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1
Rasmussen, Janet. "An Investigation of Scholar-Baller and Non Scholar-Baller Division I Football Student-Athletes' Academic, Athletic, Intrinsic Motivation and Athletic Identity." Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2551.
Повний текст джерелаАнотація:
As less than 3 % of student-athletes go on to play sport professionally, it is important that they are prepared for careers outside of athletics (Susanj & Stewart, 2005). Many football student-athletes have low grade point averages and graduation rates. Universities incorporate academic motivational programs to help combat low academic performance. One unique program, Scholar-Baller, utilizes popular culture within its curriculum to bridge the gap between academics and athletics. This dissertation examined the differences between Scholar-Baller and Non Scholar-Baller Division I football student-athletes' motivation (academic, athletic, intrinsic) and athletic identity using expectancy-value theory and self-affirmation theory as its framework. In addition, the effect of race/ethnicity (African-American, White American and Other race/ethnicity) and Scholar-Baller participation on Division I football student-athletes' motivation (academic, athletic, intrinsic) and athletic identity was examined. Expectancy-value theory defines motivation as both the expectation of the student's belief about the final outcome of a task, and the values the student gives to the task. A student either has a positive, negative, or neutral expectation of the completed task's outcome (Williams, Anderson & Winett, 2005; Xiang, McBRide & Bruene, 2006). This framework allows for exploration of student athletes' academic expectations and values. Self-affirmation theory explains that when students focus on important identities and values, they can become less defensive towards threatening information. Therefore, when receiving negative academic feedback, student-athletes using self-affirmation techniques may be more confident, open-minded and receptive towards the threatening information. Three instruments were used to collect data. The Student-athletes' Motivation toward Sports and Academics Questionnaire SAMSAQ) was used to assess academic and athletic motivation, while the Motivated Strategies for Learning Questionnaire (MSLQ) was used to assess intrinsic motivation towards academics. Lastly, the Athletic Identity Measurement Scale (AIMS) was used to investigate athletic identity. Four universities (two Scholar-Baller and two Non Scholar-Baller) were chosen for their similar academic and athletic performance. Using the Statistical Package for the Social Sciences: Graduate Pack 16 for Windows, a Multiple Analysis of Variance (MANOVA) and Analyses of Variance (ANOVA) were run to determine if significant differences exist between the Scholar-Baller and Non Scholar-Baller football student-athletes' academic, athletic, intrinsic motivation and athletic identity. These tests revealed that Scholar-Baller football student-athletes had significantly lower academic and athletic motivation than Non Scholar-Baller football student-athletes. Having low academic expectations and little value for academics is consistent with student-athlete subculture. However, these findings were in contrast to what was expected. In addition, Scholar-Baller football student-athletes had significantly higher athletic identity than Non Scholar-Baller football student-athletes.This finding is also consistent with the literature on student-athletes. As student-athletes must be motivated athletically to perform at intercollegiate sports, it is not surprising to find high athletic identity among the Scholar-Baller football student-athletes. In fact, studies have suggested that high athletic identity correlates with high academic performance (Harrison, Stone, Shapiro, Yee, Boyd & Rullan, 2009; Sellers, Chavous & Brown, 2001). One Scholar-Baller university in this study reported higher grade point averages since the inception of the Scholar-Baller program (2.37 in Fall 2004 to 2.68 in Spring 2006). Scholar-Baller curriculum utilizes self-affirmation exercises to affirm student- athletes athletically and influence more acceptance of academic criticism. Scholar-Baller football student-athletes are more affirmed in their athletic role which may lead to academic success. This dissertation also investigated differences between Scholar-Baller and Non Scholar-Baller football student-athletes' academic, athletic, intrinsic motivation and athletic identity in relation to race/ethnicity. Three groups, comprised of African-American, White American and Other race/ethnicity, were used to compare Scholar-Baller and Non Scholar-Baller football student-athletes. No significant differences were found. However, it was noted that Scholar-Baller African-American football student-athletes had higher academic, athletic and intrinsic motivation than Scholar-Baller White American football student-athletes. This finding is surprising given the previous research indicating African-American student-athletes' low academic motivation. As this dissertation investigated only differences between Scholar-Baller and Non Scholar football student-athletes' motivation and identity, further research needs to be done to further explicate these differences. Also, athletic identity should be further investigated among football student-athletes to determine its role in academic performance. Furthermore, given this study's findings of higher academic and athletic motivation among African-American Scholar-Baller football student-athletes, and its contrast to previous research, further studies should be performed to further explicate these differences among race/ethnicity. Qualitative research involving in-depth interviews and longitudinal studies investigating motivation and athletic identity over time should be performed.<br>Ed.D.<br>Department of Sport Business Management<br>Education<br>Education EdD
2
Rasmussen, Janet M. "An investigation of Scholar-Baller and non Scholar-Baller Division I football student-athletes' academic, athletic, intrinsic motivation and athletic identity." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002901.
Повний текст джерела
3
Baller, Hauke [Verfasser]. "Multikriterielle Minimierung und Priorisierung von Test-Suiten für Software-Produktlinien / Hauke Baller." München : Verlag Dr. Hut, 2017. http://d-nb.info/1140978276/34.
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4
Rice, Jerome Lee. "Examining Family Hierarchy Through the Eyes of Former Mac Baller Gang Members." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/7952.
Повний текст джерелаАнотація:
Criminal gang membership is growing, which corresponds to a continued breakdown of the family unit in the United States. Most of the young people who form gangs come from broken families or single-parent-headed households. This study explored the role of family hierarchy on gang membership. A qualitative case study approach was used to gather information on what motivates young people to join criminal gangs. A random sampling technique was used to recruit seven former members of the Mac Baller Brim gang. Ethical concerns were addressed to minimize the risks to the participants. The collected data from interviews were analyzed using an interpretive research philosophy to determine the contribution of family hierarchy on motivating the participants to join gangs. Interpretive research philosophy indicates that reality can only be understood by subjective interpretation and intervention. An action research strategy was also used in an attempt to provide a practical solution for the people studied while adding to existing theories. The findings of the study indicated that there are 5 reasons why young people join gangs: protection, respect, money, fun, and because a friend was in the gang. This study may contribute to social change by identifying factors that lead to gang membership to aid policy and program interventions that lower the likelihood of youth joining gangs.
5
Hiyari, Montaser A. [Verfasser], Christa [Akademischer Betreuer] Reicher, and Inken [Akademischer Betreuer] Baller. "An integrated participatory approach in managing built heritage : Case study Al Salt, Jordan / Montaser A. Hiyari. Betreuer: Christa Reicher. Gutachter: Inken Baller." Dortmund : Universitätsbibliothek Dortmund, 2012. http://d-nb.info/109929519X/34.
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6
Elattassi, Najla [Verfasser], Inken [Gutachter] Baller, Heinz [Gutachter] Nagler, and Roland [Gutachter] Krippner. "Learning from the Past, Designing for the Future: Sustainability of the Mediterranean Vernacular / Najla Elattassi ; Gutachter: Inken Baller, Heinz Nagler, Roland Krippner." Cottbus : BTU Cottbus - Senftenberg, 2020. http://d-nb.info/1225748550/34.
