Tesis sobre el tema "SOLO DANCERS"

Dans le contexte du réchauffement climatique, la température moyenne devrait augmenter de 1,5 à 4,8°C d'ici la fin du siècle et les évènements climatiques extrêmes devraient devenir plus fréquents. Ces changements affectent d’ores et déjà le développement des plantes et favorisent la migration géographique des agents pathogènes vers les pôles. Ainsi, les plantes sont confrontées à un risque accru d'épidémies et à l'émergence de nouvelles espèces d'agents pathogènes extrêmement agressifs. Des pertes de rendements sont prédites, menaçant ainsi potentiellement la sécurité alimentaire mondiale. De manière alarmante, une augmentation permanente de la température inhibe la plupart des principaux mécanismes de résistance connus chez les plantes. Cependant, les mécanismes moléculaires sous-jacents sont encore mal caractérisés. Dans mon projet de thèse, en exploitant la variation génétique naturelle d’Arabidopsis thaliana, j’ai cherché à identifier et à caractériser les bases génétiques des mécanismes de résistance restant efficaces à température élevée contre Ralstonia solanacearum, une des phytobactéries pathogènes les plus nocives causant le flétrissement bactérien. Pour découvrir les QTLs associés à une variation naturelle de la réponse à R. solanacearum sous un stress thermique, j'ai utilisé deux collections d’accessions d'A. thaliana géographiquement complémentaires et des approches de GWA mapping. Au sein de la collection mondiale, une seule accession est restée totalement résistante à la souche GMI1000 de R. solanacearum à température élevée. En utilisant une approche de type Bulk Segregating Analysis, nous avons démontré que cette résistance totale était contrôlée par une forme allélique spécifique de la paire d'immuno-récepteurs RPS4/RRS1. Au-delà de cette architecture génétique simple, l'analyse GWA a révélé une architecture polygénique sous-jacente à la progression des symptômes de la maladie. En adoptant une approche de génétique inverse, j'ai validé fonctionnellement deux gènes codant pour des protéines de type strictosidine synthase (SSL) impliqués dans la réponse de défense précoce à la bactérie. L’utilisation d’une collection française locale a révélé une architecture génétique de quantitative disease resistance (QDR) à R. solanacearum totalement différente de celle obtenue avec la collection mondiale. En particulier, un réseau génétique complexe de QTLs épistatique a été détecté. Parmi les QTLs détectés, j'ai validé fonctionnellement la cycline méiotique atypique SOLO DANCERS comme étant impliqué dans la QDR à R. solanacearum. En adoptant une approche interdisciplinaire entre la génétique quantitative et la biologie moléculaire, j’ai mis en évidence chez A. thaliana la diversité des fonctions moléculaires sous-jacentes à la variation naturelle de la résistance à R. solanacearum en présence d’un stress thermique, identifiant ainsi des gènes candidats susceptibles d’être utilisés chez les espèces cultivées pour conférer des résistances robustes aux agents pathogènes dans le contexte du réchauffement climatique
In the context of climate warming, global surface temperature is predicted to increase from 1.5 to 4.8°C by the end of the century and extreme climatic events are expected to become more frequent. These changes will affect plant development and favor the poleward geographic migration of pathogens. Thus, plants will be facing an increased risk of epidemics as well as the emergence of new highly aggressive pathogen species. As a consequence, crop yields losses are anticipated and food security is put at risk. Alarmingly, several studies showed that an increase of temperature inhibits most of the major known resistance mechanisms. However, the underlying molecular mechanisms are still poorly characterized. In my thesis project, by exploiting natural genetic variation in Arabidopsis thaliana, I aimed to identify and characterize the genetic bases of resistance mechanisms remaining efficient at elevated temperature to Ralstonia solanacearum, one of the most harmful pathogenic phytobacteria causing bacterial wilt. To uncover quantitative trait loci (QTLs) associated with natural variation of response to R. solanacearum under heat stress, I adopted genome wide association (GWA) approaches using two geographically complementary collections of accessions of A. thaliana. In the worldwide collection, a single accession was totally resistant to the R. solanacearum GMI1000 strain under heat stress. Using a bulk segregant analysis approach, we identified the genetic basis of this total resistance that turned out to be controlled by a specific allelic form of the RPS4/RRS1 immunoreceptor pair. Beyond this simple genetic architecture, GWA analysis revealed a polygenic architecture underlying disease symptom progression. By adopting a reverse genetic approach, I functionally validated two genes encoding strictosidine synthase-like proteins (SSL) involved in early plant defense response to R. solanacearum. Using a local French collection revealed a genetic architecture of quantitative disease resistance (QDR) to R. solanacearum that totally differs from the one obtained with the worldwide collection. In particular, a complex genetic network of interacting loci was detected under heat stress. Among the detected QTLs, I functionally validated the atypical meiotic cyclin SOLO DANCERS gene as involved in QDR to R. solanacearum. By adopting an interdisciplinary approach between quantitative genetics and molecular biology, I highlighted in A. thaliana the diversity of molecular functions underlying natural variation of resistance to R. solanacearum under stress, which may in turn provide candidate genes for crop resistance to pathogens in the context of climate warming

DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies. Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.

Orientador: Eduardo Antonio Conde Garcia Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Camargo Guarnieri (01/02/1907 - 13/01/1993) é considerado um dos maiores compositores brasileiros. Ele escreveu muitas obras para orquestra, música de câmara, canto coletivo e instrumentos solistas. Para piano, instrumento que dominou com muita desenvoltura e habilidade, dedicou quase duzentas peças. Além da obra vocal, coral, orquestral e instrumental geral, a produção pianística de Camargo Guarnieri tem sido pesquisada com freqüência por estudiosos musicais no Brasil e no exterior. Contudo, pouco se tem produzido cientificamente acerca das Danças para piano solo concebidas pelo compositor entre 1928 e 1946. Por outro lado, tem-se a consciência de que trabalhos científicos direcionados à performance pianística são de grande importância e necessidade para o meio acadêmico e profissional musical. A intenção desta pesquisa está centrada na realização de uma abordagem interpretativa da Dança Brasileira e da Dança Negra, compostas por Camargo Guarnieri no período supracitado.
Abstract: Camargo Guarnieri (01/02/1907 - 13/01/1993) is one of the most important Brazilian composers. His large output includes music for orchestra, chamber music, solo voice, choir and solo instruments. Guarnieri was an accomplished pianist and wrote several pieces for piano. A significant amount of research has been conducted on Camargo Guarnieri's music both in Brazil and abroad. However, little has been written about the Danças, composed between 1928 and 1946. This paper aims to provide suggestions for interpretation based on the analysis of the compositional and musical resources used by the composer in Dança Brasileira and Dança Negra.
Mestrado
Praticas Interpretativas
Mestre em Música

The paper explores the complicated intersection between Black womanhood and performance by considering Josephine Baker as a site to engage the concept of “performing identity.” It discuss both the development of burlesque and the history of Josephine Baker to provide a foundation for the investigation of her early-career movement and visual practices. Then, the paper explore these hallmarks through Sherril Dodds’ “critical components of neo-burlesque striptease” writ into her book, Dancing on the Canon: Embodiments of Value in Popular Dance. The second half of this document includes a script of CATHARSIS, a self-devised solo show created to process one’s personal journey towards self-recognition amidst the (de)stabilizing effects of adoption. The show broadly explores the dynamic relationship between visibility, movement, and healing as Megh negotiates what it means to take space and be vulnerable in an environment that seeks to minimize black femme expression. The script is followed by a reflection on the initial two performances.

Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 28, 1999, Jan. 24, 2000, Jan. 29, 2001, and Apr. 10, 2006. Includes bibliographical references and discography (p. 66-70).

Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.

