Rozprawy doktorskie na temat „Performance practice”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Performance practice.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Performance practice”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Baldry, William James. "Turntablist performance practice". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13494/.
Pełny tekst źródłaStreszczenie:
The work here presented is a reaction to a number of issues within contemporary turntablism. Firstly, the perceived disparity between the turntable traditions of hip-hop and the avant-garde has been analysed, and a number of new works created in order to explore the possibilities for greater hybridity between these two playing styles. Secondly, the rapidly changing landscape of turntable technology has been addressed, and conclusions drawn concerning both the new technical and sonic opportunities afforded by the new technology and the influence of these changes on existing playing styles and techniques. Finally, one of the defining characteristics of the instrument – the need to choose source material before playing – has been explored, in order to make judgements concerning the interplay between technique, style and the chosen sonic materials. These different strands of practice-led research all feed into an overarching discussion of idiomatic playing, and the findings of these projects help to define what that phrase might mean for contemporary turntablists.
2
Harris, Ellen T. "Baroque Vocal Performance Practice". Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37220.
Pełny tekst źródła
3
Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation". Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.
Pełny tekst źródła
4
Fjellman, Andreas. "Mental practice for military performance". Thesis, Swedish National Defence College, Swedish National Defence College, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-836.
Pełny tekst źródłaStreszczenie:
The aim was to examine whether the Swedish Armed Forces can use mental training to develop the soldiers and officers in the military profession, a secondary objective was to examine how mental training methods can be integrated into the Swedish Armed Forces' daily activities. The study was carried out in the form of a literature review. The search of literature was done in scientific and military data bases, and retrieval from the Department of Leadership and Management (ILM) in Karlstad. The literature and articles were reviewed which resulted in only 19 out of 64 collected works were judged to have acceptable scientific quality and be of relevance for the topic. The results of the survey show that the use of mental training techniques goal setting, imagery, self-talk and relaxation strategies can produce positive effects for individual development of soldiers and officers. First, by allowing them to improve performance and stress management ability, secondly by creating motivation. An integration of the mental training techniques requires a training of officers carried out by experts and an individual motivation in soldiers.
5
Threadgold, Terry. "Feminist textual practice performance and critique". Monash University, School of Literary, Visual and Cultural Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/8576.
Pełny tekst źródła
6
Mussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /". Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.
Pełny tekst źródła
7
Joyce, Sam. "Performance driven design systems in practice". Thesis, University of Bath, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687303.
Pełny tekst źródłaStreszczenie:
This thesis is concerned with the application of computation in the context of professional architectural practice and specifically towards defining complex buildings that are highly integrated with respect to design and engineering performance. The thesis represents applied research undertaken whilst in practice at Foster + Partners. It reviews the current state of the art of computational design techniques to quickly but flexibly model and analyse building options. The application of parametric design tools to active design projects is discussed with respect to real examples as well as methods to then link the geometric definitions to structural engineering analysis, to provide performance data in near real time. The practical interoperability between design software and engineering tools is also examined. The role of performance data in design decision making is analysed by comparing manual work-flows with methods assisted by computation. This extends to optimisation methods which by making use of design automation actively make design decisions to return optimised results. The challenges and drawbacks of using these methods effectively in real deign situations is discussed, especially the limitations of these methods with respect to incomplete problem definitions, and the design exploration resulting in modified performance requirements. To counter these issues a performance driven design work flow is proposed. This is a mixed initiative whereby designer centric understanding and decisions are computer assisted. Flexible meta-design descriptions that encapsulate the variability of the design space under consideration are explored and compared with existing optimisation approaches. Computation is used to produce and visualise the performance data from these large design spaces generated by parametric design descriptions and associated engineering analysis. Novel methods are introduced that define a design and performance space using cluster computing methods to speed up the generation of large numbers of options. The use of data visualisation is applied to design problems, showing how in real situations it can aid design orientation and decision making using the large amount of data produced. Strategies to enable these work-flows are discussed and implemented, focusing on re-appropriating existing web design paradigms using a modular approach concentrating on scalable data creation and information display.
8
Leveroy, Deborah. "Enabling performance : dyslexia and acting practice". Thesis, University of Kent, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655222.
Pełny tekst źródłaStreszczenie:
This thesis is concerned with the lived experience of dyslexic actors. It explores the role of performance in constructing dyslexic identities, actors' relationships to written and verbal language, the ways in which this might impact on their acting process and implications for teaching practice. Research into dyslexia and acting practice is needed in light of the growing interest in cognition within the field of performance theory, the legislative framework surrounding dyslexia, implications for policy and practice and the numbers of professional actors with dyslexia. The methodology draws on a range of paradigms, namely phenomenology, embodied cognition and disability theory and adopts a mixed methods approach, in order to explore the complex nature of dyslexia and address a range of research questions. The research finds that the research participants have a different intentional relationship to language and linear sequencing. Certain training and acting experiences have given them a different experience of being in the world, creating positive dyslexic identities and body images. Disabling training approaches predicated on linear-sequencing and literacy, are the antithesis to methods which utilise non-linear, holistic and non-verbal processing. Actors manipulate the physical environment and the objects in it, to control what is otherwise a chaotic environment. A number of examples of inclusive practice and support models exist, but evidence of disabling practices remain. The research has potential policy and pedagogical implications both for actor training institutions and the industry. It also has implications for those dyslexic learners who are not professional actors, as acting may have cognitive benefits for such people and encourage positive dyslexic identities. There are broader implications relating to theatre and performance theory as a discipline, as models of neuro-diversity (such as dyslexia) can enhance current performance theory. This research may also encourage dyslexic actors not to merely survive but to thrive in the acting profession.