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Baller, Sven-Eric [Verfasser], and Bernd [Akademischer Betreuer] Rolauffs. "In-vitro-Charakterisierung der zellulären Verteilungsmuster und der Glykosaminoglykan- und Pro-Collagen II C-Propeptid-Synthese in autologen Chondrozyten-Transplantaten / Sven-Eric Baller ; Betreuer: Bernd Rolauffs." Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1198120096/34.
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Rahlmann, Pia Katharina [Verfasser], Andreas [Gutachter] Mügge, and Detlev [Gutachter] Baller. "Ergebnisse des interventionellen Aortenklappenersatzes bei Hochrisikopatienten mit schwerer Aortenklappenstenose, reduzierter linksventrikulärer Ejektionsfraktion und niedrigem transaortalen Gradienten / Pia Katharina Rahlmann ; Gutachter: Andreas Mügge, Detlev Baller ; Medizinische Fakultät." Bochum : Ruhr-Universität Bochum, 2018. http://d-nb.info/116044241X/34.
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9
Hesham, Eman Shokry [Verfasser], Inken [Gutachter] Baller, Dorit [Gutachter] Kluge, and Per [Gutachter] Pedersen. "Heritage sites management : understanding the interrelation among heritage, tourism, and local community urban demands in Luxor City in Egypt / Eman Shokry Hesham ; Gutachter: Inken Baller, Dorit Kluge, Per Pedersen." Cottbus : BTU Cottbus - Senftenberg, 2020. http://d-nb.info/1219908452/34.
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10
Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.
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11
Vergnaud, Sabine. "La Musique et les arts dans la collaboration du Groupe des Six avec les Ballets Suédois (1920-1925)." Thesis, Saint-Etienne, 2010. http://www.theses.fr/2010STET2146.
Повний текст джерелаАнотація:
Rolf de Maré, directeur, et Jean Biirlin, chorégraphe, fondent à Paris, en 1920 les Ballets suédois. Durant ses cinq années d'existence, cette compagnie affiche la volonté de se libérer de l'hégémonie russe en proposant des programmes audacieux. Les plus novateurs d'entre eux sont réalisés avec la collaboration de compositeurs du Groupe des Six -Milhaud, Poulenc, Honegger, Auric, Tailleferre - mais aussi celle d'écrivains et de peintres tels Jean Cocteau, Paul Claudel, Blaise Cendrars, Ricciotto Canudo, Fernand Léger, Jean Hugo et Irène Lagut. Entre 1921 et 1923, la compagnie crée au Théâtre des Champs Elysées : L'Homme et son désir de Milhaud, Les Mariés de la Tour Eiffel des Six (sauf Durey), Skating Rink de Honegger, Marchand d'oiseaux de Tailleferre et La Création du monde de Milhaud. Autant de prototypes dans lesquels le théâtre, la peinture et la musique imposent un renouvellement chorégraphique constant,mais également un renouvellement du ballet comme genre. Cette thèse s'intéresse au rapport de ces compositions avec les autres arts sollicités dans une même énergie créatrice. L'étude génétique s'appuie sur la comparaison des partitions manuscrites avec les tapuscrits et manuscrits des livrets (conservés entre autres au Dans muse et de Stockholm, au fonds B. Cendrars des Archives Littéraires Suisses à Berne). Elle consulte aussi les correspondances, les maquettes de décors, de costumes, les esquisses chorégraphiques et permet de définir la place et le rôle de tous les acteurs de ces ballets. Elle souligne l'impact de la collaboration des Suédois avec les Six non seulement sur l'évolution de la danse mais aussi sur celle des autres arts<br>The Ballets suédois was formed in Paris in 1920 by Rolf de Maré, director, and Jean Biirlin,choreographer. In its five-year existence, this company asserted its wish to break away from the Russianhegemony by proposing daring performances. The most innovative of them were created in collaborationwith composers from 'les six' such as Milhaud, Poulenc, Honeger, Auric or Tailleferre, and also with thecontribution of writers and painters such as Jean Cocteau, Paul Claudel, Blaise Cendrars, RicciottoCanudo, Fernand Léger, Jean Hugo or Irène Lagut. Between 1921 and 1923, the company stagedMilhaud's L'Homme et son désir and La Création du monde, Honegger's Skating Rink, Tailleferre'sMarchand d'oiseaux and The Marriage on the Eiffel Tower by 'les six' (to which Durey did notcontribute) at the Théâtre des Champs-Elysées; so many prototypes on which drama, painting and musicnot only imposed constant choreographic renewal, but a renewal of the ballet as a genre. This thesis dealswith the connection between those compositions and the different forms of art they combine in the samecreative energy. The genetic study is based on the comparison of the handwritten scores with thetapuscripts and the manuscripts of the librettos (kept at the Dansmuseet in Stockholm or at the FundsBlaise Cendrars of the Swiss Literary Archives in Bern). It also studies correspondence, models ofscenery, costumes, choreographic sketches and aims at defining the place and role of al! the performers in_those ballets. It stresses the impact the collaboration between the Swedish and 'les six' had, not only onthe evolution of dancing, but also on thal of other forms of arts
12
Gorney, Oscar K. "Ballers." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1525.
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13
Lambrinos, Elena. "Building Ballet: developing dance and dancers in ballet." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/22101.
Повний текст джерелаАнотація:
This thesis unpacks a commonly expressed phrase in the dance industry – ‘Teaching dance beyond the steps’ – by exploring teaching practices that develop dance and dancers in children’s ballet lessons. Exploring an area that is commonly practiced and often talked about, but rarely studied, this study shows how ballet education builds particular ways of moving as well as particular behaviours and dispositions deemed desirable in ballet. Enacting Legitimation Code Theory, this thesis undertakes a qualitative case study of children’s Royal Academy of Dance ballet classes through analysis of non-participant, video recorded observations of five consecutive classes at Grade 1 and Intermediate Foundation levels, teacher interviews, follow up observations, and curriculum documents. The LCT dimension of Specialization is used as an organizing framework and distinguishes between teaching that develops dance as epistemic relations, or what is being danced, and teaching that develops dancers as social relations, or who is dancing. The dimension of Semantics is used as an explanatory framework to explore change in both the dance and the dancer at different levels of expertise. Ballet dance is both precise, or highly detailed, and transferable, where steps, technique, musicality and artistry taught in specific exercises manifest in other danced contexts. Tools for analysing epistemological condensation and epistemic-semantic gravity are used to explicate how the teachers build complex, principled, durable ballet movement. When looking at the dancer, axiological-semantic density and axiological-semantic gravity are enacted to elaborate how teachers develop particular valorised actions and behaviours, or externalized ways of acting as a ballet dancer, and how these are subsumed by dispositions, or internalized ways of thinking, feeling and being. The findings in this thesis examine different teaching practices that build knowledge and knowers, dance and dancers, in ballet and how they change at different levels of expertise.
14
Font, Palma Guadalupe Maria. "Ballet building." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31689.
Повний текст джерелаАнотація:
Dance and architecture have much in common; both involve
the experiential movement of the human body through space,
and both convey meaning through form. In ballet there are
two kinds of meanings, the metaphorical and the literal, but
the meanings are important as forms. In architecture, the
forms are important when they respond to a use. In a ballet
building, where the main use is the dance itself, how can the
design of such a building be expressive of its function? How
can ballet be analyzed and interpreted to give meaning to a
building? Can architecture help to give new meanings to
dance?
