Дисертації: "Programa de Artistas"

1

Meban, Margaret. "I'm doing what artists do!, a case study of an artist-in-residence program." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.

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2

Foster, Thomas K. "Program-building : an investigation of the design of graduate and artist piano recitals." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897484.

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This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study.
School of Music

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3

Chevillard, Brice. "OpenVG: Benchmarking and artistic opportunities." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-15684.

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OpenVG is a new open standard for 2 dimensions vector graphics for handheld devices. This project, which is a master thesis and an internship, aims to study the standard itself deeply before to study the role it can play in the future of artistic content creation.We will see that under some few conditions, OpenVG has everything to fulfil its role in the market and to attract digital artists who would like to enlarge their creation field. But the major aim of the project is to develop a benchmark for both hardware and software implementations. And to achieve this goal, a study of the theory of performance evaluation is necessary. And after developing the benchmark, it is interesting to run some few tests to illustrate some principles enounced while studying performance evaluation.

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4

Nolting, Jonathan R. "The Julius Rosenwald Fellowship Program for African American Visual Artists, 1929-1948." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104160.

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5

Troop, Meagan. "Developing artistic identity in a post-secondary musical theatre program." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1380.

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6

Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.

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Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.

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7

Johnsrude, Marlene. "Curricular integration through art, a case study of an Artists-in-the-Schools program." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ55153.pdf.

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8

Jilka, Milan. "Artistic Learning in an MFA Community." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538710/.

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The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.

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9

Blackaller, Luis (Luis Eduardo Blackaller Bages). "Performing process : the artist studio as interactive art." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44806.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.
Includes bibliographical references (p. 123-127).
Digital technology has radically changed human communication in the last few decades. The digital medium has pushed cultural artifacts towards forms defined by interaction, participation, and social systems. This thesis looks at recent changes of artistic practice in the realm of digital visual arts. In order to study the intersection between interactive art and the digital image, I will describe the design of an online participatory studio system, where an artist can perform the creative process and respond to remote feedback from audience participants at the same time. Such a system opens a conversation between artist and audience that will shed new light on how we can learn, understand and communicate boundaries in digital space and digital interactive art.
by Luis Blackaller.
S.M.

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10

Kwok, Joon-Yee. "When sparks fly : developing formal mentoring programs for the career development of young and emerging artists." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/39128/1/Joon-Yee_Kwok_Thesis.pdf.

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Formal mentoring programs are accepted as a valuable strategy for developing young and emerging artists. This thesis presents the results of an evaluation of the SPARK National Young Artists Mentoring Program (SPARK). SPARK was a ten-month formal mentoring program managed by Youth Arts Queensland (YAQ) on behalf of the Australia Council for the Arts from 2003-2009. The program aimed to assist young and emerging Australian artists between the ages of 18-26 to establish a professional career in the arts. It was a highly successful formal arts mentoring program that facilitated 58 mentorships between young and emerging artists and professional artists from across Australia in five program rounds over its seven year lifespan. Interest from other cultural organisations looking to develop their own formal mentoring programs encouraged YAQ to commission this research to determine how the program works to achieve its effects. This study was conducted with young and emerging artists who participated in SPARK from 2003 to 2008. It took a theory-driven evaluation approach to examine SPARK as an example of what makes formal arts mentoring programs effective. It focused on understanding the program’s theory or how the program worked to achieve its desired outcomes. The program activities and assumed responses to program activities were mapped out in a theories of change model. This theoretical framework was then used to plan the points for data collection. Through the process of data collection, actual program developments were compared to the theoretical framework to see what occurred as expected and what did not. The findings were then generalised for knowledge and wider application. The findings demonstrated that SPARK was a successful and effective program and an exemplar model of a formal mentoring program preparing young and emerging artists for professional careers in the arts. They also indicate several ways in which this already strong program could be further improved, including: looking at the way mentoring relationships are set up and how the mentoring process is managed; considering the balance between artistic and professional development; developing career development competencies and networking skills; taking into account the needs of young and emerging artists to develop their professional identity and build confidence; and giving more thought to the desired program outcomes and considering the issue of timeliness and readiness for career transition. From these findings, together with principles outlined in the mentoring and career development literature, a number of necessary conditions have been identified for developing effective mentoring programs in the career development of young and emerging artists.

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11

Braz, Marion Laura Aimee. "Importância da implementação de um programa preventivo no Impingement da tibiotársica em atletas de ginástica artística feminina." Bachelor's thesis, [s.n.], 2017. http://hdl.handle.net/10284/6253.

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Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em Fisioterapia
A síndrome de impingement da tibiotársica é uma lesão resultante da compressão excessiva entre estruturas moles e/ou ósseas do tornozelo. Objetivo: Avaliar o efeito da implementação de um programa preventivo no equilíbrio, força e integridade articular do tornozelo em atletas de ginástica artística feminina (GAF), com o propósito de atuar na prevenção do impingement da tibiotársica. Metodologia: É um estudo experimental longitudinal prospetivo. Participaram 14 atletas de GAF, com idades entre 13 e 19 anos e com 10 horas semanais de treino, divididas aleatoriamente em dois grupos. As ginastas que integraram o grupo de controlo (GC) realizaram o treino gímnico habitual, e as do grupo experimental (GE), para além do mesmo treino gímnico, efetuaram um programa preventivo de 4 semanas (3 fases), e exercícios obrigatórios de GAF durante 2 semanas (fase 4). O equilíbrio, a força máxima e potência, e a integridade articular dos tornozelos das atletas foram avaliados no início do estudo, após 4 semanas e no final das 6 semanas. Resultados: Após a aplicação do programa preventivo verificou-se uma melhoria significativa na potência no membro inferior (MI) esquerdo do GE em relação ao GC (p=0,047). Após implementação da fase 4 do programa (específica à GAF) notou-se ganhos de equilíbrio dinâmico (0,014≤p≤0,027), força máxima (0,018≤p≤0,033) e potência no MI esquerdo (p=0,028) no GE. As atletas do GC tiveram ganhos de equilíbrio estático no MI direito (p=0,050) e perdas de potência em ambos os membros (p=0,028 à direita e p=0,050 à esquerda). Conclusão: O programa implementado é efetivo no aumento de potência do MI esquerdo. Contudo, no GE foram observados ganhos significativos no equilíbrio dinâmico, na força máxima e potência, ao longo do período experimental, sobretudo após a 4ªfase do programa, a mais específica da modalidade.
The ankle impingement syndrome is an injure due to excessive compression causing an entrapment into osseous and/or soft-tissue structures. Objective: Evaluate the effect of a preventive program in balance, strength and articular integrity in female artistic gymnastics (FAG) athletes, with aim to act on tibiotarsic impingement. Methodology: It’s longitudinal prospective experimental study. 14 FAG athletes, aged between 13-19 years and training 10 h/week, participate and were divided in 2 randomized groups. The gymnasts who integrate the control group (CG) realized the habitual training, and the experimental group (EG), besides the same gymnastic training, effectuate a 4 weeks preventive program (3 phases), and FAG obligatory exercises along 2 weeks (phase 4). The athletes balance, maximal strength and power rate, and ankle articular integrity were evaluated on the beginning of the study, after 4 weeks and in the end of the 6 weeks. Results: After the preventive program application it´s founded a significant improvement of power rate on the left lower member (LM) of EG relatively to CG (p=0,047). After phase 4 implementation (Specific of FAG) it´s noted gain of dynamic balance(0,014≤p≤0,027), maximal strength (0,018≤p≤0,033) and left LM power rate (p=0,028) on the EG. The CG athletes had gains of right LM static balance (p=0,050) and power rate losses on both LM (p=0,028 on the right e p=0,050 on the left). Conclusion: The implemented program is effective on power rate increase on the left LM. However, on EG it´s observed, along experimental period, significant gains of dynamic balance, maximal strength and power rate, specially after the program 4th phase, the most specific of the modality.
N/A

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12

Foster, Gayla Catherine. "The history of the Artist-in-Residence Program of the State Arts Council of Oklahoma /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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13

Lo, Jessica Bui. "Impacts Of An Artist Residency Program Informed By Social Action Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/289.

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This research explores the impact of a three day Artist Residency Program at a K-8th public school on a Native American Reservation. The program is evaluated through a lens of Social Action Art Therapy and aims to uncover how this program impacted a community— including teachers, students, and parents, and facilitators. The researcher examined social action literature, social action art literature, social action art therapy literature, as well as social action with Native Americans literature. The researcher used a qualitative approach, specifically an Inquisitive Case study, in which data was collected through the researchers notes. These notes then informed the creation of a survey that was given to teachers as well as the Artist Residency program facilitators. Next, the researcher conducted interviews for further examination of the impact. All the data was placed into an organizing table in which four main themes and three minor themes emerged. The resulting data themes include: 1) Art illuminated the students Native American Hoopa identity and culture, 2) art increased student participation, facilitated storytelling, and conversations about the student’s feelings and art provided a sense of agency, 3) art created and strengthened bonds among the students, teachers, parents and facilitators and facilitators were seen as role models for the students, and 4) the facilitator’s desire to be involved in similar art therapy social action projects increased as they were personally and professionally impacted by the Artist Residency Program. Three minor themes include: a) Some teachers found new ways to integrate art in their classroom, b) the foreign art medium choice increased risk taking, engagement, creativity as well as provided students with new skills, c) some changes noted, more time needed to see larger change. These themes were then examined in the context of art therapy social action literature and findings suggested positive impacts of the social action art therapy informed Artist Residency program.