9
Hu, Shu-Chen 1968. "How to Practice in an Efficient Way". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Pełny tekst źródłaStreszczenie:
Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
10
Palter, Morris S. "The solidification of performance practice issues in solo percussion performance /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3171113.
Pełny tekst źródłaStreszczenie:
Thesis (Ph. D.)--University of California, San Diego, 2005.An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.
11
Hind, Claire. "Dark and deep play in performance practice". Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555904.
Pełny tekst źródłaStreszczenie:
This thesis addresses two principal questions: How can notions of dark and deep play be used to construct performance material? How can that material then be used to investigate dark and deep play in performance? In order to address these principal questions I conceived, composed and performed in three performances where participants were invited to become players in a one-to-one or two-to-two scenario. The conception and composition of each performance considered notions of dark and deep play that involved both a live and recorded practice where the participants also performed. Each project also responds to a subsidiary research question that relates to both the methodological design of each separate performance and hence to the ways in which participants experienced them. The overarching subsidiary research question for the entire project is: How does shifting the contract for participants' engagement in an intimate performance inform the principal research questions? trz v Each chapter discusses the ways in which data was collected and offers up an interpretation based upon that data. This research pays particular attention to play theory and specifically to Roger Caillois' game categories. These categories are expanded upon significantly through this research into new and original findings about potential routes into play and play attitudes. The work relates to my own experiences of the Catholic sacrament of penance, and explores the notion of adaptation and projection in performance. This work argues for a conceptual adaptation in practice whilst uncovering a repetitive process in both confession and adaptation that I argue relates to a Freudian and Lacanian notion of Death drive. This work also unpicks Lacan's notion of the 'unsent letter' (Zizek, 2006: 10) and Zizek's perspective on Lacan's Symbolic, Imaginary and the Real (Zizek, 2006: 9). Freudian and Lacanian philosophy critically supports the observations on my own artistic drives and the thinking on the players' journeys into slippage. This work unfolds and concludes with a list of original and complex play- strategies that permit the experience of deep play through dark play. The strategies discuss the processes of making performance in dark and deep contexts and are named in the research findings in relation to the two principal questions and to the subsidiary research question.
12
Sarco-Thomas, Malaika. "Twig dances : improvisation performance as ecological practice". Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/936.
Pełny tekst źródłaStreszczenie:
This thesis charts the role of dance improvisation performance as a practice of ecology by analyzing data collected from a series of experiments in improvisation. Conducted in a number of locations in Europe and Asia, these experiments examine the usefulness of improvisation performance practices to notions of “ecology” and common understandings of humans’ relationships to our environment. Using “ecology” to describe an investigation of interrelationship as well as a commitment to act with an awareness of one’s actions in the social, mental and natural spheres discussed by Felix Guattari (2000), I outline ways contemporary improvisation practices can facilitate this investigation. To do this I draw on my own experience as a dancer at the Performing Arts Research and Training Studios (PARTS) in Brussels from 2004-2006, and as codirector of the TWIG Project in China in 2006. Using the experiences of improvising, learning dance, seeing dance, performing dance, creating scores for dance, and teaching movement improvisation, I argue that ecological practice is defined by its ability to instill a sense of “response ability” and personal agency in its practitioners. As a way of observing and incorporating new knowledge, improvisation functions herein both as a research practice and as the object of study. By improvising and documenting my experiences using a phenomenological lens derived from Merleau-Ponty’s work, I reflect on how practices of awareness in dancing can constitute new ways of knowing. I discuss how improvising can assist awareness of the body’s relationship with the environment at a number of levels including sensory, spatial, temporal, conceptual, social and political. I also investigate the notion of paradox as a theme throughout the thesis and present its usefulness as a way of producing and reflecting upon a practice of bodily research. The term “twig dances” represents an expanded understanding of what I mean by “improvising”, and points to my use of improvisation as a research process. As an action taken “to understand or realize something”, a twig dance is any of a number movement practices which take as their focus an active investigation into relationships between people and the non-human world.
13
Keenan, Anthony. "Orchestrating high performance services : theory and practice". Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679249.
Pełny tekst źródłaStreszczenie:
The aim of this thesis is to develop high-level approaches for constructing efficient on-demand HPC applications in the cloud. The orchestration language Orc is used to express a number of service-based software designs, at the Software, Platform and Infrastructure levels of the cloud. A partial-correctness framework is developed to reason about orchestration software. Partial-correctness is used because cloud-based services have the potential to fail. A cloud based implementation of Block Matrix Multiplication has been implemented and experimental results from the Amazon cloud have been generated and analysed. The problem of discovering appropriate cloud resources for deploying an application is tackled firstly by specifying a set of application requirements; these are subsequently used to drive a search for appropriate cloud resources for hosting the application. The approach is flexible in that resources can be discovered in a multi-provider marketplace. Typically orchestrations are evaluated in business environments where demand fluctuates. In periods of high demand, service performance can be degraded, perhaps even to the point of failure. Elasticity can be used to counteract performance problems by supplying extra compute resources, as necessary. Game theory is used to analyse the performance of block matrix multiplication in a number of stressed cloud scenarios.
14
Hopfinger, Sarah. "Performance (in) ecology : a practice-based approach". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8040/.