Through the study and interpretation of the elements of ballet,
this thesis explores the development of a language that links
ballet and architecture and its application in the design
methodology of a ballet building.<br>Applied Science, Faculty of<br>Architecture and Landscape Architecture (SALA), School of<br>Graduate
15
Wortman, Leslie. "Savage Ballet." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/english_theses/4.
Повний текст джерелаАнотація:
The title Savage Ballet came into being because, so far as I articulate, it aptly describes the beauty and horror that are borne from combining art and instruction. Poetry, itself, is a ballet. And poetry, itself, is savage. It is a ballet of words carefully choreographed and practiced and spun into being. Poetry is the body politic of the ballet. It is beautiful and often fancy when the curtain rises, but behind the scenes and tucked into toe shoes is the instruction – the gnashing of teeth and blisters and broken nails. Thus, the savage side of poetry presents itself. And, may it also be said, graduate school is a savage beast. It wrestles and tests and knocks down to build up. And, if the dancer is lucky, they will rise.
16
Job, Jacqueline Felicity. "Butoh-Ballet." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13657.
Повний текст джерелаАнотація:
This dissertation explores intercultural theory through an investigation of butoh methods that shift performance processes of ballet. Theories of Post colonialism and Performance have been interrogated and applied to distill a theme, Butoh-Ballet. A qualitative research approach was undertaken for this study following a short series of dance workshops in butoh carried out on four members of Cape Town City Ballet company, in Cape Town, in 2013. This dissertation will show how butoh could contribute to overcoming colonial constructs, which have penetrated all spheres of South African society including Dance and its discourse. Dance research is fairly new in South Africa and largely situated within Contemporary dance. Ballet in South Africa has received relatively less critical analysis. The dissertation is particularly focused on expanding worldviews beyond a Eurocentric bias. Feminist notions as explicated by Ketu Katrak and Rustom Bharucha are considered in parallel to the philosophies of Maurice Merleau-Ponty. I also borrowed from Gayatri Spivak's notion of 'decolonising the imagination', to suggest that butoh may provide a means for ballet to re-imagine the body and its performance. This study acknowledges my subjective, 'endarkened' voice that emanates from my hybrid identity as Coloured, woman, pioneer Butoh artist, in postapartheid South Africa. I have proposed that butoh balances an external focus of the body found in ballet, with a more spiritually nuanced approach found in butoh. My argument hopefully marks the earliest reflective analysis of the subtle shifts butoh could make to ballet in South Africa today.
17
Müller-Kelwing, Karin. "Wolfgang Balzer." Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75025.
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18
Walslag, Per Erik. "«Are You jumping or bouncing?» : A case-study of jumping and bouncing in classical ballet using the Motiongram computer program." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17098.
Повний текст джерелаАнотація:
I denne master-oppgaven utforskes forskjellen mellom hopp og sprett i klassisk ballet med dataprogrammet Motiongram. Knud Jürgensen's rekonstruksjon av en Bournonville ballettklasse i videoen og boken “50 Enchainements” er brukt som kildemateriale. Oppgaven inneholder også ideer om nye måter å beskrive trinn-strukturer på samt en skisse til hvordan dette kan gjennomføres vha XML.<br>This master thesis explores the difference between jumping and bouncing in classical ballet with the aid of the computer program Motiongram. Knud Jürgensen reconstruction of a Bournonville ballet class as a video and book in “50 Enchainements” where used as source material. The thesis also contains ideas of new ways to describe step-structures and a roadmap on how to achieve this using XML.
19
Latiri, Imed. "Effets de la pratique intensive des sports de balle sur les opérations de synchronisation-coîncidence et de jugement d'arrivée." Paris 5, 1998. http://www.theses.fr/1998PA05S035.
Повний текст джерелаАнотація:
La pratique intensive des sports de balle développe les qualités perceptivo-motrices impliquées dans les tâches d'interception ou de capture. Plusieurs travaux expérimentaux ont confirmé ce résultat. La question qui n'a pas été suffisamment étudiée est l'effet de la pratique intensive des sports de balle sur le développement des mécanismes perceptifs impliqués dans les tâches synchronisation-coîncidence et de jugement d'arrivée. Nous avons tenté, au travers d'une série de quatre expériences, de répondre à cette question. Une analyse des mécanismes cognitif et perceptif a été effectuée auprès de différentes populations sportives (experts, intermédiaires et novices). Les résultats montrent que la pratique intensive des sports de balle ne développe pas de façon conséquente les processus perceptifs. Il apparaît, par ailleurs, que les tâches de jugement d'arrivée révèlent un développement cognitif plus adapté des sportifs experts aux caractéristiques perceptives de certaines situations sportives telles que les sports de balle.
20
Féry, Yves-André. "Les déterminants cognitifs du jugement de coi͏̈ncidence d'une trajectoire de balle avec une cible." Paris 5, 1993. http://www.theses.fr/1993PA05H062.
Повний текст джерелаАнотація:
Lorsque le sujet expert au tennis ne dispose que d une quantite tres resreinte d informations visuelles sur une trajectoire de balle, les representations peuvent etre invoques pour expliquer la precision qu il manifeste dans le jugement du moment de coincidence de la balle avec une cible. Ces activites mentales permettent en effet de restituer de maniere transitoire la realite externe meme en l absence de contact perceptif. Le sujet pourrait ainsi tenter de "reconstituer" le vol de la balle en sollcitant des representations de type chronometrique et ou des representations de type visuo-spatial. Nous montrons que la precision du jugement n est pas liee a la seule mise en oeuvre de traitements temporels (c est-a-dire) d un chronometre interne) mais qu une restitution des caracteristiques visuospatiales de la trajectoire est necessaire. En l absence de vision, le vol de la balle serait figure de maniere isomorphe, grace a la generation d une image de la trajectoire, soit de maniere plus abstraite ou seules ses caracteristiques spatiales (modele mental) seraient specifiees. Ce travail permet de penser qu une figuration quasi-perceptive de la trajectoire ne semble pas etre necessaire pour suppleer l absence de vision dans une situation de jugement de coincidence. Le concept de modele mental se montrerait en revanche d une valeur heuristique certaine.
21
Mick, Tracy A. "Recycling baler material properties for safer baler operation." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4150.
Повний текст джерелаАнотація:
Thesis (M.S.)--West Virginia University, 2005.<br>Title from document title page. Document formatted into pages; contains vii, 74 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 62).
22
Fayt, Valerie. "Contrôle et apprentissage d'une frappe de balle en mouvement." Aix-Marseille 2, 1997. http://www.theses.fr/1997AIX22009.