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14

Chirinos, Lizárraga Claudia Alison, and Tejada Grecia Stefany Reyes. "Programa basado en técnicas artísticas para incrementar la inteligencia emocional en jóvenes voluntarios." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/651926.

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El objetivo del presente estudio fue determinar los efectos del programa ART-EMO en la Inteligencia Emocional de jóvenes voluntarios que trabajan con niños en una organización privada. La muestra estuvo conformada por 10 participantes entre los 21 y 30 años, de los cuales el 10% eran hombres y el 90% mujeres. Se administró el Inventario de Inteligencia Emocional en adultos: EQ-i-M20 creado por Pérez-Fuentes, Molero, Mercader y Gázquez (2014) y validado en estudiantes peruanos por Domínguez-Lara, Merino-Soto y Gutiérrez-Torres (2017) en dos condiciones de tiempo (antes y después) y el programa ART-EMO fue creado mediante un diseño cuasi experimental con un solo grupo para fines de la investigación en el 2017, habiéndose tomado como referencia a Guerrón (2015). Los resultados evidenciaron que el programa tuvo un impacto alto a nivel total de la Inteligencia Emocional (d=.82) y en sus dimensiones Intrapersonal (d=1.04), Interpersonal (d=.90) y Adaptabilidad (d=1.01); mientras que, en Estado de ánimo (d=.67) y Manejo de estrés (d=.55), fue moderado. Se concluye que el programa es eficaz. Con ello, se pretende que las instituciones implementen planes que promuevan el desarrollo de las emociones en las personas que brindan servicios de voluntariado.
The aim of this investigation was to determine the effect of ART-EMO program on the Emotional Intelligence of young volunteers working with children in a private organization. The sample was conformed by 10 participants with ages between 21 y 30 years old, being 10% gentleman and 90% ladies. It managed the Inventory of Emotional Intelligence in Adults: EQ-i-M20 created by Pérez-Fuentes, Molero, Mercader and Gázquez (2014) and validated in Peruvian students by Domínguez-Lara, Merino-Soto and Gutiérrez-Torres (2017) in two weather conditions (before and after) and the ART-EMO program was created using a quasi-experimental design with a single group for research purposes in 2017, taking as reference Guerrón (2015). The results showed that the program had a high impact at the total level of the Emotional Intelligence (d = .82) and in its dimensions Intrapersonal (d = 1.04), Interpersonal (d = .90) and Adaptability (d = 1.01); whereas, in General Mood (d = .67) and Stress Management (d = .55), it was moderate. It concludes that the ART-EMO program was effective. Based on this, it is intended that institutions implement plans that promote the development of emotions in people who provide volunteer services.
Tesis

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15

Sanders, Jordan Hamlett. "Eye to Eye| A Look at Two Artists-in-Residence In an Urban After School Art Program." Thesis, Corcoran College of Art + Design, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556756.

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The scope of this thesis is to examine the potential benefits artists-in-residence offer students in community based after-school art programs. This thesis looks at two artists-in-residence who participated in the same after school program in southeast Washington, D.C., between the years of 2011 and 2013. The ArtReach After School program was developed by the Corcoran Gallery of Art's community education department and serves as the basis for research contained herein. Research focuses on the ways artists' residencies benefit youth and adolescents through aiding in the development of life skills. Data was collected through personal interviews with the resident artists, program directors, and students who participated in the residency. Researchers also observed interactions between students and resident artists on field trips and classroom observations. Based on the widely accepted theories of developmental psychologists Erik Erikson and Howard Gardner, it was found that artist residencies do nurture experiences that aid in the development of life skills such as critical thinking, collaboration, and peer-interaction in youth and adolescent learners. After-school art programs provide an environment suited for embracing these skills that are commonly outweighed by the need to raise test scores in traditional public schools. This thesis explores the potential of one after-school art program that has successfully implemented an artist residency program.

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16

Etienne, Luc Sorel. "Le programme Première Ovation à Québec : étude des impacts d'une politique culturelle sur les artistes bénéficiaires." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/38187.

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S’inscrivant dans le domaine de la sociologie de la culture, dans une perspective d’étude des politiques publiques destinées à la culture, le présent mémoire vise à étudier l’impact du programme Première Ovation sur les parcours professionnels des artistes de la ville de Québec qui en ont bénéficié. Ce programme relève de l’Entente de développement culturel établie dans le cadre d’un partenariat entre le Ministère de la Culture, des Communications et de la Condition féminine du Québec (MCCCF) et la Ville de Québec. Dans ce mémoire, il sera question d’apprécier l’incidence d’une telle politique culturelle d’aide à la création sur la carrière des bénéficiaires par une approche comparative des situations socioéconomiques et socioprofessionnelles avant, pendant, et après l’obtention d’une bourse Première Ovation. C’est au moyen d’une analyse d’entretiens individuels réalisés avec six répondants en arts littéraires, sept en théâtre et neuf en arts visuels, ayant tous reçu cette bourse entre 2009 et 2012, que ce mémoire propose une certaine évaluation de l’efficacité de la politique culturelle en question, mais suggère également des pistes d’interprétation plus générale sur les implications autant culturelles que sociologiques, sur l’intégration de la création artistique dans la vie sociale. Au terme de notre investigation, il est clairement ressorti, d’une part, que la ville de Québec dispose d’un bassin de jeunes talents dynamiques et bien formés. D’autre part, il apparaît que la mesure Première Ovation, destinée depuis 2008 à la promotion de cette relève, a un réel impact dans chacun des trois secteurs artistiques étudiés. Entre le soutien financier et le mentorat, deux dimensions importantes du soutien offert par ce programme, on peut dire que cet impact agit à la fois dans l’immédiat et dans le moyen terme, voire le long terme du parcours professionnel des artistes soutenus. Toutefois, à travers l’analyse des trajectoires d’artistes de la relève, le mémoire démontre que, s’il existe à Québec un fort potentiel de production artistique et plus largement culturelle, cela n’exclut pas l’incertitude permanente dans laquelle évoluent les producteurs eux-mêmes, malgré la disponibilité d’aides publiques à la création. Cette situation ambivalente peut être interprétée à la lumière des disparités entre certaines visées institutionnelles et leur inscription dans la réalité sociologique du milieu culturel de Québec.
Québec City’s Première Ovation Program: Study on the Impacts of a Cultural Policy on Artists Grant Recipients As part of the sociology of culture field, this thesis aims to study the impact of the Première Ovation program on the professional career of Québec City’s artists who have benefited from it. This program stems from the Entente de développement culturel as part of a partnership established between Québec City and the Ministère de la Culture, des Communications et de la Condition féminine du Québec (MCCCF). In this thesis, the effects of such a cultural policy, aiming to support creation on the recipients’ career, are assessed based on a comparative approach of socioeconomical and socioprofessional situations before, during and after receiving a Première Ovation grant. Individual interviews have been conducted with six literary artists, seven theatrical artists and nine visual arts artists all of whom received this grant between 2009 and 2012. Through the analysis of these interviews, this thesis evaluates the effectiveness of this cultural policy, and also introduces larger interpretation methods on both cultural and sociological involvements, on the integration of artistic creation in social life. At the end of our research, it clearly appears that, from one standpoint, Québec City has a pool of dynamic and well-trained young talents. From another standpoint, it appears that the Première Ovation program, dedicated since 2008 to the promotion of emerging talents, has a real impact on all three artistic fields studied. Between financial support and mentoring, both important features of support offered by this program, we can observe positive impacts in the short-, medium- and even long-term of the supported artists’ professional career. However, through the analysis of the paths of emerging artists, the thesis shows that, while a strong artistic and more broadly cultural production potential exists in Québec City, the omnipresent uncertainty surrounding producers persists, despite government funding to help creation. This ambivalent situation can be interpreted in light of the existing disparities between certain institutional aims and their inscription in the sociological realities of the City’s cultural community.

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17

Dalagna, Gilvano. "Desired artistic outcomes in music performance: a mentoring program for higher education and music industries." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/18611.

