scales measuring self-efficacy in relation to activities and participation exist, their content does not cover a wide enough range of activities and social roles relevant post stroke. Thus it was deemed important to develop a new interviewer-administered evaluative scale to adequately measure self-efficacy in activities and participation in individuals with stroke. The development and preliminary testing of the Self-efficacy Scale for Performing Life Activities Post Stroke is presented in this thesis.The first manuscript of the thesis reviews the literature on self-efficacy's influence toward activities and participation post stroke. Evidence from the literature suggests that this influence is important for individuals' outcome performances after a stroke and likely occurs through self-regulation processes such as goal setting, planning, self-monitoring, coping, and cognitive appraisal. The second manuscript presents the results of a study conducted to develop a new scale to measure self-efficacy in relation to activities and participation post stroke. The content of the new self-efficacy scale covers a wide range of activities and participation specific to stroke and was validated by a group of expert clinicians in stroke rehabilitation. Pretesting showed that questions were understood by end-users. Field-testing indicated that the majority of items should be kept at this stage of the scale development. These results will assist clinicians and researchers in facilitating self-efficacy intervention so that individuals can achieve higher levels of activities and participation post stroke.
Un accident vasculaire cérébral (AVC) peut causer des difficultés dans tous les domaines d'activités et de participation. L'auto-efficacité, une forme spécifique de confiance personnelle, est un prédicateur du fonctionnement de la personne suite à un AVC. L'auto-efficacité est la perception qu'une personne a de ses habiletés pour exécuter une tâche ou un comportement donné avec succès (Bandura, 1997). L'auto-efficacité est donc un important facteur d'influence sur les attentes que forment les gens envers leurs accomplissements futurs. L'auto-efficacité influence aussi les gens lors de la planification et l'exécution des actions requises pour atteindre leurs objectifs. Étant donnée la prévalence élevée de gens qui, à long terme, continuent d'avoir des problèmes d'activités et de participation suite à un AVC, il est important de pouvoir évaluer leur auto-efficacité envers l'exécution de leurs activités et participation pendant la réadaptation interne. Bien qu'il existe quelques outils mesurant l'auto-efficacité pour l'exécution d'activités et de participation sociale, le spectre de leur contenu ne couvre pas suffisamment la problématique résultant de l'AVC. Il a donc été jugé important de développer un nouvel outil de mesure, de type évaluatif et administré par entrevue, pour bien évaluer l'auto-efficacité des personnes envers l'exécution de leurs activités et rôles sociaux suite à un AVC. Le développement et tests préliminaires de l'évaluation d'auto-efficacité pour l'exécution des activités de vie quotidienne et rôles sociaux suite à un accident vasculaire cérébral sont présentés dans cette thèse.Le premier manuscrit de la thèse relate les évidences d'influence de l'auto-efficacité sur les activités et la participation suite à un AVC. Ces évidences supportent l'importance de l'influence probable de l'auto-efficacité sur le rendement fonctionnel global des personnes ayant eu un AVC. Cette influence semble s'actualiser par l'entremise de processus d'auto-régulation tel que l'établissement d'objectifs, la planification, l'auto-évaluation, les capacités d'adaptation, et l'appréciation cognitive. Le second manuscrit présente les résultats d'une étude réalisée pour développer un nouvel outil d'évaluation mesurant l'auto-efficacité pour l'exécution des activités et des rôles sociaux des gens suite à un AVC. Le contenu de cet outil couvre une vaste étendue d'activités et de rôles sociaux spécifiques à la problématique des gens ayant eu un AVC. Il a été validé par un groupe d'experts cliniciens pour la réadaptation des gens ayant subi un AVC. Les résultats du pré-test ont montré une bonne compréhension des questions par la clientèle cible. L'essai sur le terrain a indiqué qu'il était préférable de garder la majorité des items au stade actuel du développement de l'outil. Ces résultats aideront les cliniciens et les chercheurs à faciliter les interventions d'auto-efficacité afin que les personnes ayant subi un AVC puissent accomplir leurs activités et rôles sociaux à des niveaux plus élevés.
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Jamerson, Jeffrey L. "Expressive remix therapy| Facilitating narrative mash-ups through the use of digital media art." Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10183267.