Повний текст джерелаАнотація:
Lors de l'exécution d'une action d'anticipation le sujet agissant doit contrôler son mouvement en fonction du moment et de l'endroit futurs du contact. Issues de deux approches théoriques divergentes du contrôle et de l'apprentissage moteur, deux stratégies de contrôle sont proposées dans la littérature: une stratégie de contrôle prescriptif versus une stratégie de contrôle prospectif. Au cours de ce travail nous nous sommes attaches a identifier la stratégie de contrôle (identification de l'information véhiculant la propriété pertinente du système acteur environnement (sae), mouvement et du lien entre l'information et le mouvement) a l'ouvre lors d'une tache d'interception d'un mobile. Pour cela nous avons manipule les conditions cinématiques d'approche du mobile (vitesse et accélération non constantes), les conditions d'exécution, le niveau de pratique et l'information apportée. La performance et la cinématique sont analysées. Au cours des diverses expériences réalisées nous avons pu constater que la cinématique du mouvement (initiation, durée du mouvement, valeur des pics de vitesse et d'accélération) est adaptée aux caractéristiques d'approche du mobile. Ces résultats se révèlent cohérents avec l'hypothèse d'un contrôle prospectif du mouvement. Le sujet contrôlerait en continu le mouvement d'interception a partir d'une information, disponible dans le sae, sur la vitesse requise courante de la main, i. E. , sans connaitre a priori ou et quand aura lieu le contact
23
Tornio, Ashley. "BIOMECHANICAL STUDY OF JUMPING & LANDING TECHNIQUES: BALLET VS NON-BALLET ATHLETES." DigitalCommons@CalPoly, 2019. https://digitalcommons.calpoly.edu/theses/2112.
Повний текст джерелаАнотація:
INTRODUCTION: The prevalence of ACL injuries is increasing in previous years. One of the most common studied kinematic risk factors related to ACL injuries is a resultant weak, leg axis alignment known as the dynamic knee valgus angle presented during a vertical drop jump [8, 14, 15]. Hewett et. al. concluded that a knee valgus angle was a primary predictor of the mechanism that leads to an ACL rupture [8]. By increasing the excessive knee valgus angle during a two-legged DVJ, an athlete is in turn increasing the possibility of a high knee valgus moment, which can increase the anterior tibial translation as well as the load on the ACL several-fold and the chances for an ACL tear [4].
METHODS: In our study, ten collegiate female participants, including ballet and non-ballet athletes performed two-legged DVJs for 6 different flexor and extensor muscles while digital recordings of knee valgus angle were captured at initial contact and push off with simultaneous collection of EMG data.
RESULTS: Results displayed statistical significance for the average valgus angle to estimated GRF ratio for the non-dominant leg at push-off between the ballet and non-ballet athletes (0.8 ± 0.43 vs. 1.8 ± 0.33 degrees/N, p < 0.05). In addition, we also found that the hip extensor activity significantly increased for the non-ballet group and that the lateral thigh CCI noticeably increased for the non-dominant leg for the non-ballet group, which could be indicative of the noticeable difference in the biceps femoris muscle activation for the non-ballet group when comparing sports type. In addition, statistically significant interactions between sports type and leg type for vastus medialis and gluteus maximus were produced. Observed results also indicated that there was an increase in overall variability for the dominant leg of the non-ballet athletes amongst all studied muscles and for the non-dominant leg for the ballet group specifically studying the gluteus maximus muscle activity.
DISCUSSION: Relatively, the non-ballet group could be at a higher risk for increase in femoral adduction, hip adduction, and tibial external rotation, and overall predict a larger knee valgus moment; therefore, the non-ballet group could potentially be at a higher risk for an ACL injury than the ballet group. In addition, there is potential in continued research of neuromuscular differences between ballet and non-ballet athletes to further investigate the vastus medialis and the gluteus maximus muscle activations as well as to investigate the knee valgus moment values.
24
Workman, Megan. "New Orleans Ballet Association." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/98.
Повний текст джерелаАнотація:
The following report documents the internship performed by Megan Workman at the New Orleans Ballet Association (NOBA) in New Orleans, Louisiana from January 5, 2009 to May 31, 2009. Since 1970, NOBA has existed as a non-profit organization devoted to the presentation of dance and related services to the surrounding Central Gulf region. NOBA currently operates from its offices in the Patrick Taylor Building at One Lee Circle. During this time with NOBA, I worked closely with the Development department and was responsible for the creation and completion of many grant requests, as well as several final reports for funders and additional development research as needed. This report includes information regarding NOBA's history and organizational structure. It catalogues the duties I performed and the extent of my contribution. It discusses NOBA's strengths, opportunities, weaknesses, and threats. Finally, it examines current best practices in the nonprofit field, and makes recommendations for NOBA based on this research.
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Hungenahalli, Shivanna Bharath. "Musculoskeletal Modeling of Ballet." Thesis, Linköpings universitet, Mekanik och hållfasthetslära, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-171924.
Повний текст джерелаАнотація:
This thesis work comprises the working and simulation procedures being involved in simulating motion capture data in AnyBody Modeling System. The motion capture data used in this thesis are ballet movements from dancers of Östgöta ballet and dance academy. The ballet movements taken into consideration are the arabesque on demi-pointe and pirouette. The arabesque on demi-pointe was performed by two dancers but the pirouette is performed by only one dancer. The method involved recording ballet movements by placing markers on the dancer's body and using this motion capture data as input to AnyBody Modeling System to create a musculoskeletal simulation. The musculoskeletal modeling involved creating a very own Qualisys marker protocol for the markers placed on the ballet dancers. Then implementing the marker protocol onto a human model in AnyBody Modeling System by making use of the AnyBody Managed Modeling Repository (TM) and obtain the kinematics from the motion capture. To best fit the human model to the dancer's anthropometry, scaling of the human model is done, environmental conditions such as the force plates are provided. An optimization algorithm is conducted for the marker positions to best fit the dancer's anthropometry by running parameter identification. From the kinematics of the motion capture data, we simulate the inverse dynamics in AnyBody Modeling System. The simulations explain a lot of parameters that describe the ballet dancers. Results such as the center of mass, the center of pressure, muscle activation, topple angle are presented and discussed. Moreover, we compare the models of the dancers and draw conclusions about body balance, effort level, and muscles activated during the ballet movements.
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Bottamini, Gina L. "Ballet teachers, a source of perceived weight loss pressure in female ballet students." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57088.pdf.
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Woitas, Monika. "Im Zeichen des Tanzes : zum ästhetischen Diskurs der darstellenden Künste zwischen 1760 und 1830 /." Herbolzheim : Centaurus, 2004. http://catalogue.bnf.fr/ark:/12148/cb39206386s.
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Guiraud, Christian. "Espaces sportifs et usages sociaux : étude comparative de l'implantation du rugby et du jeu de balle au tambourin en Hérault." Paris 7, 1992. http://www.theses.fr/1992PA070002.
Повний текст джерелаАнотація:
Espaces sportifs et usages sociaux : analyse comparative de l'implantation du rugby et du jeu de balle au tambourin en herault. Cette recherche propose, dans une perspective socio-geographique, une analyse du processus d'implantation de deux activites sportives dans l'espace geographique du departement de l'herault. La diffusion spatiale des pratiques sociales revet un caractere complexe qu'il convient d'apprehender dans la diversite des composantes, socio-historiques et culturelles, qui ont pu avoir une incidence sur leur enracinement. L'analyse comparative de l'implantation et de la propagation de deux activites sportives, fortement differenciees, dans le departement de l'herault revele que les caracteristiques demographiques ne sont pas les seuls elements determinants. Ces deux sports, consideres comme des "innovations techniques" a caractere sportif, qui ont accompagne, par leur mode organisationnel, une transformation des comportements, permettent d'observer les actions d'acteurs sociaux qui evoluent au sein d'un secteur domine par l'economie de la vigne et du vin<br>This research offers, in a socio-geographical perspective, an analysis of the process of the establishment of two sports activities in the geographical area of the herault. The spacial diffusion of social practices assumes a complex character which must be taken into consideration within the diversity of socio-historic and cultural components which may had an influence on their entrenchment. The comparative analysis of the implantation an spread of two very different sports activities in the region of the herault shows that demographic characteristics are not the only determining factors. These two sports, considered to be "technical innovations" of a sporting character, have accompanied, by their style of organisation, a transformation of behaviour, which allows us to observe people's behaviour within a sector dominated by the economy of the vineyards and wine. The choice of rugby, of english origin, and of tambourine ball, of french origine, allows us to understand how system values can organise a differentiated spacial distribution of styles of life or ways of living
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Afaraya, Ancco Thania, Billinghurst Dalma Katherine Huerta, Elguera Vanesa Ramos, and Luciano Susana Rosa Zeña. "Proyecto empresarial Beauty Balle." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2017. http://hdl.handle.net/10757/621976.