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Doutoramento em Música
Esta tese explora os resultados artísticos desejados que os estudantes do ensino superior em música buscam concretizar no âmbito das indústrias da música. Os resultados artísticos desejados tem sido reconhecidos como uma conceptualização artística que desempenha um papel importante para o reconhecimento social e artístico do performer. Apesar desta perspetiva ser amplamente mencionada na literatura, vários estudos sugerem que os alunos do ensino superior em música não tem sido encorajados a explorar os seus próprios resultados artísticos desejados. Esta falta de encorajamento é apontada como uma das principais razões que explicam as dificuldades enfrentadas pelos alunos na transição entre o ensino superior e as indústrias da música. Neste sentido, diversos autores tem sugerido o desenvolvimento e a implementação de programas de tutoria vocacionados para colmatar esta lacuna e consequentemente auxiliar os estudantes do ensino superior em música a promoverem os seus resultados artísticos desejados. No entanto, tentativas de desenvolvimento e implementação deste tipo de programa são praticamente inexistentes. Baseado neste cenário esta tese tem como objetivo propor um programa de tutoria artística que auxilie os estudantes do ensino superior em música a concretizar seus resultados artísticos desejados no âmbito das industrias da música. Com o intuito de atingir este objetivo a presente investigação foi dividida em três etapas. Na primeira etapa uma revisão multidisciplinar da literatura e dois estudos exploratórios foram conduzidos com o propósito de desenvolver um modelo teórico dos resultados artísticos desejados. Na segunda etapa o programa de tutoria artística proposto foi desenvolvido tendo como base as perspetivas sugeridas pelo modelo teórico gerado na fase anterior. Na terceira etapa, uma investigaçãoação informada pela etnografia (ethnographically informed action-research) envolvendo oito alunos de uma instituição de ensino superior em música em Portugal foi realizada com o intuito de verificar as potencialidades do programa de tutoria artística como ferramenta de apoio à promoção dos resultados artísticos desejados e a pertinência do modelo teórico. A análise dos dados coletados centrou-se em três aspetos principais: (i) as perspetivas dos estudantes em relação aos resultados artísticos desejados (i.e. conceptualização, desafios e promoção); (ii) ação (i.e. tentativas de concretizar os resultados artísticos desejados) e (iii) promoção (i.e. a perceção dos estudantes sobre o papel do programa de tutoria na promoção dos resultados artísticos desejados). Os resultados desta investigação-ação suportam o modelo teórico previamente desenvolvido e sugerem que o programa de tutoria artística pode auxiliar os estudantes do ensino superior em música a superar as dificuldades enfrentadas no processo de promoção dos seus resultados artísticos desejados no âmbito das indústrias da música. Com base nestas conclusões são discutidas as implicações do programa de tutoria artística para o atual paradigma do ensino da performance musical em instituições de ensino superior em música.
This thesis explores Desired Artistic Outcomes (DAO) that higher education students aim to achieve as performers in the music industries. In music performance, DAO are recognized as the aesthetical conceptions that performers aim to achieve on the concert platform. Such an internal conception is part of the subjective world of performers, which is shaped by career expectations. Despite the perspectives above having been widely recognized in the literature, there is still a lack of knowledge about musicians’ DAO. Particularly, research on how DAO can be nurtured in higher education is still missing. Simultaneously, there has been an increased concern with the development of this phenomenon. Evidence suggests that higher education students have been reporting not enough encouragement to explore their own DAO. Such lack of encouragement is pinpointed as one of the main reasons for a difficult transition from student to professional. Following this line of thought, the importance of mentoring environments in higher education, particularly concerning the teaching of music performance, has been highlighted in the literature as a possible means to fill in this gap. However, empirical attempts to develop and implement such mentoring environments in higher education music institutions are still scarce. Based on this scenario, this thesis aims to propose a mentoring program that can assist higher education music students to promote their DAO as performers in the music industries. In order to reach this aim this thesis was divided into three parts. First, a theoretical framework for DAO based on the triangulation between a multidisciplinary literature review and exploratory studies was developed. This framework allowed a perspective on conceptualization, challenges, achievement and the role of higher education music institutions in assisting students to nurture their DAO as performers in music industries to be built up. Based on the perspective suggested in the theoretical framework, the mentoring program was developed and implemented. Finally, a naturalistic inquiry structured as an ethnographically informed action research involving eight higher education students from a Portuguese institution was adopted as a means to validate the theoretical framework and verify the potentialities of the mentoring program. The analysis focused on three main streams: (i) students’ perspectives on DAO (i.e. conceptualization, challenges and achievement of DAO); (ii) action (students’ attempts to promote their DAO in the mentoring program); and (iii) promotion (students’ perception of how the mentoring program assisted them in promoting their DAO). The triangulation among the theoretical perspective and the results from the naturalistic inquiry validate the theoretical model and suggest that the mentoring program here proposed can assist higher education music students to overcome the challenges that restrict the achievement of DAO. Based on these conclusions, pedagogical implications are discussed taking into account the current paradigm of music performance teaching in higher education institutions.

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Lima, Geraldo Orthof Pereira. "On becoming an artist : considerations for an advanced program in the visual arts /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130179x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Hndassah Sahr. Includes bibliographical references (leaves 166-180).

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Glauser, Andrea. "Verordnete Entgrenzung Kulturpolitik, Artist-in-Residence-Programme und die Praxis der Kunst." Bielefeld Transcript, 2009. http://d-nb.info/994331169/04.

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Babic, Kristopher T. "InterDraw - An Online, Interactive, Collaborative Art Program." Digital WPI, 2000. https://digitalcommons.wpi.edu/etd-theses/825.

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InterDraw is an art program that facilitates the artistic collaboration of multiple users. The goal of this collaboration is the creation of one unique computer image that represents a combination of the ideas and images provided by each of the users. InterDraw extends the already collaborative nature of the World Wide Web through the use of the Java programming language, which provides InterDraw with its cross-platform capabilities. Previously, collaborative art-like programs have been developed for specific operating systems or environments. This limitation prohibits any collaboration with users from other operating systems or environments. InterDraw breaks this limitation by using the power of Java to provide program access from any computer with an Internet connection and a Java enabled browser. The InterDraw clients collaborate by transforming objects drawn by a user into compressed binary strings that are then transported over the Internet to a server application. This server maintains a database of artist contributions and updates all other InterDraw clients collaborating on the same image. These binary strings provide a reliable transmission format that allows the drawn objects to be recreated by the InterDraw clients. Through user testing, InterDraw has been shown to provide an effective and entertaining forum for the creation of collaborative, dynamic images.

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Von, der Marwitz Reiner Keith. "Effects of a gymnasium-based resistance training programme on selected physical fitness components in sub-elite martial artists." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1020822.

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The aim of the study was to explore, describe and compare the impact of a 12-week intervention on selected physical fitness variables in sub-elite martial artists. The experimental group (expG) participated in a combination of alternating dojo and gymnasium-based resistance training, each bi-weekly, with the comparison group (comG) exclusively undergoing four conventional dojo training sessions weekly. The variables measured included; anthropometric measures (height, body mass and percentage body fat); functional core muscular endurance; hamstring flexibility; upper body muscular strength and endurance; lower body muscle strength; and static balance. A quasi-experimental research design was employed, with pre - and post - test assessments after a 12 week intervention period. Purposive and snowball sampling techniques were employed from existing dojo’s in Port Elizabeth, with a randomised allocation of participants into two groups. The gymnasium-based training programme was designed according to the national conditioning and strength association (NCSA) principles of resistance training. The identified variables were tested at a 95% level of probability (p < 0.05). Similar trends in performance improvement were evident for both the expG and compG in of the majority of the selected physical fitness variables. One-way, two-sample and independent t-tests analysis found no statistical significant intra- group or inter-group differences in any of the selected dependant variables for both groups. Thus, the supplemental resistance training programme was not superior to that of the conventional dojo training programme in improving aforementioned variables. Despite the lack of statistical significance, these results indicate that a structured and supervised resistance training programme in a gymnasium may serve as an alternative method of intervention for improving physical fitness in sub-elite mixed martial artists. The resistance training programme should be specifically adapted according to the individual practitioner’s strengths and weaknesses, as well as to the type of martial art being practised.

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Marcondes, Rafael Marchetti. "A tributação da contraprestação paga pelo uso da imagem de artistas e esportistas." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/7020.