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This dissertation explains and highlights a scholar-artist-practitioner research model that blends existing theories rooted in social constructionist, narrative, and creative arts therapies with cutting edge digital art practices that better serve the needs of transition age youth (TAY) within the foster care system. This dissertation is an accumulation of work that traverses the fields of child welfare, mental health, and digital media learning. Two research questions are answered in this dissertation (a) What does a digital artistic intervention look like? and (b) How can digital media art be used in therapeutic group sessions with TAY?

This dissertation draws on my background in behavioral health with youth, work as a videographer and my experience in the realm of hip-hop culture as a disc jockey (DJ). Throughout this dissertation an emphasis is placed on the idea and application of remixing. DJs use remixing as a technique of expression, taking existing songs and mixing them up (blending, cutting, fading, and scratching) to create something new and powerful in return. This dissertation uses the word remix as a metaphor for therapeutic techniques that play with the idea of narrative transformation.

In particular, I demonstrate how to use iPad applications and a process called digital storytelling (mixing audio and video formats) for the purpose of evoking a client’s personal story construction and story transformation through a remix process. Two underlying themes comprise the framework of this dissertation: (a) the construction of narratives and (b) the remix (or creative transformation) of narratives using various forms of digital media.

The literature review discusses the disciplines of art therapy, expressive arts therapy, narrative therapy, and digital media art and digital art therapy. I also discuss a portion of the foster care system called TAY, and finally I discuss how personal stories and belief systems are subjectively created but more importantly remixed or recreated using the strategies highlighted in this study. The methodology of this dissertation is broken down into three sections: a pilot study, a case study, and a vignette, which display how digital media art is used as a therapeutic intervention.

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Niehaus, Amanda Jo. "Use of the Ambulatory Phonation Monitor with College Professors of Performing Arts." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1267740981.

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25

Perez, Diana. "Can humans fully activate the motor units of the quadriceps femoris muscle when performing a maximal voluntary contraction?" Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69743.

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The ability to fully activate the motor units of the quadriceps femoris muscle when performing an isometric maximal voluntary contraction (MVC) was assessed in 30 subjects. The twitch interpolation technique (TIT) was used to measure the increase in force superimposed on the MVC by a supramaximal shock to the femoral nerve. The superimposed force was compared to the potentiated twitch (PtP) force, and an activation ratio (A.R.) was calculated. The resting twitch (PtR) force, MVC force, and the inverse relationship between the level of voluntary force and the superimposed twitch force were also measured. Subjects were compared on the basis of activity level (15 sedentary and 15 trained) and gender (14 males and 16 females). The mean A.R. was 95% regardless of activity level or gender. Males were stronger than females but there was no difference in strength between the sedentary and trained groups. PtR and PtP force values showed the same pattern of results. The nature of the relationship between the level of voluntary force and the superimposed twitch force was curvilinear, and indicates that the TIT may not be accurate in measuring the amount of activation for a muscle as large as the quadriceps when voluntary contractions greater than 70% of the MVC are performed. The intra-subject reliability of the TIT used in this lab was acceptable (ICC = 0.78).
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Knight, Juanita M. "Effects of Bulimia Nervosa on the Voice: A Guide for Voice Teachers." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/537.