Pełny tekst źródłaStreszczenie:
This thesis develops an ecological performance practice using a practice-as-research methodology. It explores how performance can engage the ecological, where performance (in process and product) is understood as an ecology of diverse humans and nonhumans, which participates within the wider ecology of Earth. Whilst recent publications have given sustained attention to the ways performance can respond to ecological imperatives (Allen and Preece, 2015; Heddon and Mackey, 2012; Bottoms, Franks and Kramer, 2012; Arons and May, 2011; Kershaw, 2007; Bottoms and Goulish, 2007), there has been scarce attention paid to how performance practices and creative process can be and do ecology. In attending to that gap, this research develops a critically-engaged practice of performance (in) ecology, exploring how performance – in its very methods, modes and live moments of practice – can enact the ecological. The project developed an ecological practice through intergenerational and professional-nonprofessional collaboration. It was led by two performance works – Age-Old (2013) and Wild Life (2014). Age-Old involved collaborating with a seven-year-old girl to co-devise a new performance and it formed a developmental period of the research inquiry from which key methods were taken into the more ambitious work, Wild Life. This performance explored ‘wildness’ and was a collaboration with eight professional and nonprofessional performers, aged between nine and 60 years old. It presents the main body of the research. The written component of the thesis frames and elucidates the practice-based research findings. The thesis proposes that involving collaborators of diverse ages and skills presents a dynamic performance ecology through which an inclusive ecological practice can be developed. Its claim is that collaborative practice offers a potentially radical enactment of ecological qualities and dynamics, where this enactment is the ‘wilding’ of performance. Conducted through a Collaborative Doctoral Award from the Arts and Humanities Research Council, the project was supported by Catherine Wheels Theatre Company. It offers new approaches for practice and scholarship in the fields of performance and ecology, devised performance, movement and ecology, and intergenerational practice. It also contributes to wider meanings of ‘ecology’ as advanced by scientific views, including posthumanist and rewilding perspectives.
15
Moloney, Megan M. "The power of hybrid practice : the active-passive practice continuum and its effects on performance". Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/31002.
Pełny tekst źródła
16
Menrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography". Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.
Pełny tekst źródłaStreszczenie:
Through practices of anonymity electronic music culture has advanced a critique of the institution of star personality in pop music. This study investigates how academic research can learn from such pop music-related critical practices. As it becomes an object of academic knowledge, the notoriously anti-representational electronic music culture calls for an experimental research methodology. This performance ethnography experiments, in the tradition of activist and performative anthropology, with research practice as performance. Resisting the tendency to objectify culture as a factual research object, this study explores the processuality and performativity of cultural research matter: instead of substantial, post-personal anonymity states, the practice of fabricating anonymity in electronic pop music (in discourse and sound) is its starting point. From there, it focuses on anonymity performances – institution-critical practices of star personality that operate within the discursive and media institutions of pop music. Adopting a symmetrical methodology, two personality-critical projects from the field of electronic pop music are addressed as laboratory cases and consulted for their tactical operations. Their anonymity performance practices – tactical persona performance, fake or collaborative imagination of a musical persona – take the form of immanent and particulate ‘critical practice’ (Butler, Foucault). Rather than distancing themselves from their ‘object’ of critique, these laboratory cases engage in concrete, affirmative or self-critical performances of pop stardom. Their resistance to the frameworks of identification and discursivity in pop both engages with and corrodes the epistemic-constitutional level of the field of pop music. How can researchers learn from such musico-artistic knowledge practices? Guided by its laboratory cases, this study proceeds from a detached reading of an electronic pop music live performance as a (poststructuralist) study of persona construction in pop music to become an engaged performance ethnography. Performance is incorporated as critical academic practice through a reflexive and increasingly performative writing style. The study concludes with the advocation of an ethnographic research format derived from one laboratory case: the collaborative investigation of imaginary research objects as a radical implementation of the performative turn in the cultural studies of music.
17
Beswick, Katie A. "The council estate in performance : performance practice and the production of space". Thesis, University of Leeds, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.689669.
Pełny tekst źródła
18
Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
Pełny tekst źródłaStreszczenie:
Thesis (PhD)--Stellenbosch University, 2012.Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
19
McElroy, Lori Barbara. "Embedding integrated building performance assessment in design practice". Thesis, University of Strathclyde, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501849.
Pełny tekst źródłaStreszczenie:
This thesis relates to a number of connected initiatives, which over a 20 plus year period assisted design professionals to transfer building energy and environmental simulation technologies from the domain of specialists to routine use in practice. It is written in the context of worldwide concerns relating to climate change, energy profligacy and depleting reserves of finite resources, from fossil fuels to materials, and associated legislative measures relating to the environmental impact of the construction industry. The research conjectured and tested mechanisms, including performance assessment methods, quality assurance procedures and knowledge transfer, in order to encourage and support the uptake of simulation in design practice and to progress the embedding of the technology as a routine design process activity in Scottish energy sector and construction businesses. By assisting the uptake of simulation within the professions, the reported work has allowed construction sector businesses to transform existing work practices and in the process to make a significant, measurable contribution to carbon reduction targets over the last 20 years. Moreover, the work illustrates how the creation of support networks and an integrated, partnership approach between academia and practice can break down barriers to use in practices and increase the effectiveness of the transfer of new technologies resulting in cumulative positive environmental impacts that go significantly beyond the benefits of individual interventions. This conclusion is borne out by independent monitoring of the reported activities.
20
Sundström, Andreas. "Representing Performance | Performing Representation : Ontology in accounting practice". Doctoral thesis, Stockholms universitet, Företagsekonomiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119958.