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Made available in DSpace on 2016-04-26T20:24:14Z (GMT). No. of bitstreams: 1 Rafael Marchetti Marcondes.pdf: 1161112 bytes, checksum: 4745ef914408134f883713606c3519d9 (MD5) Previous issue date: 2016-02-23
This work aims to examine taxation on compensation received by entertainers and sportspeople for the license granted to third parties to use their image rights. Current legislation approaches the matter in a generic way, either equating the use of an image right to a simple obligation to use or to an obligation to give or even not specifically regulating the subject. Therefore, we will present an investigative method by means of which it is possible to consistently decide whether or not to levy taxes in such operations. The proposal herein is to start examining the transaction concerning the use of an image by identifying the main activity agreed in order to subsequently evaluate if such rendering implies an obligation whose legal nature is either to do or to give. The conclusion for charging or not the various taxes will result from the comparison between each tax s material aspect and the legal nature of the analyzed obligation. Notwithstanding, we aim to previously define the characteristic features of personality rights, especially image rights, in order to be able to indicate the constitutional protection provided to the image in its several aspects: social image, sole external image and group external image, differentiating them from arena rights. The purpose is also to analyze distinctive features of the image, which make it a sole and unique right, as well as its legal nature from the several theories developed by the doctrine so as to define the parameters of the image. It is only after the abovementioned definition that this work will effectively examine the compensation gained by the image rights holder. The identification of the main activities involved and their legal nature will allow one to decide on the subsumption of facts concerning the use of the images of entertainers and sportspeople to the following taxes: Municipal Tax on Services (ISS), State Tax on Distribution of Goods, Transport and Communication Services (ICMS), Income Tax (IR), Social Contribution on Net Profits (CSL), Contribution for the Social Integration Program (PIS) and Contribution for the Financing of Social Security (COFINS), Contribution for Economic Intervention Royalties (CIDE-royalties) and Import and Export Duty. By examining the taxation by Income Tax, we will also analyze the possibility of entertainers and sportspeople to constitute legal entities aiming to exploit personal rights and the situations in which it is accepted to disregard the corporate entity. Finally, the paper will address the taxation regime applicable to international transactions comprising the use of the image of those entertainers and sportspeople, in situations which the purpose is an obligation to do and in those in which the purpose is an obligation to give, in compliance with OECD Model Convention and the treaties signed by Brazil in order to avoid double taxation
O trabalho tem por objetivo examinar a tributação da contraprestação recebida por artistas e esportistas em decorrência da licença concedida a terceiros para o uso do direito sobre a sua imagem. Como a legislação existente trata do assunto de forma genérica, ora equiparando a sua utilização a uma obrigação de fazer, ora a uma obrigação de dar, ou mesmo não regulando especificamente a matéria, apresentamos um método investigativo pelo qual é possível concluir com consistência pela incidência ou pela não incidência dos tributos nessas operações. A proposta aqui trazida é a de se examinarem os negócios que envolvam a utilização da imagem a partir da identificação da atividade-fim contratada, para, posteriormente, avaliar se tal prestação consiste em uma obrigação cuja natureza jurídica é de um fazer ou de um dar. A conclusão pela cobrança ou não das espécies tributárias decorrerá do confronto da materialidade de cada uma delas com a natureza jurídica da obrigação analisada. Antes, porém, vamos fixar os traços característicos dos direitos da personalidade e, em especial, do direito de imagem, passando a apontar a tutela constitucional conferida à imagem nas suas diferentes vertentes: atributo, retrato e retrato em obras coletivas, diferenciando-as do direito de arena. Também serão analisados os traços caracterizadores da imagem, que a tornam um direito único e singular, bem como a sua natureza jurídica a partir das diversas teorias desenvolvidas pela doutrina, a fim de delinear os contornos da imagem. Somente após isso é que o estudo passará efetivamente a examinar a contraprestação auferida pelo detentor da imagem, com base na identificação das atividades-fim envolvidas e sua natureza jurídica para concluir pela sujeição ou não dos fatos envolvendo o uso da imagem de artistas e esportistas ao ISS, ao ICMS, ao IR, à CSL, ao PIS e à COFINS, à CIDEroyalties, ao Imposto de Importação e ao de Exportação. Ao se examinar a tributação pelo IR, também será analisada a possibilidade de artistas e esportistas constituírem pessoas jurídicas com a finalidade de explorar direitos personalíssimos e as situações em que se admite a desconsideração da personalidade jurídica. Por fim, o estudo abordará o regime jurídico tributário aplicável às transações internacionais envolvendo o uso da imagem de artistas e esportistas, nas situações em que o fim pretendido é um fazer e naquelas em que ele consiste em um dar, diante do disposto na Convenção Modelo OCDE e nos tratados firmados pelo Brasil para evitar a dupla tributação da renda

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Johnson, Cornelia Weiss. "The evolution of post-baccalaureate students' conception of the artist-teacher role during a teacher certification program /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.

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Jiménez, Yupa Claudia Elena. "La influencia de la plataforma Twitter en la reestructura de programas concursos: el caso de Susan Ochoa en “El artista del año” (2019)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653156.

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La audiencia social surge con la exhibición sincronizada de las redes sociales y la televisión, por medio de ellos, el público puede manifestar sus distintas opiniones o intereses sobre los contenidos en tiempo real. Esta información es de gran importancia para las producciones audiovisuales. El trabajo muestra las diversas estrategias usadas por la producción del programa “El artista del año”, al analizar la presencia de las audiencias sociales en los programas. Se indagan 2 episodios del programa y 2 cuentas de Twitter, concluyendo que los elementos de la comunicación pública y los programas concursos de tv ahora tienen que trabajar juntos. La incorporación de las audiencias activas en redes sociales expone tantas oportunidades como también desafíos.
The social audience arises with the synchronized exhibition of social networks and television, through them, the public can express their different opinions or interests about content in real time. This information is of great importance for audiovisual productions. The work shows the different strategies used by the production of the program "The artist of the year", when analyzing the presence of social audiences in the programs. In 2 episodes of the show and 2 Twitter accounts, concluding that elements of public communication and television quiz shows now have to work together. The participation of active audiences in social networks exposes as many opportunities as well as challenges.
Trabajo de investigación

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Griffin, Joanna Mary. "Experience and viewpoints in the social domain of space technology." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3084.

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This thesis is about how space technology is experienced in the social domain and how its purpose is recast from different viewpoints. The author is an artist and the approach taken foregrounds qualities of experience and viewpoint in which artists have a particular investment. This approach opens up the ways that affect, agency and authorship cross social domains that are directly and indirectly associated with the production of space technologies. A key focus is a group project led by the author that was initiated in response to the launch in October 2008 of the Chandrayaan-1 spacecraft by the Indian Space Research Organisation (ISRO). The project took place in Bengaluru, India where the spacecraft was built. Taking the ambivalence that surrounds the uses and purposes of space technologies as a starting point, a description of the spacecraft is developed from a number of viewpoints, including the mission scientists, public media and the participants of the artist-led project. The interventionist strategies of the project shed light on the ways that technologies can be accessed through their imaginaries and this has significance for large-scale technologies, such as spacecraft, for which physical access is delimited and much of the infrastructure is invisible or hidden from public view. The thesis proposes ways of reinstating missed qualities of viewpoint and experience within the affective spaces of space technology through the imperative to articulate first-person engagements with the world that is bound into artistic interpretation. What is further proposed is that by picturing the interrelations and flows of space technology in social domains through the lenses of experience and viewpoint, a 'technographic picture' is created that then becomes available as a tool with which to re-imagine spacefaring. This is a crucial addition to discussions about the interplay between science, technology and society that recognises the intimate spaces at the core of such large-scale concepts. It offers a new transdisciplinary modality that incorporates an artistic approach with which to make sense of the structurally ambivalent pursuits of spacefaring.

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Morais, Hercules Zacharias Lima de. "Como olhos de cotidiano se tornam olhos estéticos? Processos artísticos como processos de invenção de sentidos sobre o mundo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/47/47132/tde-03102017-170245/.

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Como a experiência estética pode ampliar as condições de escuta, leitura e compreensão do mundo? O objetivo desta pesquisa é trazer à luz o campo da criação artística como analogia da construção sensível do ser humano e a constituição de sua visão de mundo. Espera-se poder refletir sobre como o trabalho artístico se relaciona com processos subjetivos, conduzindo à transformação de aspectos psicológicos. Tomaremos a abordagem do Construtivismo Semiótico-Cultural em Psicologia como possibilidade de mediação de um diálogo entre Artes Cênicas e Psicologia, para a compreensão de processos e modos híbridos de criação, com o intuito de poder contribuir com procedimentos que abarquem estratégias de intervenção em Psicologia. Utilizaremos como material empírico os registros da atividade artístico-pedagógica do pesquisador que atua como artista-orientador do Programa Vocacional da Prefeitura da cidade de São Paulo. A forma de análise dos resultados prezará pela compreensão do acontecimento artístico em sua interdependência e interrelação com a pessoa e inserida dentro de seu campo social. São feitas reflexões sobre os procedimentos do processo de criação que envolve a elaboração de protocolos, depoimentos, entrevistas, ações culturais, construção de cenas como produtos artísticos que aparecem, ressoam e ressignificam a vida cotidiana. Consideramos que a experiência vivida da criação artística funde-se a uma pessoa também em construção, que vivencia, num espaço-tempo codificado, outras possibilidades e relações, percebe no advento do artifício sua incompletude como potencialidade latente de reinventar sua própria realidade
How can aesthetic experience enhance the conditions of listening, reading and understanding of the world? The objective of this research is to bring to light the field of artistic creation as an analogy of the sensitive construction of human being and his/her worldview constitution. It is expected that we can reflect on how the artistic work relates to subjective processes, which leads to the transformation of psychological aspects. We will take the approach of Semiotic- Cultural Constructivism in Psychology as the possibility of mediation of a dialogue between Performing Arts and Psychology, in order to understand of processes and hybrid forms of creation, intending to being able to contribute to procedures that cover strategies of intervention in Psychology. As empirical material, we will use the researchers who works as a tutor-artist in the Vocational Program of the city of Sao Paulo artistic-pedagogical activity records. The form of analysis of the results will focus the understanding of the artistic happening in its interdependence and interrelationship with the person, and inserted within his/her social field. We reflect on the procedures of the creation process that involves the elaboration of protocols, testimonies, interviews, cultural actions, and the construction of scenes as artistic products that appear, resonate and resignify day-to-day life. We consider the lived experience of artistic creation merges with a person who is also under construction, who experiences, in a codified space-time, other possibilities and relations, perceives in the advent of artifice his/her incompleteness as latent potentiality to reinvent his/her own reality

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Tomaz, Mariana Amaral. "Projeto de “artesãs empreendedoras”: trajetórias de mulheres em um programa de inserção produtiva." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2021.