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The purpose of this essay is to compile a list of symptoms to aid voice teachers in the early detection of vocal problems resulting from bulimic behavior. Bulimia nervosa (BN) is an eating disorder characterized by bingeing and purging and has a high rate of occurrence among the college population. Entertainers form a high risk group for development of BN yet the effects of BN on the voice are largely ignored in vocal literature. The study begins with a literature review which links several factors that can influence the development of BN with "the singer’s personality." The two main character traits that appear most frequently are perfectionism and anxiety. The study continues with a narrative presentation of interviews by the author with three voice specialists in different fields of voice research and treatment. The research questions on which the interview portion of the study were based are: 1) Are otolaryngologists seeing an increase in vocal problems associated with eating disorders?; 2) Is there a belief among voice specialists that singer-actors are a high risk group for the development of eating disorders?; 3) What vocal symptoms should voice teachers watch and listen for if they suspect a student is bulimic?; 4) How should the voice teacher approach the recommendation of treatment, care, and use of the bulimic voice? This portion of the paper includes a clear and concise list of symptoms associated with BN that are easily identifiable by sight or sound. The paper concludes with a summary of the study results, suggestions for voice teachers training singers with the disorder, and ideas for further research.
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Collyer, Sarah. "Yoga for singers: A holistic practice tool." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121491/1/Sarah%20Collyer%20Thesis.pdf.

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This thesis explored the design and implementation of a holistic practice tool for singers, utilising the principles and practices of Hatha yoga and an experiential person-centered education model within a mixed-methods action research design. Singers participating in the program reported a range of positive, wellbeing related outcomes and the results of the study revealed three principle considerations for conducting holistic, person-centred education in the performing arts: process before product, integrated experiential learning and reflection in action. These three considerations can be used to design future educational programs addressing the health and wellbeing of singers and other performing artists.
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Ruiz-Resto, José Valentino. "The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6373.

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The purpose of this study was to explore the union of technical and imagery-based instruction (hereinafter, T-I instruction) in two phases. Phase one: The researcher (1) explored T-I instruction’s influences on aspiring performing artists’ acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists’ feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners’ perceived expressivity of aspiring performing artists’ performances that were either influenced by T-I instruction or technical instruction; (2) listeners’ perceived expressivity of aspiring performing artists’ performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions’ influence on the progressive differences in the means of listeners’ perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the Perceived Expressivity Questionnaire (PEQ). Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: Learning and Quality of Life. Results for Phase two: Cronbach’s alpha statistical procedure revealed an unacceptably low internal consistency for listeners’ perceived expressivity of aspiring performing artists’ performances (α = .02). Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing artists’ use of 11 musical components. The Brief Essay Responses from the Perceived Expressivity Questionnaire (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners’ perceive music as expressive. Further discussion on the finding and implications for performing artists and educators’ use of T-I instruction are offered in this document.
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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.

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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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O'Grady, Lucy. "The therapeutic potentials of creating and performing music with women in prison : a qualitative case study /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7079.