Pełny tekst źródłaStreszczenie:
Social studies of accounting have drawn attention to the dubious role of accounting as a representational link between organizational realities and action. Based on five years immersion with performance management and board work in a theatre company, this thesis inquires into the ontological significance of accounting practices. The study takes a praxiographic approach, which emphasizes action and relocates questions of representation towards the practices in which representations are mobilized. The research questions refer specifically to ontological work related to commensurability and distance in accounting practices. Four papers attend to the manners in which the organizational performance of the theatre company is represented in different situations of managing, governing and reporting. The papers demonstrate and analyse different examples of ontological work involved in achieving (or retracting) representational links. In conclusion, the thesis places the organizing of ontological tensions – especially the tension between singular accounting representations and multiple organizational realities – at the core of accounting representation practices. The thesis thus contributes to practical, theoretical and philosophical discussions on the links between accounting practices, accounts and reality.At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 2: Manuscript. Paper 3: Manuscript. Paper 4: Manuscript.
21
Gilman, Mark William. "Performance related pay in practice : organisation and effect". Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4315/.
Pełny tekst źródłaStreszczenie:
During the 1980s and 1990s, in the area of pay, 'performance-related pay schemes' (PRP) became the ultimate buzz-word. The popularity of PRP reflected pressure from two main sources. The first was management practitioners and consultants, the second the goverments of the day. Both were reacting to what they saw as a possible cure for the ills of economic recession. In other words, the concept fitted well with an ethos of what successful companies should look like and the kinds of policies that they should be utilising. This thesis highlights the complexities of the organisation and the effects of PRP in 16 case study organisations. It argues that, conceptually, PRP can be examined with greater analytical foresight from a control perspective than from the usual starting position of whether PRP is motivational or not. In an attempt to highlight this, two processes were explored. The first process concerns the 'effort bargain'. This involves the reorganisation of work in a bid to standardise effort measurement, combined with attempts to intensify effort levels. The second is a 'process bargain' which includes a change to an organisation's administration systems. Examples include human resource management, differing systems of budgetary control and performance management which all involve subsequent changes to systems of rules, measurement and control. Importantly, it will be argued that this is not a search for control per se as simple labour process theory would predict. Representing control and reactions to it as homogeneous is dangerous and misleading, and leads to labour control systems becoming the sole focus of crisis. Rather, PRP represents part of a wider search for competitive advantage which includes restructuring and changes to the organisation. While vagueness in the objective setting process was common to many of the organisations, the research found that the changes in the companies studied here were complicated by a search for control, compliance and consent. Further, the outcomes were largely specific to each organisation, depending on the negotiation of the 'politics of pay'. Ways in which they were aiming to do this were as follows: control labour costs and their distribution, 'mass individualism' - individual but standardised contracts, flexible standardisation - the combined search for flexibility and standardisation simultaneously and management - as agents of restructuring. An important omission was made in this process, however, and this involved performance itself. In a bid to balance out the many contradictory forces, performance was actually one of the last issues to be dealt with. The research highlights why this is so. What the above implies is that faced with crisis, organisations become involved in a renegotiation of effort and systems of control. PRP is one way of achieving this in some organisations.
22
DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering". Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Pełny tekst źródłaStreszczenie:
This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
23
Tzakou, Anna. "Geopoetics : a mindfulness (sati) site-specific performance practice". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/30598.
Pełny tekst źródłaStreszczenie:
In autumn of 2010 the phenomenon of ‘Greek crisis’ was aggressively developed to a new experience of Greece. As a theatre practitioner from Athens, the specific historical time pushed me to question big-scale narratives of identity, home and belonging-ness. I relocated my training outdoors. My aim was to create a site-specific performance process that investigates place as a psychophysical experience and the ways through which it integrates with the cultural practices embedded in situ. The thesis builds around a Geographical/Buddhist framework where a cultural landscape epistemology outlined by Mitch Rose and John Wylie (2006) is realised through the practice of samatha vipashyana. The accounts of Rose and Wylie organise the examination of space as a body-landscape interrelationship. The Buddhist notion of mindfulness (sati) structures the investigation of the experience in space through theatre and dance disciplines in situ. The Buddhist concept of selflessness (anatta) permeates the performance practice in situ as a discipline of presence. Designated as Geopoetics, the practice of thesis applies meditation practices of breathing and walking to explore site through movement, feeling and activity. It further extends such a process via the disciplines of Somatics, Grotowski-based actor training and Dilley’s ‘dance.art.lab’. It employs the notions of ‘story’ from the Six Viewpoints system and ‘living myth’ of Anna Halprin to formulate a devising process of site-specific performance as an enactment of interrelationship between subject(s) and space. Geopoetics creates experiential containers within which the participant/ watcher is enabled to contemplate and re-examine her political, perceptual and emotional present. Based on its methodology of mindfulness (sati) notions of ‘identity’, ‘home’ and ‘sense of belonging’ are seen as individual or collective modes of attachment which altogether co-formulate the event of landscape. The practice of Geopoetics suggests an inquiry of place through the body for site-specific devisers and performers. It also relates to the discipline of architects, geographers and planners as a practice which investigates space’s contextual paradoxes and dynamics through the body.
24
Colin, Noyale. "Becoming together : collaborative labour in contemporary performance practice". Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/21169/.