Повний текст джерелаАнотація:
Presentación de una idea de negocio que consiste en la producción y venta de ballerinas con accesorios intercambiables. Beauty Balle se dedicara en la producción artesanal de ballerinas con características (accesorios intercambiables) diferenciadas a las ballerinas convencionales del mercado, con materiales de calidad y a un precio al alcance del consumidor. El producto está destinado a todas las mujeres que calcen entre 35 y 40 cm de los niveles socioeconómicos del “B” y “C” de los distritos ubicados en las zonas “2” y “6” de Lima metropolitana. Lo importante para la empresa son las clientas y su satisfacción, para ello realizaremos un seguimiento desde el inicio de la compra, brindando a las clientas asesorías personalizas que marcaran la diferencia con la competencia. Las ventas se efectuan a través de la página web y redes sociales donde se publican los catálogos de Beauty Balle especificando las características de cada diseño. Además, de lanzamientos de promociones y publicidad.<br>Trabajo de Suficiencia Profesional
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Barrios, Brooke Alicia. "The New Orleans Ballet Association." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/147.
Повний текст джерелаАнотація:
The purpose of this thesis is to investigate the central issues and management structure of the New Orleans Ballet Association (NOBA), apply them to industry best practices, and make recommendations for improvement. The initial investigation occurred during a 480-hour internship in the Education Department from January-April 2013, under NOBA’s Executive Director and Education Coordinators. The thesis is enhanced through a prior 240-hour practicum in the Development department and position as Site Monitor for the Pre-Professional Program, which provided hands-on experience. The thesis will show a working knowledge of the organization, reflection on its practices, and a look towards the future.
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Diaz, Calderon Ana Lucia. "Escuela Nacional Superior de Ballet." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/654989.
Повний текст джерелаАнотація:
La ciudad de lima en su actualidad cuenta con diversas academias dedicadas exclusivamente, otras no tan personalizadas, en el arte del ballet. Esta danza se enfoca a la concentración y disciplina de sus bailarines en la ejecución de los movimientos.
Se menciona a una academia que existe en el distrito de Surquillo que tiene 50 años de vigencia enseñando únicamente ballet. Esta academia toma el nombre Escuela Nacional Superior de Ballet. Se realizó una investigación con respecto a esta escuela y los espacios que se pueden apreciar son bastante reducidos para el aforo que se plantea.
Se busca reubicar esta institución a una zona accesible y brindarle la infraestructura que necesitan.
Este proyecto es el compendio de información con respecto al ballet y su magnitud en la ciudad de Lima.
Mediante una comparación e investigación de otros proyectos en el mundo con la misma tipología se explica y demuestra la arquitectura y funcionalidad del espacio con relación a este tipo de danza, y como este espacio tiene diversas características que lo hacen específico para su usuario objetivo.
Este proyecto explica y relaciona las etapas de una clase de ballet para la ubicación de la luz, para evitar la distracción de los bailarines.<br>Nowadays the city of Lima has a diversity of academies exclusively dedicated to Ballet. This dance it’s well known by its discipline and its focus of the dancers by the execution of the movements of their bodies that show the control they have of over their bodies.
In one district of Lima, called Surquillo, there is a school that has been teaching, only, ballet. This academy is named “Escuela Nacional Superior de Ballet”. The research covers this academy and also other academies in Lima.
This project seeks to relocate this institution into somewhere accessible and at the same time giving them a better infrastructure to hold this kind of activity.
This research compares other architecture projects in the world with the same typology, it explains and shows the function of the space in relation to this kind of dance, and how these spaces have different qualities for its objective user.
Another point to take in consideration the light to emphasis different parts of the dance to avoid any distraction form the technique.<br>Tesis
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Balzer, Ralph [Verfasser]. "Republikprinzip und Berufsbeamtentum. / Ralph Balzer." Berlin : Duncker & Humblot, 2009. http://d-nb.info/1238361250/34.
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Hourigan, Paul William. "Choreographic strategies to achieve visual communication within an original film narrative through academic ballet choreography." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/135200/4/Paul%20William%20Hourigan%20Thesis.pdf.
Повний текст джерелаАнотація:
This research explored the use of ballet in cinema narrative – specifically its efficacy as a source of visual communication once removed from the stereotypical characterizations, plotlines and cinematic tropes that have become associated with cinematic ballet. To test this efficacy, the project involved the production and choreography of an original featurette film, Nearly Not Me, followed by an audience survey for the collection of qualitative data. The findings identify eight choreographic strategies for the successful use of academic ballet choreography as a means of visual communication in film, inspiring other choreographers to challenge existing traditions to evolve.
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Morales, Chávez Alicia. "Danza clásica y moderna: perspectiva histórica para un análisis en Chile." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/146314.
Повний текст джерелаАнотація:
Memoria para optar al Título de Periodista<br>De entre todas las artes escénicas que con mayor o menor éxito se han desarrollado en Chile, la danza (y el ballet, considerando éste como su expresión más técnica y sistematizada) es sin duda la manifestación artística más postergada en cuanto a contar con registros históricos y estudios completos respecto a su historia y desarrollo en nuestro país.
Si bien existen algunos textos, como los escritos por la periodista Yolanda Montecinos, no es menos cierto que toda o casi toda la bibliografía actual se refiere a la formación del Ballet Nacional Chileno (Banch) particularmente a su “época de oro” bajo la dirección de Ernst Uthoff, y a la historia del Ballet de Santiago. La mayoría de estos registros abarcan la historia nacional hasta 1962, pero no hay estudios importantes respecto al fenómeno de la “Danza Independiente” y a la generación de jóvenes coreógrafos nacionales que comienzan sus actividades a mediados de las década de los ’80. Muchos de ellos han desarrollado exitosas carreras dentro y fuera del país en los últimos años, y han dado vida a una verdadero boom dancístico que comprende la formación de compañías, colectivos y asociaciones gremiales. El Estado, por su parte, se ha hecho eco de este fenómeno inaugurando un ciclo para la creación de instancias que permiten la difusión y desarrollo de la danza, así como de las artes en general.
A la carencia de registros históricos completos se suma la dispersión del material existente. En lo que se refiere a danza se pueden encontrar artículos, opiniones, entrevistas y una serie de documentos de la más variada índole diseminados en fuentes también muy diversas. La recopilación y reconstrucción histórica es entonces una primera
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Celhay, de Larrard Hélène. "André Derain et la scène." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040157.