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The aim of this research is to contribute ideas toward the possibilities of what music therapy can be, by examining the therapeutic potentials of creating and performing music within the context of an Australian maximum-security women’s prison. Until recently, music therapists rarely documented or explored the potential of performance for music therapy practice while some health professionals even suggested that performance is anti-therapeutic (See Maratos, 2004). Music therapists writing about their practices in forensic settings emphasise the therapeutic potentials of singing and song writing rather than performance and they predominantly approach these activities from a behavioural orientation. The almost singular theoretical approach to practising music therapy in forensic settings reflects a lack of relevant research. Consequently, the purpose underlying this research is to explore the therapeutic potentials of making and performing music with women in prison from an alternative perspective; namely humanistic rather than behavioural. The aim of this research is not only to examine previously undocumented processes in music therapy such as performance but also to contribute to the literature concerning the health and wellbeing of women in prison.
The research was designed as a qualitative case study of a ten-week creative process involving seven women in prison who collaboratively created a musical together with artists from a theatre company. As a culmination of this ten-week process, the women in prison and the artists of the theatre company performed the musical to an audience of approximately 60 prisoners, prison officers, health professionals and prison staff. In order to examine the therapeutic potentials of creating and performing music in this case, post-performance interviews were conducted with the seven women who were in prison as well as with the artists involved in the theatre company. The researcher also wrote session notes throughout the ten-week process and these, as well as the interviews and five songs created during the ten weeks, comprise the data set for this study.
The data was analysed using a variety of qualitative techniques chosen for their suitability to two main research tasks: 1) describing the case and 2) analysing the therapeutic potentials of creating and performing music in this case. In order to describe what happened collectively throughout the ten-week process, a content analysis was performed upon the researcher’s session notes. Phenomenological techniques of analysis were then applied to the interviews with the women in prison in order to describe the essence of each individual’s experience of the ten-week process. The five songs are presented in their original form as a way of further illustrating the case. In order to describe the work of the theatre company, techniques of grounded theory were used to analyse the interviews with the participating artists. Grounded theory analysis was also the method used to ultimately explain various aspects relating to the therapeutic potentials of creating and performing music in this case.
The main results of this analysis are presented in three parts. The first set of results explains how creating and performing music in this case served the participating women in prison as a bridge from the ‘inside’ to the ‘outside’. These women described a real and symbolic divide between their realities inside prison and the world outside the razor wire. By creating and performing music, the women were able to experience five different ways of shifting outside of their realities in prison, by moving 1) from physical and symbolic ‘inside’ places to ‘outside’ places, 2) from privacy to public, 3) from solitude to togetherness, 4) from self-focus to a focus on others, and 5) from subjective thought processes to objective thought processes. The results outline different therapeutic potentials for each type of outward movement. The exploration of an outward-directed approach to music experience in this case can help to extend conventional music therapy practices where inward-directed therapeutic shifts are more commonly described.
The second set of results depicts the influence of five personal resources that helped the women to enact the therapeutic potentials associated with each of the five outward shifts. In particular, these results suggest that each type of outward movement was especially powerful when courage, readiness, exchange, support and trust were present in their fullest dimensions. It was these resources, rather than the processes usually associated with therapy, that enabled the therapeutic potentials of creating and performing music in this case to be fulfilled. Consequently, the notions of ‘therapy’ and ‘therapeutic’ are further delineated while important implications for the use of music as therapy and for the related practice of ‘arts in health’ are highlighted.
The third and final set of results suggest that music in this case, when compared with visual art and drama, provided the women with a ‘middle road’ in terms of the levels of exposure required by each art-form. As a predominantly gentle form of exposure, music in this case provided therapeutic potentials that differed more in strength rather than quality when compared with drama and visual art. These results suggest the importance of creativity in explaining the relationship between the therapeutic potentials of all arts therapies while also representing important implications for the development of indigenous theory in music therapy.
In relation to the stated aims, this research documents and explores the therapeutic potentials of musical performance and directly relates these potentials to new possibilities for music therapy practice. Furthermore, the research presents a humanistic rather than behavioural approach to creating and performing music with women in prison, thereby adding variety and depth to the sparse music therapy literature related to forensic health. More broadly, however, this research adds to the slim body of literature concerning women in prison by outlining a creative and powerful approach to helping such women improve their health and well-being.
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Forcum, Zackary. "Pulling back the veil| Using science to understand movement's ability to aid in recovery from psychological trauma." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10066319.

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Psychological trauma can literally disrupt life’s flow by damaging brain and bodily systems. When a flashback to a traumatic event is triggered in a person suffering from traumatic stress, or PTSD, key functions in the brain malfunction and are deactivated, potentially causing massive disassociation. In addition, trauma can cause chronic hyperarousal, resulting from the body’s malfunctioning autonomic nervous system’s defensive response of fight, flight, or freeze. To cope with these damaged bodily and brain systems and processes detrimental acts of hyperfocus and numbing are often employed by sufferers of trauma. However these obstructions can be cleared though movement practices: top-down and bottom-up regulation methods, innately embedded in certain movement and dance disciplines such as yoga and creative dance, have shown to aide in trauma recovery. This opens the possibility that a dance/movement instructor, using trauma-conscious curriculum and facilitation techniques, can use their highly structured movement practices to engage with top-down and bottom up regulation practices to not only instruct students suffering from trauma, but offer opportunities to engage in treatment.