La recherche explore, dès le départ, une pratique qui croise le dessin avec des pratiques de danse contemporaine, investissant la tension dynamique avec le sol, l’espace gravitaire. Ces pratiques sont questionnées et réinvesties par l’expérience et l’apprentissage en Inde du sud, de rituels de dessins de poudre tracés au sol : les kolam, apparaissant sur les seuils des maisons tamoules à l’aube et les kalam, réalisés lors de cérémonies rituelles au Kérala. Des dessins éphémères où alternent tracés et effacements, dans un geste sacré qui fait puis défait. Le dialogue entre pratiques rituelles et pratiques artistiques est envisagé partant de cette expérience et de cette immersion ouvrant une proximité avec l’approche anthropologique. Au-delà du religieux, qu’apporte cette mise bord à bord avec les rites, avec ces rites indiens en particulier ? Dans ces entre-deux, la pratique se déploie et engage la collaboration fertile avec différents danseurs, devenus passeurs, dans l’espace ouvert de la performance qui rend visible ce processus de mue du dessin. La poudre constitue un matériau essentiel à ces traversées fragiles. Le dessin est analysé dans ses transports successifs du sol aux corps des danseurs, à l’espace de l’installation, jouant dans l’instant des seuils du visible, disparaissant dans le geste de l’effacement, devenu le geste essentiel dans cet accès au rite. Un dessin qui propulse l’action des corps. Qu’est-ce qui peut se transporter ou non de ces pratiques rituelles et ébranler ainsi la pratique du dessin, devenant à la fois trajectoire et processus ? En quoi finalement ces rites nous regardent-ils, nous plasticiens, malgré leur profonde opacité ?
This research explores a practice which mingles drawing with practices of contemporary dance, engaging a relationship of dynamic tension to the ground, to gravitational space. These practices are reinvested by the experience and apprenticeship, undergone in Southern India, of rituals drawings traced with powder on the ground: the kolam, which appear on the doorstep of Tamil houses at dawn, and the kalam, carried out during Kerala ritual ceremonies. They are ephemeral drawings, in which tracings and erasings alternate within a sacred movement which makes and unmakes. The dialogue between ritual and artistic practices is envisaged on the basis of this experience, opening up to a proximity with the anthropological approach. Above and beyond the religious, what parallels can be drawn between artistic practices and rituals, Indian rituals in particular? In this interval the practice reveals itself and engages the fertile collaboration with different dancers, who become mediums in the open space of the performance, which renders visible the drawing’s process of mutation. The drawing is analysed in its successive transpositions from the ground to the dancers’ bodies, to the space of the installation, playing instantaneously on the threshold of the visible, disappearing in the gesture of effacement which becomes the essential gesture in this access to the ritual. The drawing propulses the bodies’ actions. In these ritual practices, what can – or cannot – be conveyed, and thus destabilize the practice of drawing which, by this means, becomes both trajectory and process? Finally what do these rituals have to do with us, visual artists, despite their profound opaqueness?

Imagine a lilly pond. Each lilly floating independently. The individual lilly is framed by the water that surrounds it. The lilly pond becomes apparent by the presence and absence of lillies. This thesis is a compilation of diverse floating articles. Not everything has been covered. I hope that the gaps revealed illuminate the edges of the work. Different writing styles have been adopted in an attempt to get closer to the complexity and ephemerality of the research -- research that has taken place in the dancing body. In presenting the written material this way, I wish to take the reader on a journey -- an experiential journey into the dance -- one that is 'like' the dance rather than an extracted description of it. I hope that the reader will 'come to their senses' and feel the materiality of the dance as I have studied it and known it in my body and with-in the bodies of the other two dancers. The framework for the research in the body has been the integration of the histories collected in our bodies -- practices, trainings, country and culture -- all of which continue to slip and slide, continually re-forming themselves and re-inventing the dancing and not-dancing bodies that we are.
Master of Arts (Hons)

This research manuscript directly pertains to and partially documents my practice-led solo investigation Dialogical Dancing as undertaken toward the Masters of Choreography (by Research). It has been composed to support and co-exist with the two live performance works presented in a season at The Victorian College of the Arts and Music toward the end of these investigations.