Pełny tekst źródłaStreszczenie:
Performance, in its multi-participant aspects, tends to emphasise the relationship between the individual and the collective. Through an examination of practices of co-working in contemporary performing arts, and with a particular focus on choreographic practices, the thesis develops a theory of co-labouring grounded in the idea of an economy of belonging. Borrowing from Brian Massumi’s concept of ‘becoming-together’ (Massumi, 2002, 2011), this thesis assumes that the development of a sense of belonging is bound to temporal processes of becoming, and that such transient ways of being can be identified as central to an understanding of current collective formations. The thesis argues that the notion of becoming together in performance-making is likely to promote an ethics of belonging which foregrounds the practitioner’s affective commitment to the other, to relational modes of working and encompasses multiple and open-ended action modes. Co-labouring in performance is revealed as a site of human interaction which can yield new insights into the construction of contemporary digital collective identities. Building on post and para-human ideas of the multiplicity of self (Rotman, 2008), co-working is presented as a way to address the relationship between individual and collective becoming in advanced technological society. A central aim of the thesis is to investigate how far relational modes of working can enhance performance-making and the practitioner’s experience and sense of the self. Engaging with post-autonomist ideas of immaterial labour (Lazzarato, 1996; Negri, 2008), the thesis further assesses the extent to and conditions under which contemporary practices demonstrate patterns of resistance to dominant modes of working. The complexities of modes of co-working are examined through the use of a reflective research metadiscourse, which incorporates distinct registers of practice, commentary and analysis. These include a historical register, the use of case studies, and a practice-led stream of inquiry bound-in to and tied back to the theoretical. This approach allows for a multidimensional but also a critical view of modes of co-labouring; it reveals that an informed coworking is bound to the possibility of individual transformation for the co-workers in performance. In other words, the thesis argues that performance mastery (Melrose, 2003) can be seen as partly constituted by the participants’ negotiation of the relationship between the individual and collective.
25
Williams, Kate Z. "Effects of practice and feedback on interview performance". Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1233081282/.
Pełny tekst źródła
26
Holdsworth, Nadine. "7:84 (England) : performance and ideological transaction". Thesis, Loughborough University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283318.
Pełny tekst źródła
27
Nixon, Ellie. "Towards an 'embodied poetics' : an exploration of devising processes based on the work of Jacques Lecoq and Gaston Bachelard". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20777.
Pełny tekst źródłaStreszczenie:
Taking as its focus the ‘actor-creator’s’ process in devising practices, this study explores the notion of the ‘poetic body’ developed by French theatre pedagogue Jacques Lecoq (1921 - 1999) and the writings of French philosopher Gaston Bachelard (1884 - 1962) on the ‘poetics of imagination.’ The overarching aim is to originate a new ‘embodied poetics’ whereby the sensate, feeling body actively explores correspondences with the ‘material elements’ of earth, air, fire and water. These are experienced as ‘poeticising substances’ – catalysts and conductors for an embodied imagination. More specifically, this thesis asks the following question: What new understandings can a relational encounter between Lecoq’s pedagogy and Bachelard’s ‘poetic imagining’ reveal about the ’poetic body’ and how might these new understandings originate a devising process? I combine three solo practical projects with accompanying written analysis, to first interrogate the working methods I have inherited as a practitioner and teacher since my time as a student at the Lecoq School, from 1987 to 1989. This is followed by an embodied exploration of Bachelard’s ‘poetic imagining’ process through my own practice. In the final project, I develop an ‘embodied poetics’ for devising, based on the ‘actor-creator’s’ active participation with the world and a recognition that the poeticising ‘I’ is intimately entwined with the material elemental substances that comprise it. In considering the material elements as originating substances for an imagining body, their dialectic qualities offer infinite possibilities for a permanent renewal, expansion and transformation of practice. This study also proposes a new reading of Lecoq’s notion of the ‘poetic body’ from an embodied perspective. Equally, in applying Bachelard’s ‘poetic imagining’ to the devising process, I seek to revivify and reposition his philosophical standpoint from a contemporary perspective within the field of interdisciplinary practices.
28
Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas". Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.
Pełny tekst źródłaStreszczenie:
The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.
29
Metsvahi, Liisi. "Overcoming stage fright starting in the practice room". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3257.
Pełny tekst źródłaStreszczenie:
The purpose of this research is to overcome stage fright through different techniques of thorough preparation in the practice room. The main methods discussed are mindfulness and mental training. Five selected orchestral excerpts have been prepared and performed using these methods, then presented as recordings in three different situations and analysed according to the performance quality that is then measured by percentage. From my research I deduct that mental training is an essential part of practising that leads to less stage fright and will increase performance results dramatically.Eduard Oja Piano Quintet
Medverkande: Anna-Lena Ohlwein, Doris Mägi, Viktoria Hillerud, Joline Granath
30
Eriksson, Jesper. "My Improvisation Practice : the act of improvising in individual instrumental practice, collaboration projects and performance". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1654.
Pełny tekst źródłaStreszczenie:
In this study I research and reflect on the way I have been practicing with my saxophone, how I have been collaborating with others and how I’ve worked with performance during my two master years, with a focus on improvisation. The study is a presentation of my Professional Integration Project on NAIP-European Master of Music-program. I have had many different projects that will be presented. By playing, listening, and analyzing free improvisation I wanted to learn more about myself as a musician and about improvisation in general. I am also going to present individual exercises for improvisation I’ve been using, as well as exercises for group improvisation. I am going to present time-lines of events to see how one thing leads to another. I will present the product of a piece with improvised aspects, that led me and my collaborators to find our own ways of rehearsing. By summarizing the many aspects, I present my findings by describing what I want to learn, and how I want to learn it, and how I’ve been working with free improvisation groups and music collaboration, and what is important for me while performing improvisations. The findings of my studies suggest that I have developed my improvisational skills by playing free improvisation and doing exercises. My projects has also shown that you can combine written music with improvisational aspects in a classical setting by using different ways of rehearsing. Lastly, I found that it is important that, while improvising, musicians have a total mental presence to avoid energy loss in the music.Självständiga arbete, Master, 40 hp.
Program examenskonsert:
ImprovisationKvintett
Jesper Eriksson saxofon, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst.
Jesper ErikssonKvartett (2014), uruppförande
Alexander Rydberg violin, Jesper Eriksson saxofon, Emma Augustsson cello, Anton Svanberg tuba.