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Ernst, Erinn Kelley Thompson 1980. "A Collaborative, Site-Specific Dance Performance for Alton Baker Park in Eugene, Oregon: Focus on Community Building for Participating Artists Through the Concepts of Space and Time." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11481.

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viii, 77 p. : ill.
The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors.
Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member
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Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.
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Rowe, Katherine. "Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a sociological standpoint when studying the arts and studying childhood development, society is able to make connections between the two that leads to better understanding of a child's development socially, mentally, and academically.
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Wang, Tzu-ya (Lisa). "Action research : improving my music therapy practice with hospitalised adolescents through building relationships and meeting their developmental needs : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Music Therapy." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1115.

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This study examines the researcher's music therapy intervention with hospitalised adolescents within a paediatric hospital The hospital is located in a New Zealand city serving a broad multicultural population of mainly Pakeha, Maori and Pacific Island people. There is a large body of literature showing that experiences of hospitalisation are often unpleasant and that the challenges adolescents encounter during hospitalisation can also be detrimental to their development. The researcher employed an action research model of cycles of planning, action and reflection to explore the potential for practice improvement in meeting the needs of hospitalised adolescents. In addition, young people's feedback on the sessions and input from supervisors also contributed to the researcher's planning. Personal goals in clinical practice and specific planning for the needs of individual participants were the starting points of each cycle. Subsequently, each cycle had a learning analysis to relate planning to action and to collect the knowledge for the next cycle or future practice. The researcher found that through scrutiny of her clinical work she was able to improve her professional practice. The findings also showed that relationship-building through music therapy was able to support the developmental needs of hospitalised adolescents.
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Boniface, Emma Jane. "Promoting sociability : staff perceptions of music therapy as a way to enhance social skills : a project presented in partial fulfilment of the requirements for the degree of Master of Music in Music Therapy, New Zealand School of Music, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1172.

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This thesis is the result of working with nine students and one teacher aide in group music therapy in special education. Through opportunities to learn about music and sound, the students were invited to use descriptive language to express emotions and thoughts about their music therapy experience. This research used a qualitative research design, where the purpose was to learn about the perceptions that staff may have of music therapy and to highlight how music therapy can promote sociability in an educative setting. The data collected mainly through research journal entries and two interviews (as well as material from a discussion group) offer evidence about how improvisational group music therapy can help create a positive social environment in the classroom and complement socialisation goals in education.
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Syme, Gemma. "AC/DC : a study in art, gender and popular culture : an exegesis presented in partial fulfilment of the requirements for the degree of Master in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/947.

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This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.
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Betz, Jennifer. "The Use of Improvisation in Therapeutic Practices." Kent State University Honors College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1557312650223249.

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Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.

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Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth and they form the case studies of this research. Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.
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Park, Yaeun Kyung. "Improving understanding of music therapy with a non-verbal child: sharing perceptions with other professionals : a research presented in partial fulfilment of the requirements for the Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/999.

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This study explored the value of music therapy practice with a non-verbal child conducted by the author, a Music Therapy Student (MTS), as seen through the eyes of two music therapists and the child’s mother, as well as the improvement achieved in the MTS’s understanding of music therapy practice through sharing the three professionals’ insights. The paper addresses two research questions: (1) How is music therapy with a non-verbal child perceived by music therapy professionals? (2) How does sharing these professionals’ understanding of music therapy improve the MTS’s understanding of this therapeutic process? The MTS’s self-reflections were treated as part of the data in this research, as was the non-verbal communication within the music therapy intervention to support the findings. The qualitative research, ‘Naturalistic inquiry’ was used for this research. Data was collected by interviewing these three professionals individually about their perceptions of music therapy after watching three video extracts of normal music therapy sessions with the child. The video extracts were selected from the significant moments of non-verbal communication. Through this process of sharing the professionals’ perceptions, the MTS gained a deeper understanding of both the child and the music therapy practice administered, confirming and extending her understanding of the musical and therapeutic skills and techniques of the three professionals, which they had gained in their varied experiences and which had been shaped by their varied backgrounds. The MTS was thus engaged in a learning process which hoped would enhance the quality of therapy provided by her in the future.
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Volkar, Carie L. "Patterns of Vocal Fold Closure in Professional Singers." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1494258620137297.