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Essa dissertação mapeia e interpreta trajetórias de mulheres participantes do projeto de geração de renda Vitrine Social, a fim de compreender os valores, relações e conflitos envolvidos nos processos de capacitação, produção e comercialização de artefatos. A pesquisa está centrada nas trajetórias de vida de quatro mulheres que participaram do Programa Vitrine Social, na cidade de Curitiba-PR entre os anos de 2010 e 2015 e que comercializam seus produtos nas feiras de artesanato de Curitiba, mais especificamente, nas feiras do Largo da Ordem e da Praça Osório. A partir de uma perspectiva de gênero, apresentamos os embates vivenciados no processo de tornar-se uma “empreendedora-artesã”, uma vez que o programa se propõe a formar empreendedoras/es. Os procedimentos metodológicos realizados para esta pesquisa qualitativa foram observação participante nas feiras de artesanato, registros em diário de campo e entrevistas que foram guiadas a partir das materialidades confeccionadas ao longo do curso: colchas de patchwork costuradas pelos grupos, portfólios de costura e outros produtos costurados. Em diálogo com as narrativas e memórias das interlocutoras deste trabalho, procuramos produzir uma imagem de todo processo: a decisão por começar a fazer o curso, a trajetória de aprendizado da costura e de noções de gestão de negócios, a formação de um grupo produtivo (e de um “projeto” coletivo), a comercialização nas feiras de artesanato, o desenvolvimento de novos produtos e, por fim, a produção dentro dos lares. Com um olhar sensível às relações e aos espaços envolvidos em cada etapa, foi possível evidenciar a não homogeneidade do processo de aprendizado e das formas de criação e produção de artefatos costurados.
This thesis maps and interprets women’s trajectories, which participate in a social project called Vitrine Social, which goal is to generate income. The aim is to understand values, relationships and conflicts experienced during training, production and commercialization of the handcrafts. This research is centred on life trajectories of four women, who were participants of the Vitrine Social in Curitiba, Paraná, Brazil, from 2010 to 2015 and sold their products in Curitiba’s handicraft fairs, mainly at Largo da Ordem and Praça Osório Fairs. From a gender perspective, we present conflicts experienced in the process of becoming a “handcraft-businesswoman”, since this program proposes to form entrepreneurs. The methodological procedures performed on this qualitative research were participative observation of handicraft fairs, records on field diaries and life history interviews with participants from latest groups of Vitrine Social. Interviews were guided starting from handcrafts made during the course: patchwork bedspreads sewed by groups, sewing portfolios and other stitched products. In dialogue with conversationalist narratives and memories we attempted to build an image of the whole process: the decision of taking part of the course, the learning process of sewing, the business management, the formation of a productive group (and of a “Project” collective), commercialization in craft fairs, the new product development, and at last, the production at home. Looking carefully at relationships and spaces involved in each stage, it was possible to evidence inhomogeneity in the learning process, development and production of sewed handcrafts.

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Azevedo, Sérgio de. "[Arte(gestão)educação] - gestão cultural e pedagogia do teatro no programa viva arte viva." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-12032013-160517/.

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A presente pesquisa se propõe a registrar o contexto da criação e as experiências de onze anos de atuação do Programa de Cidadania artística Viva arte viva, com o objetivo de assinalar aproximações entre cultura e educação, a partir das interseções entre os campos da Gestão Cultural e da Pedagogia do Teatro. Ao final, almeja-se refletir, na perspectiva da experiência relatada, sobre o papel da Gestão Cultural na ampliação da dimensão educativa presente na prática artística e na formação do cidadão-artista. Palavras-chave: Viva arte viva, Pedagogia do Teatro, Gestão Cultural
This research\'s purpose is to register the context of creation and experience in eleven years of operation of the Citizenship Program Viva arte viva with the goal of pointing out similarities between Culture and Education from intersections between the areas of Theatre Pedagogy and Cultural Management. In the end, it aims to consider, from the reported experience, the role of Cultural Management in the expansion of the educational dimension present in art practice and development of the citizen-artist.

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Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.

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Goudreau, Hélène. "Influence de l'enseignement de l'esthétique sur la créativité des élèves de sixième année primaire en regard du programme du ministère de l'éducation du Québec en art /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.

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McMahon, Anne Therese. "A Community’s Response to the Role of Arts Learning Experiences Implemented across the Artistic, Cultural and Social Canvas of a School Setting: An Intertextual Image." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365846.

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Анотація:

Extant literature related to the provision of effective arts learning experiences indicates a gap between policy rhetoric and the reality of practices undertaken particularly in primary school settings. Over recent decades a plethora of large scale reports and reviews carry recommendations and policy support for the introduction of professional artists into primary school settings. This concept is proposed as a cost effective and beneficial response to overcome reported obstacles in the delivery of authentic and meaningful arts learning experiences for primary school students and ongoing professional development for teachers. Although such reviews and articles examine the overarching impact of the arts in educational settings noting the benefits primarily to participating students, few focus on the interactions of the artist and members of the school community and the resulting influence on the implementation of the program. This thesis presents a narrative of one such arts and educational intersection in an Australian primary school. Within an interpretivist paradigm, an autoethnographic research approach was taken employing narrative inquiry to distil the data supported by an a/r/tographic stance to accommodate the intersecting and overlapping roles of artist/teacher/researcher. The Four Lenses framework defined by Seidel, Tishman, Winner, Hetland and Palmer (2009) was utilised to organise the multi-dimensional sources of data and to subsequently analyse, distil and make meaning of the emergent data.
Thesis (Professional Doctorate)
Doctor of Education (EdD)
School of Education and Professional Studies
Arts, Education and Law
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Palmqvist, Daniel. "Hjälp eller stjälp? : en studie om användning av digitala verktyg inom elgitarrundervisning på gymnasieskolans estetiska program." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2316.

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The purpose of this study was to investigate electric guitar teacher’s experiences of digital tools in their teaching at the upper secondary school arts programme. In order to achieve this purpose I interviewed four experienced teachers in two different age categories, two in their forties and two in their fifties, to see if their attitude or experiences differed in regards to these digital tools. The study is based on a socio-cultural perspective and the result shows that all of the teachers uses several digital tools within the context of their teaching, and also in their own music practices outside of the classroom. The main conclusions are that the interviewed teachers have a positive attitude toward these digital tools, and think they have made their work easier. They also feel like the music is more easily accessible now to both teachers and students alike.

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Lebo, Cynthyny Ann. "Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts." CSUSB ScholarWorks, 2012. https://scholarworks.lib.csusb.edu/etd-project/3389.

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This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders' vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called "Water Buddy", this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking.

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Jones, Adrianne L. "The Yonder project: Stories of impact, change, and capacity building through engagement in arts education." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84015/1/Adrianne_Jones_Thesis.pdf.

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This thesis examined the long-term impact of the community arts education project Yonder, a collaboration between Education Queensland and Queensland Performing Arts Centre. The findings from the data reveal that the project was still having impact twelve months after its completion and that in some instances the project served as a 'circuit-breaker', especially for special needs students and struggling students. The intervention of a rich arts project proved to be an opportunity for these students to learn in a different way and to perceive themselves in a new and reinvented light. This confidence was found to transfer into other aspects of their learning.

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Cockram, John. "Stars, bridges, cocoons and glass houses : an investigation of the fine art department's student artist in residence programme at the University of East London." Thesis, University of East London, 2004. http://roar.uel.ac.uk/3465/.

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This qualitative study explores the impact upon Fine Art students at the University of East London of community art practice via its student 'Artist in Residence Programme'. Evidence from successful course applicants showed expectations to be a heightened confidence and broadened understanding of the potential role in society for art and artist. Whilst this was often so, post-residency findings also demonstrated significant impact upon understanding of educational 'distance travelled'. Drawing on student, staff and host accounts it is argued that the programme is more than a cultural / philosophical mechanism for creative investigation beyond the studio through non-specialist interaction and collaboration; as important as this may be. Crucially, it is a mechanism for educational and pedagogical reflection; for 'critical distance' facilitating awareness of creative and cognitive development, teaching and learning and Fine Art educational process. Whilst it addresses Contextualist concerns of need, life and work [Eisner], it is very much an Essentialist art issue of 'subject'; how this is framed contextually and institutionally and also how it is personally constructed and critically evaluated in light of cultural and educational comparison: higher education is not synonymous with institution but a 'process' potentially taking place anywhere [Barnett]. Amongst the themes addressed is the impact upon student development of The Three C's [Confidence, Competence and Context]; 'space' and 'place' and Transferable Skills. Stages of student development are presented along with 'Transferable' and 'Transitional' models of student practice, differentiated by the extent and impact of collaboration, lay discourse and 'other' educational environments. On a meta-level, implications for Essentialist / Contextualist philosophy are reviewed. Creative practice 'beyond the studio' demonstrates how residencies often precipitate not only profound shifts in understanding towards creative 'modus operandi', but also towards educational process and teacher / learner relationships. Collectively, this incurs reflection upon the effect of 'lay' dialogue upon cognition and the 'cloth of identity'. This then connects with debate upon a 'vertical' didactic and 'lateral' dialectic within teaching, informed by issues of 'criticism', artist / tutor 'presence', 'absence' and 'collaboration'. Drawing findings together, there are implications for studio pedagogy in terms of judgement, meaning and cultural authority. In sum, this research suggests that for many students, a rounded Fine Art education cannot be obtained solely within the confines of 'institution' or through the sole authority of the 'Specialist' tutor / art practitioner.

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Vicente, Mullor Pedro Joaquín. "Otros álbumes. Usos, reúsos y reciclajes del álbum de familia en las prácticas artísticas contemporáneas dentro del programa VISIONA (2012-2016)." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/163024.