碩士
輔仁大學
音樂學系
102
The first chapter of this thesis will briefly summarize the scope of Moritz Moszkowski’ Spanish Dance Op.12.from the historical background to the spread of ethnic traditional dances as well as regional folk music, to the other etudes and Spanish Dance pieces composed by him. The second chapter the life of Moritz Moszkowski and conventional techniques used in his composing. It also summarizsMoritz Moszkowski’s biography, music, and other related documents and looks at etudes to explore Moritz Moszkowski’s performing techniques. The third chapter focuses on Spanish Dance to understand the essence of this folk dance, along with the origin of the dance and the social environment in which it prevailed. Chapter four analyzes the structure of Moritz Moszkowski’s Spanish Dance. Spanish Dance Op.12, is composed of five songs, They have been collated have been analyzed and the signature, tonality, tempo, and technique of the songs. Chapter five, compares and contrasts the solo and piano four hands version of the Spanish Dance Op.12. It analyzes the piece from the performance point of view, and recommends feasible performing interpretations. This chapter is the main focus of the thesis. By understanding Moritz Moszkowski’s original composing inspiration for piano four hands, the music structure, along with his performing technique; it will best assist the soloist to interpret the Spanish Dance Op.12 in the most effective way.

碩士
國立臺灣藝術大學
中國音樂學系
106
This study took Han Li’s three zheng compositions “Shuangjiang Dance Music”, “Late Twilight”, and “Bronze” as the main subject. Through different research methods like interviewing, musical analysis and performing interpretation, it probed into the composer’s composing ideas and habitual composing methods, and examined musical contents and technical presentations of these works. The study result revealed that Han Li has preference to the mode Yu（羽調式）, all the three pieces are based on the mode Yu; for the musical form, Li has applied ternary form and multiple section from to present musical theme and undergo further development; for the rhythm, the cross-using of different short and long rhythms brings vivid and lively effects to these pieces; besides, he pays high attention to designs of techniques and interpretation, fully expressing a viewpoint of a zheng performer, giving his pieces a broader room for displaying performing skills, for example, the lun skill （輪） with both hands in the “Shuangjiang Dance Music” , the five-fingers lun in the “ Late Twilight” both belong to difficult techniques with challenges in zheng music. From an aspect of a zheng performer, Han Li devotes himself in development and innovation. The applying in-tuning sounds from the left side of the bridge in “Late Twilight” is an expectation of new zheng compositions, the technical development on the Yao zi搖指 (tremolo) with both hands in “Shuangjiang Dance Music” is based on the idea of technical innovation, and the “Bronze” is rather applied both hands to develop different melodies to form a dialogue between two voices. Han Li composes from the aspect of performance, paving a way to efficient composing based on his delicate performing experiences, embodying his performing innovations within works, and thus brings diverse zheng compositions with technical challenges to zheng music.

碩士
輔仁大學
兒童與家庭學系碩士班
100
This study examined the influences of “original family” and “Christian ity” on development of intimate relationships. I used the personal narrative research method to perform story writing and conduct systematic data analysis. This study had the following results: 1. The influence of original family on the development of intimate relationships. (1) Negative parent-child relationships affect premarital mate selection preferences and modes of separation in relationships. (2) Negative parental marriage relationships affect premarital views on affection and emotion and modes of interaction during relationships. (3) Parental opinion affects mate selection choices. (4) Parents’ traditional views toward worship and sacrifice cause premarital stress. (5) I unconsciously imitate the behavioral model of my father in marriage. (6) Negative experiences of development within the original family push emotional buttons in a marriage. (7) Regrets regarding parents’ marriage relationship trigger compulsive repetition in marriage. 2. Sociocultural context behind a original family (1) A patriarchal structure in society affects the division of household tasks. (2) Traditional forms of family shaped around the father/son axis affect the relative status of the two sexes. 3. The effect of the Christianity on the development of intimate relationships (1) Christianity enables me to regain my strength following emotional setbacks. (2) Christianity affects my final decision in mate selection. (3) Christianity provides premarital preparation for marriage. (4) Christianity helps resolve issues I encounter when adapting to marriage. 4. The negative personal emotions influenced by original family can gradually be resolved by Christianity. (1) With the maturing of Christian faith, the influences of Christianity gradually increase. (2) With the maturing of Christian faith, the influences of negative original family experiences gradually weaken. (3) The influences of positive Christianity gradually resolve the influences of negative original family experience. 5. Christianity influence me, my marriage, and my original family. (1) Christianity influence the development of my intimate relationships. (2) Christianity directly influence my parents' faith and life finally. Finally, I discuss the research results to offer suggestions and expectations. I also present future directions for research based on the findings of this study.