Повний текст джерелаАнотація:
Le monde des arts est en pleine effervescence au début du XXe siècle, après le scandale déclenché par l’exposition des œuvres des Fauves au Salon d’Automne de 1905. Loin de cette agitation, les décors de scène sont réalisés par des décorateurs professionnels qui restent attachés aux procédés traditionnels. En 1909, l’arrivée des Ballets russes au Châtelet marque une rupture dans la conception du rôle du peintre dans le ballet. En 1919, alors que la compagnie jouit d’une grande renommée, Serge Diaghilev commande à André Derain les décors et les costumes de La Boutique Fantasque. Au sortir de la guerre où il a servi, Derain saisit cette fabuleuse occasion de remonter sur la scène artistique. Grâce au succès du ballet, c’est une longue série de collaborations fructueuses avec le monde du spectacle qui débute pour le peintre. Entre 1919 et 1953, Derain conçoit les décors et les costumes de deux pièces de théâtre, deux opéras, treize ballets et élabore de nombreux projets qui n’ont jamais été créés. Il rédige également plusieurs arguments, participe à la mise en musique de certaines de ces œuvres, réalisations auxquelles s’ajoutent les idées qu’il apporte à la mise en scène et à la chorégraphie. Cette étude met en lumière l’importance de l’œuvre scénique d’André Derain et ses particularités. Son travail révèle une richesse jusqu’alors méconnue et inexploitée. Notre étude permet ainsi de donner un nouvel éclairage sur le peintre et son œuvre. Artiste accompli et aux multiples facettes, Derain ne s’est pas contenté du rôle de décorateur, sa passion pour la musique et le théâtre l’ont, bien plus encore, amené à se poser en véritable créateur de ballets<br>In the early twentieth century the art world was bubbling with excitement following the scandal caused by the exhibition of work by members of the Fauves movement at the 1905 Salon d’Automne. Away from this fuss, stage sets were being created by set designers who remained attached to traditional methods. In 1909 the arrival of the Ballets Russes at Châtelet marked a breaking away from the understanding of the scenic artist’s role. In 1919, when the company was immensely famous, Serge Diaghilev commissioned Andre Derain to create sets and costumes for La Boutique Fantasque. Having served in the War, Derain grasped this fabulous opportunity to return to the world of art. The success of the ballet heralded a series of fruitful collaborations between him and the world of show business. Between 1919 and 1953, Derain created sets and costumes for two plays, two operas and thirteen ballets, as well as working on several uncompleted projects. He also wrote several librettos and was involved in the musical setting of some of these works, achievements that added to the ideas that he brought to the staging and choreography. This research highlights the importance of Derain’s stage work and its special features. This reveals the hitherto unrecognized and untapped wealth of his work. Our study thus sheds a new light on the painter and his creations. A skilled and multi-faceted artist and not content with his role as designer, Derain’s passion for music and theatre begs a true creator of ballets
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Osborne, Jane. "An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002028.
Повний текст джерелаАнотація:
Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
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Sutch, Mark. "Garden of Eden." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501204/.
Повний текст джерелаАнотація:
The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.
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Kitsos, Vassilis. "Ballet 'Echoes of Flux' for orchestra." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/9805.
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Jevremovic, Darko. "Hydrogen Balmer lines in stellar flares." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313977.
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Venter, Marike. "Computerized dynamic posturography in ballet dancers." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/59162.
Повний текст джерелаАнотація:
Balance is the ability to maintain an individual’s centre of mass over his or her base of support while standing. Ballet dancers have better balance than non-dancer control groups as they presented with better sensory-motor integrative skills when required to maintain a given posture for a longer period. To evaluate functional balance abilities, assessing individuals with above average balance abilities may provide valuable information about function. The balance of trained ballet dancers (N1) was investigated by comparing Sensory Organisaiton Test (SOT), Motor Control Test (MCT) and Limits of Stability (LOS) test results to matched non-trained individuals (N2). A quasi-experimental and two group design was used. Ten matched trained ballet dancers (N1) and 10 untrained individuals were included in the study. Trained ballet dancers (N1) had an average of 16.6 (± 4.24) years of experience, while non-trained individuals (N2) had none. No significant dufferences in demographic data was present between groups. Both groups reflected good overall balance and similar sensory organization. No differences in reflex latencies and weight symmetry of the left or right leg was present. Trained ballet dancers (N1) reflected higher response strength for medium forward translations (p.05) with the left leg, indicating poorer amplitude scaling in response to platform translations than those of non-trained individuals (N2). In non-trained individuals (N2), there was less variation in the response strength between legs. Research indicated that stretch reflex amplitude was attenuated as load stability was reduced. Co-contraction was also heightened as stability was reduced, but not enough to oppose the induced instability, probably due to feed-forward strategies instead of rapid involuntary feedback. Trained ballet dancers (N1) were able to extend further out of their Centre of Pressure (COP) than non-trained individual (N2) during forward (p<.05) and right forward (p<.05) movements. It was concluded that that for forward and right forward movements, ballet dancers used the feedback they received during the movements better than non-trained individuals (N2), resulting in a better awareness of where to go in space and how to reach that position after a subsequent attempt. This difference may be as a result of continuous training. Ballet training exercises can be used to rehabilitate individuals with impaired limits of stability. Further studies should be done on exactly which ballet training exercise results in increased limits of stability.<br>Mini Dissertation (MCommunication Pathology)--University of Pretoria, 2016.<br>Speech-Language Pathology and Audiology<br>MCommunication Pathology<br>Unrestricted
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Varon, Stephanie Stigers 1939. "The mathematical foundations of classical ballet." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/292004.
Повний текст джерелаАнотація:
This treatise sets out to show how both the mathematical aspect of ballet (and music to a very limited extent) and the associated psychological aspects of both the dancer and the stage space in which he or she operates contribute together to create an entire gestalt that becomes visible on and within the bodies of the dancers as they move through time and space. The recognition of both intention in the role of speaking a language with meaning, along with the existence of energy projection in music, dance and drama, make apparent the existence of this extension of the mental realm into the physical one. Although some people accord the spoken language a privileged status which causes a gap between artists and analytical philosophers, I have attempted, in this work, to show a way in which language may be considered as a concept applying to all languages, including those used in the arts. In this manner, hopefully, this gap between the two sets of theoretical concerns may be shown to be no longer applicable, and a manner of bridging the theoretical split can be forged upon the theory suggested by this treatise.
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Khattabi, Nahéma. "De la chanson à l'air de cour : édition et mutations du répertoire profane en France (1555-1624)." Thesis, Poitiers, 2014. http://www.theses.fr/2014POIT5016.