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Pandolfi, de Rinaldis Gianna. "Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.

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Campbell, Elizabeth M. "Efficacy of Long-Term Use of Vocal Cool Downs as Analyzed through Aerodynamic Measurements." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1430424728.

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Wilkinson, Catherine Joy. "Reflections and analysis to improve clinical practice : a student music therapist's journey with a preschool child with special needs : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/858.

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This qualitative study critically examines the researcher’s music therapy clinical practice with a preschool child with global developmental delay. The researcher/student music therapist critically examined and refined her clinical practice using an action research model. Each cycle consisted of a plan, action, data collection, reflection, and analysis. The researcher was the main participant. The child, his mother and a speech-language therapist were co-participants with different roles. The child and his mother participated in the sessions. The speech-language therapist observed three sessions through a window. Feedback from the child’s mother and the speech-language therapist contributed to the reflective data. Important issues that developed through the cycles related to early intervention techniques (having fun, being playful and spontaneous, and being in close proximity). Other important issues that developed were, the use of the voice and guitar; confidence; professionalism with parents and other health professionals; self-awareness; and the understanding of early childhood development (especially in the area of communication). Related literature on aspects of music therapy practice, music therapy in early intervention, music therapy and communication, and action research are described. These results cannot be generalised. However, they may firstly, illustrate relevant trends in early intervention, and secondly, enable the researcher to adapt skills learnt to use in future practice in early intervention
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Basson, Rozanne. "Canvas : colour production hub." Diss., Pretoria :[s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11212007-205438.

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Roux, Nicolas. "Un emploi discontinu soutenable ? Trajectoires sociales de saisonniers agricoles et d'artistes du spectacle." Thesis, Paris, CNAM, 2017. http://www.theses.fr/2017CNAM1143/document.