abstract: I'll go to the end of time for you (and you don't even know my name) is an evening-length solo performance created and performed by Kristopher K.Q. Pourzal. It premiered November 8-10, 2013 in the Margaret Gisolo Dance Theatre of Arizona State University. The solo was the culmination (suspension, really) of a wild creative journey, the distillation of a process that initially involved several collaborators. Through a series of neurotically/erotically repetitive episodes of self-composed song, text, and dance, the work mines questions of the desire to be seen and the desire to feel alive. The conventions and constructs of the proscenium stage are both utilized and subverted in examining this platform as uniquely suited for revealing the nature of these experiences and their potential relationship. This document is primarily an account of the show's process--its before and after--and serves as a site of exploration, explanation, analysis, reflection, questioning, and ultimately furtherance of the practice-based research made manifest in the performances.
Dissertation/Thesis
M.F.A. Dance 2014

碩士
國立臺灣藝術大學
中國音樂學系碩士班
100
Liuqin is an emerging instrument in recent years which becomes an indispensable plucked instrument in the modern Chinese Orchestra. It all thanks to Hui-Ran Wang’s reform. The paper mainly analyzes for representative Liuqin compositions of Hui-Ran Wang, namely, “The Playful Willow Mandolin,” “Bizika Festivity” and “Gu Tu Qing Su,” in three different periods of creation. At the beginning, the paper introduces the biography of Hui-Ran Wang and the process of his Liuqin creation, reformation, and innovation. His contribution makes Liuqin can be presented more delicately. Followed by analysis discuses about the background of the creating, composition structure, and content of music of “The Playful Willow Mandolin,” “Bizika Festivity” and “Gu Tu Qing Su,” in order. Because the music character of “Liuqin Opera,” the dance music of “Dance of Tujia,” and the china opera of “Chin-Chian” are the creation material of the three compositions motioned above, this paper briefly introduces the character of them. Last, this paper analyzes the character, music style, music interpretation, and music performance of “The Playful Willow Mandolin,” “Gu Tu Qing Su, ” and “Bizika Festivity.”Moreover, wish this paper can be reference for other plays in music structure and interpretation. I expect that this paper can inspire and encourage more people in study Liuqin Art. Thus, there are more and more players and students studying and analyzing this topic, which achieves the promotion of the development of Liuqin Art.

Anna Jagošová, Slovácký verbuňk v interpretaci dětských tanečníků Abstract The presented thesis deals with the phenomenon of the male solo dance otherwise known as "The Slovacko Verbunk" and its contemporary interpretations performed by child dancers. This phenomenon is a modern element of folklorism and can be observed Moravian Slovakia region in the past two decades. The main theme of the research and subsequent analysis is the form and performance of "Verbunk" by child dancers. Marginal attention is also paid to their own opinions and attitudes towards "Verbunk" as it is traditionally performed by adult male dancers. Moreover, the thesis deals with "Národní přehlídka dětských verbířů," roughly translated as "The National Exhibition of the Child Verbunk Dancer." This exhibition is organized in cooperation within The International Child Folklore Festival called "Kunovské léto" (The Summer of Kunovice) which has undoubtedly influenced the phenomenon of children reinterpreting "Verbunk" dance the most. The backbone of the thesis is a qualitative research based on interviews conducted mostly with the adults involved in the phenomenon - tutors and adult dancers of "Slovacko Verbunk," leaders of the children's folklore ensembles and the children's parents. The aim of this thesis is not only to describe the...

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).
Art history, Visual Ars and Musicology
D. Mus