Повний текст джерелаАнотація:
Le répertoire profane imprimé dans la seconde moitié du XVIe siècle et au début du XVIIe siècle est riche de multiples objets musicaux, si l'on en croit tout du moins la diversité lexicale des titres de volumes publiés en France. Alors que dans la première moitié du XVIe siècle, le terme « chanson » est le titre incontournable placé en tête de volume par les imprimeurs de musique, à partir des années 1550 fleurissent de nouvelles appellations comme « chanson en forme de voix de ville », « ode », « chanson en façon d'air », « air de cour », « air », « dialogue », « sonnet », « Amours », « poésie », « quatrain », « chansonnette mesurée », « villanelle », « mascarade », « ballet », « récit » ou « vers mesurez ». Ces multiples dénominations ne renvoient toutefois pas nécessairement à des objets musicaux différents : pour exemple, au XVIe siècle, une même pièce peut être indifféremment appelée « chanson » et « ode » selon les publications. Cette observation amène à supposer que ces termes ne désignent pas des catégories s'excluant les unes les autres. Ces différentes rubriques sont au contraire poreuses, et leurs contours paraissent parfois vagues aux yeux du chercheur, notamment parce que les théoriciens de la musique, en particulier à la Renaissance, ne définissent pas les dénominations que l'on trouve dans les imprimés. Pour cette raison, l'enjeu de ce travail consiste à observer et à comprendre quelles sont les réalités éditoriales et musicales que recoupent les classifications et les termes utilisés dans les livres. Ce faisant, il s'agit de mettre en lumière le rôle clef de l'imprimeur de musique dans la fabrication matérielle du livre, et de se demander ainsi quelle est la part qu'il prend dans les mutations musicales<br>The french repertory printed during the second half of the sixteenth century and at the beginning of the seventeenth century is rich of many musical objects. If in the first half of the sixteenth century, the term « chanson » is the only title used in the editions, other denominations appear from 1552 as « chanson en forme de voix de ville », « ode », « chanson en façon d'air », « air de cour », « air », « dialogue », « sonnet », « Amours », « poésie », « quatrain », « chansonnette mesurée », « villanelle », « mascarade », « ballet », « récit » or « vers mesurez ». These denominations don't designate necessarly differents musical objects : for exemple, during the sixteenth century a same work could sometime be named « chanson » and « ode ». This observation tends to suppose that these terms don't designate indepedant categories. On the contrary, these headings are porous, and their outlines seems sometime vague, in particular because the renaissance music theorists don't define the terms used in the prints. For this reason, the goal of this dissertation consist to observe and understand what are the editorial and musical realities which tally with the classifications and the terms used in the collections. Thus, we would like to highlight the role of the music printer in the making of the book, and to wonder what is the part he takes in the musical mutations
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Gutsche-Miller, Sarah. "Pantomime-Ballet on the music-hall stage: The popularisation of classical ballet in fin-de-siècle Paris." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94948.
Повний текст джерелаАнотація:
This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. Between 1872 and 1918, nearly two hundred ballets were staged in Paris's music halls, more than half of which were premiered by the three most prominent halls: the Folies-Bergère, the Olympia, and the Casino de Paris. These newly written, composed, and choreographed ballets were often complex productions with lavish scenery and costumes, large ballet corps, and star ballerinas. Although they were in many ways structurally comparable to ballets staged at the Paris Opéra, music-hall ballets reflect the preferences of their fashionable, pleasure-seeking audiences through their emphasis on catchy up-beat music, stage spectacle, and the female body. My doctoral research brings to light this important ballet culture and repertoire. I begin with an overview of the historical circumstances that made it possible for variety theatres to adopt ballet. I then examine ballet's new context in order to establish the institutional features that helped shape music-hall ballet, and provide biographical information about the artists who created and performed them. This is followed by analyses of music-hall ballet's conventions, with sections on the types of subjects favoured by librettists, the formal structures of popular ballets, the choreographic elements that were typically incorporated, and the musical characteristics of the genre. I end with an exploration of the visual and musical elements that distinguish music-hall ballet as a popular genre, and discuss its mediation of high and lowbrow features and intersections with contemporary popular culture.<br>Cette thèse examine l'histoire et l'esthétique du ballet dans les music-halls parisiens au tournant du XXe siècle. Quoiqu'on l'ait longtemps oublié, le ballet constitua pour plus de quatre décennies une forme de divertissement populaire auprès d'un vaste public. Entre 1872 et 1918, près de deux cent nouveaux ballets furent mis en scène dans les music-halls de Paris, dont plus de la moitié furent créés dans trois établissements proéminents, les Folies-Bergère, l'Olympia et le Casino de Paris. Ces uvres aux partitions, chorégraphies et livrets originaux constituaient fréquemment des productions complexes et spectaculaires, faisant appel à des décors et costumes flamboyants, un important corps de ballet et des danseuses étoiles. Bien que les ballets de music-halls aient été comparables, sous plusieurs aspects, aux ballets contemporains présentés à l'Opéra de Paris, ils reflètent néanmoins les préférences de leur audience épicurienne par l'importance accordée à une musique vive et entraînante, au spectaculaire et au corps féminin. Ma recherche met en lumière l'importance de la culture et du répertoire du ballet de music-hall. Je me penche d'abord sur les circonstances historiques qui permirent aux music-halls d'adopter le ballet. J'examine ensuite ce nouveau contexte de représentation du ballet afin d'établir les caractéristiques institutionnelles qui contribuèrent à façonner les ballets de music-hall, et offre de l'information biographique sur les artistes qui créèrent et interprétèrent ceux-ci. J'analyse les conventions du ballet de music-hall, les types de sujets abordés par les librettistes, les structures formelles des ballets populaires, les éléments chorégraphiques communément incorporés et les aspects du langage musical propres au genre. En terminant, j'explore les attributs visuels et musicaux caractérisant le ballet de music-hall comme un genre « populaire », discute de la façon dont il ama
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Hudson, Janet Marie. "British ballet during the inter-war years: Ninette de Valois and the establishment of the Royal Ballet." Thesis, Hudson, Janet Marie (2007) British ballet during the inter-war years: Ninette de Valois and the establishment of the Royal Ballet. Honours thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/52834/.
Повний текст джерелаАнотація:
In 1925 Ninette de Valois left Diaghilev’s Ballets Russes and returned to London, her vision was to establish a national ballet company. At home in the Royal Opera House Convent Garden, The Royal Ballet today stands witness that de Valois was successful in achieving her dream. This thesis re-traces the early years of the company’s history, focusing in particular on Britain’s inter-war period; the environment that both complicated and assisted the establishment of a national ballet.
To analyse Britain’s inter-war period and the development of The Royal Ballet this thesis consists of three chapters, focused on gender class and identity. Drawing in particular on the King’s College Lydia Lopokova Keynes Collection and the Finsbury Library Sadler’s Wells Collection traditional methods of historical analysis are overlaid with post-modern theoretical discourses that acknowledge the complexities of gender, class and identity. Hence chapter one de-constructs the noble dancer and the ballerina, and relocates them within their socio-political environments. Chapter two draws on David Cannadine’s analysis of British class, and investigates the inter-play between British royalty, Britons and society. Finally, chapter three investigates notions of identity, Englishness, Britishness and the establishment of a national ballet company.
I argue that the establishment of The Royal Ballet was more complicated than just creating a company for the sake of art. It was a complex inter-action between those who were passionate about ballet as an art form and Britons who saw themselves as a part of a complex, hierarchical society headed by the monarchy. Hence the company’s establishment, during the inter-war years, marks a significant cultural and social event in the history of Britain and not just a turning point in the history of ballet, because of the many ways the company’s presence has shaped the identity of British dance.
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Muncy, Thomas R. "Gestures and Fields." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332633/.