ImprovisationTrio
Jesper Eriksson saxofon, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk
Extranummer: Friimprovisationsorkester
Jesper Eriksson saxofon, Alexander Rydberg violin, Emma Augustsson cello, Anton Svanberg tuba, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk, Bernhard Greter piano.
31
Palmer, Anna J. "Performance measurement in the public sector : in theory and practice". Thesis, University of Leicester, 1991. http://hdl.handle.net/2381/7665.
Pełny tekst źródłaStreszczenie:
This thesis examines attempts to improve the efficiency of local authority bureaucracies during the 1980's. A number of significant policy initiatives such as the establishment of the Audit Commission, the pressure for local authorities to implement systems of performance measurement and the introduction of performance related pay schemes reflect this quest for improved value for money. The thesis reviews existing economic theories of bureaucracy which show how inefficiency arises in the public sector. Two major hypotheses within this literature are identified; bureaus are inefficient because it is in the interests of bureaucrats either to produce too much output (allocative inefficiency) and/or to produce output at above minimum cost (X-inefficiency). The policy prescriptions arising from this theoretical framework suggest that strategies to reduce inefficiency must aim to change bureaucratic behaviour. One strategy seeks to induce bureaucrats to produce efficiently, whilst the other seeks to provide sponsors with the necessary information on costs to enable them to force bureaucrats to produce efficiently. Performance related pay schemes, which aim to change bureaucratic behaviour, are concerned with eliminating labour X-inefficiency. Our research suggests that the diversity of current schemes reflects a lack of consensus over the definition of indicators of employee performance. The general result of the introduction of performance related pay has been increased salaries for senior officers. Our assessment of the work of the Audit Commission in the area of value for money audits and our empirical research on the impact of performance measurement in local authorities indicates that a wealth of information has been generated in the form of performance indicators (PIs). However, the use of this information as a control device is limited as these indicators are clearly biased towards measuring X-inefficiency as distinct from allocative efficiency.
32
Lesneski, Lynn. "The effects of using distributed practice on math performance". Menomonie, WI : University of Wisconsin--Stout, 2005. http://www.uwstout.edu/lib/thesis/2005/2005lesneskil.pdf.
Pełny tekst źródła
33
Teigland, Robin. "Knowledge networking : structure and performance in networks of practice". Doctoral thesis, Handelshögskolan i Stockholm, Institute of International Business (IIB), 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hhs:diva-1958.
Pełny tekst źródła
34
Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.
Pełny tekst źródłaStreszczenie:
A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.
Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.
35
Bagan, Christopher Bagan. "Performance practice considerations in Schönberg's Fünf Klavierstücke, Op. 23". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43771.
Pełny tekst źródłaStreszczenie:
The Fünf Klavierstücke, Op. 23 (1923) of Arnold Schoenberg (1874-1951) exemplify an important development in his compositional style, as the free atonality of the 1910s gives way to transformations of ordered pitch-class sets and the development of the 12-tone method. The academic discourse on Schoenberg’s Op. 23 has largely concentrated on details of compositional technique, while comparatively little has been written on the actual performance of these pieces and their valued contribution to piano literature.
In Op. 23, Schoenberg develops and refines a scrupulously detailed approach to notation, covering the score with an unprecedented number of performance markings. While many of these symbols are conventional, their sheer number and the complexity of their interaction require detailed investigation if Schoenberg’s intentions are to be understood and realized. I posit that Schoenberg recognizes the limitations of notation, using it more as a descriptive rather than prescriptive medium, and allowing for contextual rather than absolute interpretation. Through this approach I have developed three functional categories for markings found in Op. 23: comparative, reinforcing, and prescriptive. Comparative markings are Schoenberg’s essential and flexible vocabulary for describing in notation the defining features that should be perceived in the presentation and interaction of the musical ideas. Reinforcing markings visually assist the comprehension of musical ideas by confirming their intuitive interpretation. Only the remaining few markings fall into the category of prescriptive markings, reserved for those with little or no room for variance.
The first two chapters of this study of the notation and performance of Op. 23 develop these categories alongside the few interpretive suggestions provided by Schoenberg himself. Chapters 3 and 4 explore performance considerations in Op. 23 regarding fingering, pedaling, and the shaping of tactile and temporal aspects. Chapter 5 combines all these aspects in a case study of Op. 23/2, showing how they function together in the performance and interpretation of a complete piece.
36
Craddock, Kate Concinnity. "Collaboration in performance practice: trust, longevity and challenging proximity". Thesis, Northumbria University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599890.
Pełny tekst źródła
37
Kanno, Mieko. "Timbre as discourse : contemporary performance practice on the violin". Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/2512/.
Pełny tekst źródła
38
Alharbi, Saleh H. "Employees' perceptions of fairness in practice of performance appraisal". Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:16431.