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L’analyse sociologique de la précarité oscille entre risque de désaffiliation et alternative à la norme d’emploi dominante. Pour contribuer au débat, cette thèse saisit cette ambivalence en développant une problématique originale : celle de la « soutenabilité » de l’emploi discontinu, au double-sens de ce qui est supportable et de ce qui est défendable. Les cas contrastés des saisonniers agricoles et des artistes du spectacle sont comparés au moyen d’une enquête biographique et longitudinale retraçant leurs trajectoires sociales. La première partie reconstitue l’espace des possibles structurant les trajectoires objectives des enquêtés. D’un côté, un salariat agricole flexible et relativement invisible maintient les saisonniers agricoles, majoritairement issus des classes populaires, dans une condition de précarité-pauvreté. De l’autre,les artistes, originaires principalement des classes moyennes et supérieures, se mobilisent politiquement pour la défense d’une intermittence du spectacle recouvrant un potentiel d’autonomie salariale. Ce contraste se redouble ensuite au niveau des trajectoires subjectives. La deuxième partie montre comment l’emploi agricole devient soutenable par adaptation à la nécessité. La discontinuité permet de mettre à distance le travail et de recentrer les attentes sur l’espace domestique et le territoire local. À l’inverse, l’insoutenabilité l’emporte lorsque le CDI réduit les possibilités de s’extraire d’un travail portant atteinte à la santé (insoutenabilité de condition) ou lorsque l’emploi agricole est consécutif à un déclassement (insoutenabilité de position). Enfin, la troisième partie illustre comment les artistes du spectacle se caractérisent au contraire par un refus de la finitude sociale. La vie d’artiste et d’intermittent demeure soutenable tant que la recherche d’autonomie dans un travail synonyme de singularité et de vocation n’est pas compromise par un engagement prenant le sens du surinvestissement (insoutenabilité de condition) ou par un défaut de capital spécifique(insoutenabilité de position). Les trajectoires contrastées des saisonniers agricoles et des artistes du spectacle interrogent finalement la thèse d’un « précariat » à la condition ou au projet politique communs
The sociological analysis of the precariousness fluctuates between disaffiliation risk and alternative to the dominant employment norm. In order to contribute to the debate, this thesis captures this ambivalence by developing an original issue: the “sustainability” of discontinuous employment, in both meaning of what is bearable and what is defensible. The contrasting cases of agricultural seasonal workers and performing artists are compared by means of a biographical and longitudinal survey tracking down their social trajectories. The first part rebuilds the space of possibilities structuring the objective paths of the respondents. On one side, a flexible and relatively invisible agricultural wage-earners keeps theseasonal workers, mainly from the working class, in a precariousness-poverty condition. On the other side, the artists,mainly from the middle and superior classes, politically gather for the defense of the intermittence of the performing arts, implying the possibility of autonomous wages. Then, this disparity is increased when considering the subjective paths. The second part shows how the agricultural employment becomes sustainable as adaptation to the necessity. The discontinuity allows to distance work and to refocus expectations on domestic space and local territory. Conversely, the unsustainability wins when permanent contract reduces the possibility to get away of a job jeopardizing health (condition unsustainability) or when agricultural employment is a consequence of a downgrade (position unsustainability). Finally, the third part illustrate, on the contrary, how performing artists are characterized by a rejection of the social finitude. The artist and intermittent life remains sustainable as long as the pursuit of autonomy in a job, synonym for singularity andvocation, is not jeopardized by a commitment as a surinvestment (condition unsustainability) or a default of specific capital (position unsustainability). The contrasted paths of agricultural seasonal workers and performing artists finallyquestion the thesis of a “precariat” with common conditions and political vision
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Donahue, Erin Nicole. "Prevalence of Vocal Pathology in Incoming Conservatory Students and Reported Vocal Habits." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1335534568.

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Ištvánková, Šárka. "Mezinárodní zdanění příjmů divadelních umělců." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2017. http://www.nusl.cz/ntk/nusl-317087.

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The diploma thesis deals with international taxation of theater artist’s incomes. The main aim is to create methodical instruction for income taxation of tax non-residents of The Czech Republic. After that the methodical instruction is used for calculation of the tax liability of model tax payers - theater artists. The diploma thesis also evaluates case-law which deals with international taxation and defines possible risks which eventuate from incorrect interpretation.
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Diaz, Raymond. "Primo Passaggio: Measures Associated with Different Interpretations Sung by an Elite Soprano Performer." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.

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Grandjean, Coralie. "Etude artistique et financière des débuts au Théâtre de Montpellier sous le Second Empire (1852-1870)." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30029.

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Étude artistique et financière des débuts au Théâtre de Montpellier sous le Second Empire. Fonctionnement des débuts et impact budgétaire sur le théâtre. Etude sur la rémunération et la gestion des artistes. Analyse des gestions artistique et financière du Théâtre. Impact national et politique des débuts. Étude sur les directeurs, le public, le personnel du Théâtre, les artistes et les œuvres utilisées pour leurs passages lors des débuts
Artistical and financial study about the 'débuts' in Montpellier'theater during the Second Empire. How the 'débuts' work and financial impact on the theater. Study about the management and payment of the artists. Analysis of management (artistically and financially) of the Theater. National and political impact. Study about the differents directors, public, theater employees, artists and operas used for their 'débuts'
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