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[ES] En esta tesis doctoral se analizan y estudian la relevancia y significación de diferentes trabajos y proyectos de artistas contemporáneos en torno al álbum de familia y la representación autobiográfica, siguiendo para ello la programación del programa de la Imagen VISIONA, formando esta la estructura de la tesis. Este trabajo parte de un estudio de los orígenes y evolución del álbum de familia desde la invención de la fotografía hasta la actualidad, al mismo tiempo que se analizan los diferentes estudios teóricos y muestras expositivas en torno al álbum de familia. Una vez contextualizado el álbum de familia, la tesis estudia el programa de la Imagen VISONA, las motivaciones y sus orígenes, así como parte de los contenidos de algunas de las diferentes actividades de VISIONA. De esta forma se analizan aspectos como el uso del álbum de familia por artistas contemporáneos, la trascendencia del álbum de familia en la construcción de nuestras identidades individuales y colectivas, o hasta qué punto el uso del álbum de familia y la autobiografía constituyen un tema de trabajo e interés en el arte contemporáneo y que constituye casi un género propio en el arte contemporáneo propio de finales del siglo XX y principios de XXI.
[CA] En aquesta tesi doctoral s'analitzen i estudien la rellevància i significació de diferents treballs i projectes d'artistes contemporanis entorn de l'àlbum de família i la representació autobiogràfica, seguint per a això la programació del programa de la Imatge VISIONA, formant aquesta l'estructura de la tesi. Aquest treball parteix d'un estudi dels orígens i evolució de l'àlbum de família des de la invenció de la fotografia fins a l'actualitat, al mateix temps que s'analitzen els diferents estudis teòrics i mostres expositives entorn de l'àlbum de família. Una vegada contextualitzat l'àlbum de família, la tesi estudia el programa de la Imatge VISONA, les motivacions i els seus orígens, així com part dels continguts d'algunes de les diferents activitats de VISIONA. D'aquesta forma s'analitzen aspectes com l'ús de l'àlbum de família per artistes contemporanis, la transcendència de l'àlbum de família en la construcció de les nostres identitats individuals i col·lectives, o fins a quin punt l'ús de l'àlbum de família i l'autobiografia constitueixen un tema de treball i interés en l'art contemporani i que constitueix quasi un gènere propi en l'art contemporani propi de finals del segle XX i principis de XXI.
[EN] This PhD thesis studies and analyses the relevance and significance of different works and projects by contemporary artists around the family album and autobiographical representation, following the activities of the cultural program VISIONA, forming this the structure of this thesis. This thesis also includes a study of the origins and evolution of the family album from the invention of photography to the present, at the same time that the different theoretical studies and exhibitions around the family album are analysed. Once the family album is contextualized, the thesis studies the cultural program VISONA, the motivations and its origins, as well as part of the contents of some of the different activities at VISIONA. Regarding this, the thesis analyses and studies aspects such as the use of the family album by contemporary artists, the importance of the family album in the construction of our individual and collective identities, or to what extent the use of the family album and autobiography constitute a subject of work and interest in contemporary art and that constitutes almost its own genre in contemporary art typical of the late twentieth and early twenty-first centuries.
Vicente Mullor, PJ. (2021). Otros álbumes. Usos, reúsos y reciclajes del álbum de familia en las prácticas artísticas contemporáneas dentro del programa VISIONA (2012-2016) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/163024
TESIS

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Walter, Ana Lidia Wolochen. "Circulação de artefatos artesanais: as interações entre a Cooperativa de Artesanato do Oeste e Sudoeste do Paraná e o Programa Trinacional Ñandeva em Foz do Iguaçu - PR." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2019.

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CAPES
O presente estudo realiza uma cartografia com a intenção de entender como se dão as relações entre o Programa Trinacional Ñandeva, um programa pertencente ao Parque Tecnológico de Itaipu, executado na região da Tríplice fronteira entre Brasil, Paraguai e Argentina e a COART - Cooperativa de Artesanato do Oeste e Sudoeste do Paraná. A COART busca reunir artesãos da região defendendo seus interesses e o Ñandeva objetiva o fortalecimento do setor artesanal e da identidade regional, trinacional, a partir da intervenção de designers em oficinas de capacitação e criação de iconografias destinadas a artesãos da região. Pretende-se, do ponto de vista da cultura material, perceber e apontar reflexões sobre as relações sociais, conflitos e disputas de poder que estão envolvidas no processo de produção e circulação artesanal. Para isso, a pesquisa apoia-se na circulação dos artefatos artesanais e nas narrativas dos sujeitos envolvidos, no contexto específico da cidade de Foz do Iguaçu, no período de 2012 a 2015. Para tanto, propõe-se conhecer as propostas e o funcionamento desses espaços, assim como mapear os movimentos realizados pelos artefatos a partir de narrativas das interlocutoras Dircéia Braga, Gorette Milioli e Nilse Mognol, responsáveis pelo Programa Ñandeva e Cooperativa COART. Trata-se de uma pesquisa exploratória, na qual as estratégias de desenvolvimento relacionam revisão bibliográfica, pesquisa exploratória e análise dos resultados, para buscar compreender e descrever os possíveis atravessamentos existentes entre Programa e Cooperativa. Acredita-se que este estudo possa contribuir para os estudos de cultura material demonstrando que na circulação dos artefatos artesanais estão presentes práticas, estratégias e disputas nem sempre explicitados.
This study conducts a cartography with the intent to understand the relationships inside the Programa Trinacional Ñandeva, a program belonging to the Itaipu Technological Park, performed in the region of the Triple border between Brazil, Paraguay and Argentina and belonging to' COART - Handcraft Cooperative of West and Southwestern of Paraná. The COART seeks to bring together artisans of the region defending their interests and the Ñandeva wants to improve the handcraft sector and regional, tri-national identity, starting with the intervention of designers in training workshops and creating iconography aimed at craftsmen in the region. It is intended, from the point of view of material culture, realize and point attentions on social relations, conflicts and power struggles that are involved in the production and circulation handmade process. For this, the research relies on the movement of artisanal artifacts and narratives of the subjects involved in the specific context of the city of Foz do Iguaçu, in the period 2012 to 2015. Therefore, it is proposed to understand the proposals and the working of these spaces, and how to follow the movements made by artifacts from narratives of interlocutors Dircéia Braga, Gorette Milioli and Nilse Mognol responsible for Program Ñandeva and COART Cooperative. this is an exploratory research, in which development strategies are related to literature review, exploratory research and analysis of results, seeking to understand and describe the possible existing crossings between Program and Cooperative. It is believed that this study may contribute to the material culture studies demonstrating that the movement of artisanal artifacts are present practices, strategies and disputes not always explicit.

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Dandavate, Rohini. "Building cultural understanding through cultural exchange." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1141830276.

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39

Bond, Richard P. "Sexual Orientation and the Advanced Placement Art History Survey." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700015/.

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This two-part study included a content analysis of an AP art history text and a survey together with interviews with AP art history teachers that embraced both quantitative and qualitative research methodologies. The first phase of the study examined one of the more popular art history survey texts in the AP art history program, Gardner’s Art through the Ages, in terms of how inclusive it is in addressing issues of sexual orientation and, particularly, same-sex perspectives. In addition, the text was examined for evidence of sexual orientation ignored – particularly same-sex perspectives ignored and for heteronormative hegemonies. The second phase investigated the understandings and opinions of AP art history teachers toward the inclusion of sexual orientation and same-sex perspectives in their curriculums and classrooms. Recent recognition of gay, lesbian, and same-sex perspectives in the study of art history has challenged art educators and art historians to begin to consider opening up their curriculums and writings to include these perspectives. These ignored perspectives produce important understandings that enrich and deepen the discourse of art history. The inclusion of gay and lesbian content and same-sex perspectives to the study of AP art history, not only effectively serves the needs of AP art history teachers, but it provides a more equitable and comprehensive visual arts education to students. The implications of this study are broad and complex. If students are to be well and comprehensively educated in the history of the visual arts, including discussions about the sexual orientation of gay and lesbian artists as well as artworks depicting same-sex perspectives is important. Similarly, their teachers must be well-informed and believe that including such material in the curriculum is important. There is definitely a need for designing more balanced and equitable AP art history programs that include gay and lesbian artists as well as same-sex perspectives. From a multicultural art education perspective, this study reveals that gays and lesbians are marginalized in a major AP art history survey text. It illuminates how an AP art history survey text and AP art history teachers’ attitudes and knowledge base on same-sex perspectives inform their curriculums, specifically concerning what’s important to teach in an AP art history classroom. If approved AP art history survey texts as well as the influential annual AP College Board art history exam included issues of sexual orientation, particularly same-sex perspectives, it would encourage more AP art history teachers to include gay and lesbian artists and same-sex perspectives in their curriculums.

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Ota, Miki. "Cycles ou série de tableaux à sujets profanes en France : (1730-1774)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010656.