Повний текст джерелаАнотація:
Gestures and Fields is a twenty minute work for chamber orchestra and dancers. It is scored for flute (doubling piccolo), oboe (doubling English horn), Bb clarinet (doubling Eb clarinet), bassoon Bb trumpet, French horn, trombone, tuba, percussion, piano, and strings. The percussion consists of a suspended cymbal, large tam-tam, 5 temple blocks, xylophone, marimba, tumba, snare, tenor drum, 4 tom-toms, bass drum and timpani. The work is in 5 movements, each inspired by an abstract expressionist painting: Autumn Rhythm by Jackson Pollock, Light, Earth and Blue by Mark Rothko, Mahoning by Franz Kline, Vir Heroicus Sublimus by Barnett Newman, and Excavation by Willem de Kooning.
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Pinheiro, Ligia Ravenna. "YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL'S BALLET D'ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429443828.
Повний текст джерела
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Jara, Trujillo Linda Michelle Kate. "El pre-ballet y su efecto sobre el equilibrio dinámico en la Escuela de Ballet San Marcos - 2019." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2021. https://hdl.handle.net/20.500.12672/16731.
Повний текст джерелаАнотація:
Determina el efecto de la práctica de pre-ballet sobre el equilibrio dinámico en estudiantes de pre-ballet San Marcos 2019. Estudio descriptivo, de enfoque cuantitativo, tipo longitudinal y prospectivo. La población de estudio, conformada por 27 estudiantes del pre-ballet pertenecientes a la Escuela de Ballet San Marcos, fueron evaluadas al inicio del estudio y pasadas 10 clases de pre-ballet usando el instrumento Star Excursion Balance Test (SEBT) con la intención de medir el equilibrio dinámico. Para realizar el análisis de las variables, se utilizó medidas de tendencia central y la prueba no paramétrica de Wilcoxon. Al finalizar la investigación, los resultados obtenidos demostraron que: el equilibrio dinámico en las estudiantes tuvo un aumento estadísticamente significativo en todas las direcciones y en ambas piernas. El puntaje total inicial del equilibrio dinámico fue 76.8 y el puntaje total final del equilibrio dinámico fue 90.6, con un incremento de 13.8. Además, el análisis estadístico reveló una mejora significativa del equilibrio dinámico con un p < 0.001. También, se observó mayor incremento en la mediana del equilibrio dinámico final de las estudiantes de 06 a 09 años, con un incremento de 15.8, frente a la mediana del equilibrio dinámico en las estudiantes de 10 a 15 años, que incrementó en 7.8.
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Tholon, Marie Sophie. "Du sable à la scène : circulation des danses saber et ballet manding au Sénégal, entre gueew et ballet." Nice, 2009. http://www.theses.fr/2009NICE2015.
Повний текст джерелаАнотація:
Les danses et percussions sabar, en tant que formes présentes au sein du gueew sont majoritairement retrouvées sur le territoire nord sénégalais alors que les danses et percussions ballet manding sont issues des pratiques du Mali, de Guinée, de Côte d'Ivoire, du Burkina Faso, de Casamance, transposées sur les scènes et diffusées principalement par les ballets nationaux ouest africains depuis la période des indépendances. L’analyse de la matérialité du geste révèle que ces deux formes dansées sont dotées de singularités tout en disposant de certains points en commun, notamment le lien entre la danse et les structures polyrythmiques qui les accompagnent. Le regard sur la circulation de ces deux danses, entre les enseignants et les apprenants, entre le gueew et la scène, entre un niveau local et un monde globalisé, permet de découvrir les trajectoires empruntées par ces deux danses. La présence de ballet manding au Sénégal et l’engouement de certains jeunes artistes pour ces formes sont pétris d’enjeux historiques, sociologiques, idéologiques, politiques, esthétiques et mettent en jeu les notions de “tradition“, de patrimoine et d’identité<br>Sabar dances and percussion, as forms present in the gueew are mainly found in the north of Senegal, while ballet manding dances and percussion come from practices from Mali, Guinea, and Casamance, which have been transposed on stage and are diffused by the great “ African ballets” since the independence years. The analysis of the materialism of the movement reveals that these two dance forms have their own specificities but also share some points in common, in particular the link between the dance and the polyrhythmic structures which accompany them. The focus on the circulation of these two dances, between the teachers and the learners, between the gueew and the stage, between a local level and a globalized word, allows to discover trajectories taken by these two dances. The presence of ballet manding in Senegal and the craze of certain young artists for these forms are molded by historic, ideological, sociological, political, aesthetic and economic stakes and deal with notions of “tradition“, inheritage, and identity
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Cairns, Carolyn Jane. "In pursuit of excellence: uncovering the knowledge, philosophies, and expert practice of the classical ballet master." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/4052.
Повний текст джерелаАнотація:
This thesis explores the professional practice of two highly accomplished expert teachers, ‘masters’ of classical ballet, with the aim of providing an understanding of their expertise.
A qualitative case study methodology was used to illuminate the masters’ knowledge acquisition and teaching practices. Data collection comprised interviews with the masters and a sample of their students, and teaching observations of the masters at work.
A metaphoric conceptual framework of a three-act ballet performance has been used to present the thesis. This dance-related metaphor was chosen: firstly, because it keeps the ballet context in focus; secondly, because it allows for the leading roles to be those of the masters, and their students, and; thirdly because it provides a fitting way to highlight key themes that emerged from the data analysis. Furthermore, just as an entire three-act ballet needs to be experienced in order to fully understand its story, so too, all three acts of the thesis ‘performance’ must be read in order to appreciate the complexity and inter-connected nature of the masters’ practice.
Part One (The Programme) provides the foundation work of the thesis (introduction, literature review, methodology, and methods). Part Two includes The Performance, with the Prologue presenting biographic narratives for both masters and each of the three acts revealing key dimensions of the masters’ practice. Act One explores their knowledge acquisition, professional philosophies and beliefs. Act Two explores their professional orientations. Act Three illuminates their expertise in action, within the class and rehearsal environment. Important themes include the recognition that, for the masters, learning and teaching develop over a lifetime and are inspired by an immense passion and dedication for ballet and its teaching. Also, a master brings to the art- form his/her own individuality, and creativity, and actively contributes to ballet’s historical continuum through his/her professional legacy of practice. While some of the findings support aspects already described in the literature about expertise, the use of a domain-specific case study establishes this support, and illuminates a new perspective with much needed evidence.
A Grand Finale concludes the study, with the development of a prototypical view of the professional practice of a classical ballet master. Such a prototype has the potential to inform researchers of exemplary practice in other art forms, and more importantly, to highlight the essential characteristics of exemplary ballet masters.
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Meinel, Kandis Kramer 1952. "Analysis of components of the "turnout" in beginning and advanced female ballet dancers." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276608.
Повний текст джерелаАнотація:
Lateral rotation of the left and right hip, knee, ankle and intertarsal joints during three trials of turnout from the straight leg and demi-plie positions was quantified with the use of a specially designed friction-free weightbearing goniometer, projecting fin-like body markers, and overhead photography. The female subjects were dancers (10 beginners, 11 advanced) recruited from University of Arizona ballet classes. MANOVAS revealed that turnout as measured from the feet was (1) significantly greater in the advanced group in both positions, (2) significantly greater in the demi-plie position than in the straight leg, (3) a cumulative joint rotation effect with the hip contributing the greatest absolute and relative amounts. Positive significant correlations occurred between: (1) pedal turnout and lateral hip rotation for the advanced group in both positions and for the beginning group in demi-plie, and (2) pedal turnout and lateral ankle rotation for the advanced dancers in the straight leg position. Alignment of the lower extremity segments during turnout from both positions did not exist for either group.