Pełny tekst źródłaStreszczenie:
Employees’ performance appraisal (PA) is an essential tool used by organisations to develop and improve employees’ competencies and skills, and so assure organisations’ survival. In recent years research has moved from a psychometric approach, such as rater accuracy and rating error studies, to the qualitative aspect of PA where employees’ reactions and perceptions of performance appraisal are seen as indicators of success and effectiveness. Employees’ satisfaction with the system is indicated by scholars as the major indicator of employee perception of fairness (Cardy and Dobbins, 1994; Cawley et al., 1998; Keeping and Levy, 2000; Murphy and Cleveland, 1995). The focus of this research is on the employees’ perceptions of fairness in performance appraisal in Saudi Basic Industries Corporation (SABIC). A conceptual framework is developed based on three dimensions of organisational justice theory (the terms ‘justice’ and ‘fairness’ are used interchangeably): distributive, procedural (using the due process model), and interactional, which involves interpersonal and informational justice, to explore employees’ perceptions of justice in their appraisal. A qualitative approach was applied through an interpretivist paradigm; semi-structured interviews were used for collecting primary data from 44 respondents. The findings reveal the practice of performance appraisal is strongly influenced by cultural factors, which are divided into two dimensions. First, social factors, which include relationship, friendship, family relations, regionalism, tribe, personal interest and emotion. Second, managerial factors or characteristics of the manager (the terms supervisor, manager, direct manager, or rater are used interchangeably to refer to the person who evaluates or assesses employees’ performance) which includes expectations of managers that their subordinates obey them, managers’ tendency to threaten subordinates, and unwillingness to accept criticism. In relation to the process and procedures of appraisal the findings reveal a feeling that appraisal ratings did not reflect employees’ actual contributions or input, absence of standards for allocating salaries, and unequal training course distribution. The findings also reveal that goals and objectives are not set at the beginning of each appraisal period, and the appraisal standards used by supervisors are unclear, there is no clear feedback, and employees cannot participate in their appraisal process, meaning that appraisal decisions are only taken by managers. When employees receive their result, if they are dissatisfied with their grades they cannot appeal as the decision process is not explained to them. Employees were dissatisfied for three reasons: first, raters’ bias and subjectivity; second, evaluation depends on the department budget, and on forced distribution; third, involvement of top management in the rating and their changing the result without contacting the direct manager or supervisor who conducted the evaluation. These findings strongly support the organisational justice theory, and have important implications for practice.
39
Briggman, Chandra A. (Chandra Alisa). "Corporate budgeting In practice : driving strategic focus and performance". Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/90215.
Pełny tekst źródłaStreszczenie:
Thesis: M.B.A., Massachusetts Institute of Technology, Sloan School of Management, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 74-76).
This paper identifies insights and methods used in practice to address two weaknesses in the traditional corporate budgeting process. One point of failure is the weak linkage between organizational strategy and budgeting - resulting in the proliferation of activities that do not support strategic priorities. The second point of failure is a strong linkage between budgeting and performance evaluation and incentives that leads to behavioral dysfunctions among employees. Together, these challenges create significant barriers to successful strategy execution in organizations. This paper defines the intended role of budgeting, details the challenges that resulted from the two points of failure, and offers a sample of thought-provoking approaches to support practitioners' use of corporate budgeting to help execute organizational strategies more effectively.
by Chandra A. Briggman.
M.B.A.
40
Lynn, Mark J. "The Avatar by Steve Rouse: A Performance Practice Guide". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31541/.
Pełny tekst źródłaStreszczenie:
The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.
41
Broomfield, Kelcey Anyá. "The Liberation WILL be Televised: Performance as Liberatory Practice". Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami156391494189893.
Pełny tekst źródła
42
Strohman, Gregory. "Psychoacoustic Entropy Theory and Its Implications for Performance Practice". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281332.
Pełny tekst źródłaStreszczenie:
Music PerformanceD.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses
43
Rangsungnoen, Grid. "Best practice in performance evaluation of Thai public universities". Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/48575.
Pełny tekst źródłaStreszczenie:
Thesis (DBA) - Faculty of Business and Enterprise, Swinburne University of Technology, 2008.A thesis is submitted in fulfilment of the requirements for the degree Doctor of Business Administration (DBA), Faculty of Business and Enterprise, Swinburne University of Technology - 2008. Typescript. Bibliography: p. 246-257.
44
Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation". Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
Pełny tekst źródłaStreszczenie:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
45
Eyre, Heather Ann. "Measuring the performance of spatial interaction models in practice". Thesis, University of Leeds, 1999. http://etheses.whiterose.ac.uk/2657/.
Pełny tekst źródłaStreszczenie:
Spatial decision support systems are widely used throughout the retail industry. As a result of this, a competitive industry has developed in order to provide such systems. One such company is GMAP Ltd who provide information systems for companies such as WH Smith, Halifax Pic and Toyota. Due to the competitiveness of the market analysis industry it is necessary for companies such as GMAP to endeavour to continually improve their products in order to remain at the leading edge of the decision support industry. Research is required in order to discover methods of improving the performance of the spatial interaction models that GMAP have developed loi theii clients. This thesis looks at two case studies of modelling work undertaken by GMAP for clients, the WH Smith model and the model for Halifax Pic new mortgage sales and tries to improve the performance of these models through a variety of methods. Each of the three components of spatial interaction models, demand, supply and interaction, are analysed in turn and attempts are made to improve the representation of these components in the case study models. I he demand component is investigated using the WH Smith model and different methods of estimating demand using alternative data sources are investigated in order to discover if improvements can be made to the existing demand estimation procedure used by GMAP. I he representation of the supply side is investigated by attempting to identify centre and store characteristics that influence the attractiveness of destinations and subsequently include such variables in the attractiveness calculation. Several aspects of the interaction component are investigated in order to determine if they can be improved. I he measurement of impedance and the form of the impedance function together with alternative measurements of accessibility are investigated to see whether interaction patterns can be predicted more accurately. The conclusions that arise from the investigations undertaken are presented as a series of recommendations for GMAP Ltd that can be implemented to improve the performance of their models. The implications for the specification of spatial interaction models in other contexts are also identified.
46
Grellier, Jane Isobel. "Learning reflective practice: an autoethnographic performance in six movements". Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/2523.
Pełny tekst źródłaStreszczenie:
This work is an autoethnographic performance of first-year teaching and learning at Curtin University in Western Australia in the years 2008–2014. I integrate traditional ethnographic and academic voices with narrative, poetry, composite choruses and voices of students and teachers. I also create a provocateur character, who problematises the institution and challenges easy responses to tertiary education. I seek to encourage the reader to join me in reflecting on learning and on managerialism in universities.