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Les cycles et les séries à sujets profanes, exécutés entre 1730 et 1774, révèlent l’évolution de l’idéal de la peinture et de la réalité de sa pratique, entraînée par la popularisation desmode de réception des Beaux-Arts. Malgré des préjugés qui considèrent la peinture de cette période comme simplement décorative, les artistes, conscients de leur liberté de création, due à l’élargissement du public, élaborent soigneusement les programmes iconographique et stylistique qui témoignent de leurs talents propres. Les décors peints reflètent la conjoncture des intentions des commanditaires, des ambitions des peintres et des réactions du public. La peinture d’histoire, dont le prestige n’est jamais mis en doute, est susceptible d’une interprétation libre sous l’influence d’autres genres. La diversification du public du Salon et la critique d’art amènent une opposition entre amateurs et critiques. La direction royale des Bâtiments du roi incite les artistes à l’émulation. Sa réforme, qui vise au progrès des Arts, ne réside pas dans le simple retour à l’antique ou au XVIIe siècle, mais dans l’invention d’une peinture des Lumières par l’introduction d’une dimension sociale, marquée par l’idéal des encyclopédistes. Les difficultés que rencontrent les décors peints des châteaux royaux et des résidences des maîtresses en titre, révèlent la complexité de la réception des œuvres, particulière à l’époque du développement des institutions modernes et de la diversification des espaces dans l’architecture profane. L’intention de la direction des Bâtiments d’unifier les goûts diversifiés du public se matérialisera dans le Museum, profitant du sentiment national
Cycles and series of secular subjects, painted between 1730 and 1774, reveal an evolution of the ideal of painting and the reality of its practice, led by a popularization of the mode of reception of Fine Arts. Despite some prejudices that consider the painting of this period as simply decorative, artists, who are conscious of their liberty of creation, granted by an extension of the public, produce carefully iconographic and stylistic programs which show their peculiar talents. Painted ensembles, made for specific interiors, reflect complicated circumstances of patron’s intentions, painter’s ambition and reactions of the public. History painting, of which prestige is never doubted, is open to free interpretation under the influence of others genres. Diversification of the public of the Salon and development of art criticism bring an opposition between amateurs and critics. The Bâtiments du roi tries to encourage a competitive spirit by artists. Its reform, which aims at progress of Fine Arts, is not a simple return to the Antiquity or the seventeenth-century, but is the invention of the painting of Enlightenment by introducing social meanings, which convey the ideal of the encyclopedists. Difficulties, encountered by large ensembles of interior paintings of royal castles and of official mistresses’ residences, reveal a complexity of artistic creation, proper to this period of development of modern institutions and diversification of spaces in secular architecture. The ambition of Bâtiments to unify various tastes of public will be made into the Museum, making use of national sentiment

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Fusari, Silvia. "L'autoritratto nel video d'arte: il dibattito teorico interdisciplinare dagli anni Settanta ad oggi. Proposta di un modello d'analisi con esempi dal panorama italiano tra il 1968 e gli anni Ottanta." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426768.

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This work unfolds delineating the typology of self-portrait videos to the extent available through the analysis of a series of interdisciplinary theoretical approaches from the 70’s up to today (based on the theories of Philippe Lejeune, Michel Beaujour, Raymond Bellour, Marie-Françoise Grange, Laura Rascaroli) for the purpose of confirming the existential conditions. In the absence of specific works on the subject, the self-portrait video emerges as an intellectual challenge, as it seems to possess excellent elusive and resistant qualities for the delimitation of conclusive definitions which have been acknowledged longstanding in traditional writings of the self. The second part presents, starting from assessed theoretical premises, the proposition for constructing a relevant reference analytical method, to which its general grid is modelled depending on the historical, historical-artistic, technical, formal, social, and personal variables that brought the elaboration of audiovisual works subjects of investigation. Simultaneously, the realization of this model has allowed to detect and select a first repertoire of examples of the Italian panorama from 1968 to the 80’s, to which this highlighted the necessary consideration of technical and historical aspects. In fact, the self-portrait video consists of a performative action which contains a visual metaphor made by subject through a linguistic and technical mediation necessarily present to highlight the social dimension. The third part attempts to introduce a few themes, such as the artist’s body and the relationship he has with his body and space, which contribute to the emblem of the author, symbol of a world not only corporal but also intimate, psychic, aesthetic, and spiritual. Attached are interviews of Maria Gloria Bicocchi, Lola Bonora, and Michele Sambin, conducted by experimenting with different interview models.
Questo lavoro è teso a circoscrivere per quanto possibile la tipologia dell’autoritratto video attraverso l’analisi di una serie di presupposti teorici interdisciplinari dagli anni Settanta ad oggi (fondati sulle teorie di Philippe Lejeune, Michel Beaujour, Raymond Bellour, Marie-Françoise Grange, Laura Rascaroli), allo scopo di confermarne le condizioni di esistenza. In assenza di lavori specifici sul soggetto, l’autoritratto video emerge in questo quadro quale sfida intellettuale, dal momento che sembra possedere in massimo grado le qualità di elusività e resistenza a lasciarsi delimitare in una definizione conclusiva che da tempo sono riconosciute alle più tradizionali scritture del sé. La seconda parte espone, a partire dalle premesse teoriche vagliate, la proposta di costruzione di un modello d’analisi di riferimento, quale griglia generale da modulare di volta in volta secondo le variabili storiche, storico-artistiche, tecniche, formali, sociali e personali che hanno portato all’elaborazione delle opere audiovisive oggetto d’indagine. Allo stesso tempo, la realizzazione di questo modello è servita al rilevamento e alla selezione di un primo repertorio di esempi dal panorama italiano tra il 1968 e gli anni Ottanta, che ha evidenziato la necessità di considerarne gli aspetti tecnici e storici. L’autoritratto video si costituisce infatti come un atto performativo che compone una visualizzazione metaforica del soggetto attraverso una necessaria mediazione linguistica e tecnica che ne evidenzia la dimensione sociale. Nella terza parte si è tentato di proporre una lettura di alcuni nodi tematici quali la rappresentazione del corpo dell’artista e le relazioni di tale corpo con lo spazio, che concorrono a comporre l’emblema autoriale, simbolo di un mondo non solo corporeo ma anche interiore, psichico, estetico e spirituale. In allegato, alcune interviste a Maria Gloria Bicocchi, Lola Bonora e Michele Sambin, condotte sperimentando diversi modelli di interviste.

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Huang, Chien-Sui, and 黃阡穗. "Artist Teacher as Reflective Practitioner：Action Research on Visual Art Learning Program." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hyh6ky.

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Анотація:

碩士
國立臺北藝術大學
藝術與人文教育研究所
104
Contemporary arts education and visual art learning have embraced the vital presence of visual culture in our everyday life. Focuses on apprehension of arts making techniques and the use of media has shifted, where the understanding and interpretation of everyday visual images and the connection between life and arts education have also gained importance in nowadays classrooms. Thereupon, facilitating learners to connect with their life situations and social contexts, as well as to experience social culture and navigate oneself through self-development in life, has been the concern of artist teachers. For them, teaching and learning is a way of practicing arts, as they put in their artists’ enthusiasm and perceptions into curriculum design and teaching, probing into facets of social and life through arts making. Based on the concepts of contemporary arts learning and a/r/tography, this study reflects upon the learning experiences of the artist/researcher/teacher herself, where by constantly reflecting on and locating herself in the intertwining identities, new lights were being shed upon the practices of the artist/researcher/teacher, turning on the dynamic cycle of the reflective practitioner. Delving into her past teaching experiences in a junior high school, the researcher reviewed and analysed her visual art teaching and learning programs, and came up with these common grounds concluded: connecting with learners’ life contexts and meanings, attentive to multi-culture and its differences, carrying out dialogical arts practice, and cultivating self-awareness and self-reflections. To further her practice as an artist teacher, the researcher developed a visual art learning program in this study by expanding the former teaching principles into the following 6: 1. Promoting mutual understanding and caring; 2. Enhancing awareness and openness toward cultural differences; 3. Cultivating self-awareness and self-reflections; 4. Connecting with life contexts and meanings; 5. Building aesthetical community; 6. Carrying out dialogical arts practice. Bearing these aforementioned principles in mind, the researcher designed and prepared The Story Told: Versions by She & He, an 8-week visual art learning program conducted in a class of 27 eighth-graders. From week to week, students discussed about gender-related topics, read topic-related picture books, and then collaboratively decided and created characters and storylines which finally put together a picture book of their very own. Throughout the conduct of this program, researcher interacted with learners face-to-face and also through activity sheets reading and giving feedbacks. Besides, keeping journal of teaching and learning had also given chance for the researcher to take note, rethink, and reflect upon self practices, at the same time, coming up with revises and ideas for coming-week practices. The learning process including students’ interactions and reactions in class, feedbacks written on sheets, and their artistic creations during the entire program were closely observed, noted, and discussed. Interlacing with the self reflections and examinations of the researcher herself, data were then analyzed and interpreted, eventually concluded in the findings: 1. Through meticulous designed arts learning program, not only did the learners experience and learn of visual art making techniques and media, they also did experience integrated learning of performing arts and creative picture book making from scratch, forming in-depth and real life learning through arts. 2. Through community learning, students learned to listen and understand others’ opinions, causing a re-examination and reflection on their thoughts, and resulted in further understanding on multicultural and gender and issues. 3. Enhancing collaborative learning and forming learning communities in class had incited different learning attitudes among students, where they constructed together a positive experience of working together, and learned to find one’s niche, as well as learned to appreciate abilities and competences of others and to help out each other. 4. Teaching art should also teaching as art, boundary between an artist and a teacher should be crossed over and be blurred, in order to refine and further develop one’s artistic practice of teaching and become an artist teacher and a reflective practitioner.

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Luck, Jennifer Hartmann. "Identity, intentionality, transformation : one teaching artist’s journey through an applied theatre process." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3474.