47
Williams, Sean Barry Kelly. "Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7890.
Pełny tekst źródłaStreszczenie:
This thesis examines the practices and techniques involved with particular electronic instruments and proposes an archaeological approach to reconsider the ways in which noise can communicate various details of instrument design and practice to the listener. I present two case studies concerning electronic music practice using repurposed devices - stepped filters - and by combining a detailed material analysis of the instruments with interviews, video and other evidence, I document the practices involved with their use. By rebuilding these instruments, and designing and building other devices, I test my hypotheses through my own practice, and by doing so I refine my results and extend my composition, performance practice and technical design skills to include valuable lessons learned through this research. The portfolio engages with the three archaeological levels (Listening Situation, Reproduction Stage, Production Environment) and the three areas of the production continuum (Composition, Performance Practice, Technical Design) and through sound installations, crafted media, recorded performances, and the documentation of devices designed for these pieces, it supports the thesis through experimentation and incorporation of results through reflective practice.
48
Snowball, Georgia. "Ecological practice : Performance making in the age of the anthropocene". Thesis, Federation University Australia, 2017. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/166474.
Pełny tekst źródłaStreszczenie:
The emerging field of Performance and Ecology addresses approaches to performance and performance making in response to the profound challenges heralded by the age of the Anthropocene. Transdisciplinary artist-scholars within this paradigm bring into question spatiotemporal relationships between all things, through varying artistic and scholarly practices. This practice-led-research project seeks to create work at the open intersections of the human and more-than-human, audience and performer, practice and research. The aim of the project is to disturb these binaries, which contribute to hierarchies of destruction of all multispecies beings and habitats, including humans. Through performance, this work addresses and critiques distinctive ways of being in, listening to, and viewing our shared world. The accompanying exegesis highlights how performance can reveal what otherwise remains hidden in this entangled process. The exegesis documents the development of site-specific performance works over three active modes: Walking, Dancing and Writing. These experiments in performance include both solo works and participatory projects. All works traverse these modes and are influenced by current international and Australian performance practices in site-specific Walking, Dancing and/or Writing. Three main projects are discussed through text, photograph and video. These are Promenade Locale a participatory walking project that took place in Central Victoria, Ends of the Earth and Instability, dance solos performed in Melaka, Malaysia and the practice of Weather Writing, which takes places at my home, also in Central Victoria.Doctor of Philosophy
49
Bruenger, David. "The cadenza: performance practice in alto trombone concerti of the eighteenth century". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332843/.
Pełny tekst źródłaStreszczenie:
This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.
50
Wu, I.-Ying. "Being formless : a Daoist movement practice". Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/6472/.
Pełny tekst źródłaStreszczenie:
This study aims to develop a Daoist movement practice. Based on qi-energy, Daoism, a Chinese ontological study of being, suggests that Dao is the formless changing of in-between being. I explore how the formless nature of Dao informs my own creative practice. I argue that formlessness signifies an uncertain, unexpected, and constantly changing boundary of the self. Improvised movement emerges from within, and as an extension, of formlessness. The improvisational mode considered here is thereby experiential, an expanded way of being, rather than compositional. This thesis presents a somatic practicing process of embodying Dao in emergent movements. Chapter 1 discusses a practice-as-research methodology, which relates the ways in which practice and theory intersect to the relationship of yin and yang from a perspective of qi-energy. In Chapter 2, I discuss the somatic experience of improvised movement arising from qi and rethink the understandings of "practice" in the encounter between movement-based practices and Daoism. In Chapter 3, I borrow Eugene T. Gendlin's theory of a felt sense and explore how the felt experiencing of qi is activated by a holistic awareness and gives rise to movement through the body based on the Daoist concept of the changing self. Then I explore four diverse states of the in-between inspired by the Daoist philosophy of "light" through improvised movement in Chapter 4. Furthermore, in Chapter 5 I develop a sequential transformation of in-between states toward Dao and discuss this process from a Daoist view of the self. A boundary of the changing states is examined in a series of emergent movements as a process of practicing the self in Chapter 6. I finally reflect upon Dao in my developed principle that focuses on an awareness of subtle emergences, and conclude formlessness, as it corresponds to Dao, is an emerging felt sense of being that is constantly changing before interpretation within the self in this movement practice. DVD abstracts: DVD chapter 1: Four states This series of edited videos offers the viewer a flavour of the four in-between states developed over the course of this research (see Chapter 4). Some of the videos are supported with poetic words. Filmmaker Lotti Gompertz's footage uncovers the subtleties of the energy and emergent movement in the four states. DVD chapter 2: Sharing a practice This video consists of documentary material recorded by a still camcorder during a five-session workshop conducted during this research. The highlights of each stage appear briefly, in sequence, presenting the sense of transformation felt throughout the workshop. Footage of the participant and myself are juxtaposed to reveal the differences and similarities of the movement and energy emerging between us that helped me understand my self and Daoism during the workshop (see Chapter 5). DVD chapter 3: Continuous transformation Drawing on footage shot by Lotti Gompertz, this video presents the highlights of each state of my emergent movement. It provides the viewer with a taste of the subtle transformation of the emergent movement and energy involved in becoming a wu-wei (see Chapter 5). DVD chapter 4: Practicing the self This video documents a session in which the focus was on an awareness of subtle changes and emergences. Documented by a still camcorder, this edited video is composed of footage of a guest participant and myself working in the session (see Chapter 6), allowing emergent movement to unfold. The gradual transformation of a felt sense of the self during the session is revealed through subtitles that capture the words we spoke while moving.