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What does it mean to be a Teaching Artist and how does the creation and facilitation of an applied theatre program with youth shape a Teaching Artist’s identity? This thesis follows the journey of one Teaching Artist and the applied theatre project she created and facilitated at The Ann Richards School for Young Women Leaders in Austin, Texas, surrounding the issues of self esteem and body acceptance. This applied theatre project combined drama-based strategies and creative writing strategies with public performance opportunities to encourage young girls to find their voices in order to promote positive self esteem. The semester long, after-school project was initially entered into by the Teaching Artist as a form of interactive dramaturgy and research, with the intention of developing a one woman play for young audiences about the same issues. But once submerged in the project, the Teaching Artist began to question the ethics of her process; she began to struggle with her identity, her intentionality and the reciprocity found within her work. All educators hope to transform their students; to observe growth and positive change among their pupils, to witness a successful performance event or to behold young people reveling in art making. But this thesis also considers the possibility that some of the greatest transformation in an arts education/applied theatre setting may be found within the educator themselves
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"Exploring virtual music communities: a case study of artist-making program of Now.com." 2006. http://library.cuhk.edu.hk/record=b5892937.

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Анотація:

Chung Yuen Yee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 168-174).
Abstracts in English and Chinese.
Abstract (English Version) --- p.i-iii
Abstract (Chinese Version) --- p.iv-v
Acknowledgement --- p.vi
Chapter Chapter 1 --- Introduction --- p.1-15
Chapter Chapter 2 --- Literature Review --- p.16-39
Chapter 2.1 --- Cyberspace and its Activism --- p.17
Chapter 2.2 --- Communication in Virtual Community --- p.20
Chapter 2.3 --- Virtual Community and Public Sphere --- p.26
Chapter 2.4 --- Virtual Community and Commercial Control --- p.32
Chapter Chapter 3 --- Theoretical Framework and Research Design --- p.40-51
Chapter 3.1 --- Theoretical Framework --- p.40
Chapter 3.2 --- Research Design --- p.45
Chapter 3.2.1 --- Participant-Observation --- p.46
Chapter 3.2.2 --- In-depth Interview --- p.47
Chapter 3.2.3 --- Textual Analysis --- p.49
Chapter Chapter 4 --- Briefing on LIFT --- p.52-66
Chapter 4.1 --- The Concept of LIFT --- p.52
Chapter 4.2 --- Participants as Artist Managers in Virtual Music Community --- p.56
Chapter 4.3 --- Participants as Artists in Virtual Music Community --- p.59
Chapter 4.4 --- Main Events for all Members in LIFT --- p.60
Chapter 4.4.1 --- Audition --- p.61
Chapter 4.4.2 --- Post-audition Dinner --- p.62
Chapter 4.4.3 --- Artist Management Talk --- p.62
Chapter 4.4.4 --- Mini Show --- p.63
Chapter 4.4.5 --- Street Show --- p.64
Chapter Chapter 5 --- Interaction in Virtual Music Community --- p.67-107
Chapter 5.1 --- Structure of the Corporation (Virtual Music Community): Loud Music --- p.69
Chapter 5.2 --- Virtual Status on the Forum: How did the Virtual Members Build Up? --- p.73
Chapter 5.3 --- Cultural Characteristics in Virtual Music Communities --- p.74
Chapter 5.3.1 --- Usage Pattern --- p.75
Chapter 5.3.2 --- The Use of Language --- p.76
Chapter 5.4 --- Accomplishment through Interaction in Virtual Music Communities --- p.78
Chapter 5.4.1 --- Company Name of the Virtual Music Community: How did the Virtual Members Make it? --- p.78
Chapter 5.4.2 --- Company Logo of the Virtual Music Community: How did the Virtual Members Create it? --- p.80
Chapter 5.4.3 --- Company Slogan of the Virtual Music Community: How did the Virtual Members Generate the Ideas? --- p.84
Chapter 5.4.4 --- Lyrics Creations for Our Artists: How did the Virtual Members Draft and Collect them? --- p.85
Chapter 5.4.5 --- CD Album Cover for the Artists of Virtual Music Community: How did the Virtual Members Conduct? --- p.87
Chapter 5.4.6 --- Virtual Advertisement in Hompy of the Virtual Music Community: How did the Virtual Members Conceive such Idea and Put it into Practice? --- p.90
Chapter 5.5 --- Difficulties of Interaction in Virtual Music Community --- p.96
Chapter 5.5.1 --- The Concern of Off Topic Discussion and the Problem of Inactiveness --- p.96
Chapter 5.5.2 --- The Occurrence of Virtual Argument --- p.99
Chapter 5.5.3 --- The Existence of Troublemakers --- p.103
Chapter Chapter 6 --- Commercial Intervention in Virtual Music Community --- p.108-127
Chapter 6.1 --- The Arrangement of Real Core Groups in LIFT --- p.108
Chapter 6.1.1 --- The Invitation of CUHK Real Core Group --- p.108
Chapter 6.1.2 --- The Withdrawal of Real Core Groups --- p.111
Chapter 6.2 --- Exclusive Participation --- p.113
Chapter 6.2.1 --- Virtual Artist Managers as well as Net Users --- p.113
Chapter 6.2.2 --- Virtual Artists as well as Net Users --- p.114
Chapter 6.3 --- The Autonomy of Involvement in Virtual Music Community --- p.115
Chapter 6.3.1 --- The Involvement in Judge Panel --- p.115
Chapter 6.3.2 --- The Involvement in Promotion Work for the Artists --- p.116
Chapter 6.3.3 --- The Role / Duties of Virtual Music Community --- p.118
Chapter 6.3.4 --- The Interaction on the Forum --- p.121
Chapter 6.4 --- Turning Point: Negotiation between the Organization and Virtual Music Community --- p.123
Chapter Chapter 7 --- Conclusion and Discussion --- p.128-12
Chapter 7.1 --- Conclusion and Discussion --- p.121
Chapter 7.2 --- Limitation and Further Research --- p.134
Chapter 7.3 --- Epilogue --- p.135
Appendices (1 -26) --- p.137-16
Bibliography --- p.168-17

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45

Walton, Diana. "Stratégies pour encourager et soutenir l’exploitation des archives par des artistes dans les centres et les services d’archives au Québec." Thèse, 2018. http://hdl.handle.net/1866/21242.

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46

Morysková, Aneta. "Analýza obsahu povinného soutěžního programu ve sportovní gymnastice žen." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-412257.

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Title: The analysis of the content of the compulsory routines program in women's artistic gymnastics Aim: The aim of this work is to compare the competition programs of the Czech Republic, the United States of America and the United Kingdom, including the competition program issued and recommended by FIG (International Gymnastics Federation) in women's gymnastics with emphasis of the content and structure of the mandatory competition program. Methods: There were two methods used in this work, namely analysis of the content of selected documents in selected countries, and it is in the United states of America, Great Britain, Czech Republic and the program issued and recommended by International Gymnastics Federation. The following content features of selected documents were determined for content analysis: age and performance structure of the program, permeability of the competition program, integration of the compulsory routines into the competition program and movement content of the compulsory routines. The research set consists of parts of the competition programs, where the decisive selection criteria was the presence of compulsory routines within the competition program, competition program was available on the websites , and in English or Czech language, ale success of the competitors who...

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47

TSAI, PEI-CHUN, and 蔡佩君. "Developing Reflective Learning Portfolios:A Case of Artistic Talent Music Program at Lele Elementary School in Taichung City." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/dvhn9t.

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Анотація:

碩士
國立臺中教育大學
音樂學系碩士班
104
The purpose of this study was to describe students' learning changes through developing their own reflective learning portfolios in the artistic talent music program of Lele Elementary School in Taichung City. This research is a case study with single-case design. Through purposive sampling, the fifth grade artistic talent music class taught by the researcher was invited to participate in this study. Research data included video tape recordings, interviews, and worksheets (self-assessment and peer-assessment) to collect students’ reflections as they took band ensembles and individual instrument lessons. Additionally, the researcher used random sampling to get 5 students and made video tape recording of their one-on-one instrumental lessons and final examinations. Through reviewing the video tape recordings, the 5 students reflected their learning about taking instrumental lessons. Moreover, through interviews conducted in the mid and final semester, it was to help the researcher to realize the practicability and feasibility of using reflective learning portfolios toward participants’ learning improvement. The findings of this study as follows: 1.Developing reflective learning portfolios enhanced participants’ reflection on their learning effectiveness of individual instruments. 2.Through multiple approaches to collect portfolio contents for developing reflective learning portfolios, it is helpful for participants to appropriately review and check their own learning process. 3.The participants, especially fifth graders, encountered difficulties to reflect their learning during their developing reflective learning portfolios. However, through effective guidance by their music teacher, participants became better to present their thinking and express their ideas. It can be concluded that students can use metacognitive strategies to help their practice on individual instruments. The use of peer-assessment sheet improves students’ reflections on their instrumental ensemble learning. Furthermore, the use of worksheet “Learning Notes” enhances students’ reflection on their learning of individual instruments. Keywords: artistic music talent program, reflective learning portfolio, reflection, individual instruments, instrumental ensemble

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48

Von, Maltitz Darryn Lindsay. "Apprentice to artisan trials and tribulations of apprentices in a dual system apprenticeship programme in South Africa." Thesis, 2018. https://hdl.handle.net/10539/27170.

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Анотація:

A research report submitted to the Wits School of Education, Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Education by combination of coursework and research Johannesburg, February 2018.
Worldwide, various governments have taken significant measures to promote vocational education in an attempt to position it as an equal alternative to academic education. The problem, however, is that in many countries neither young people nor their parents perceive vocational education as having the same value as academic education (Allais, Marock, & Molebatsi, 2014). This is in contrast to Continental European countries, such as Germany, Austria and Switzerland where approximately two thirds of youth completing general schooling each year select vocational education over university education. South Africa a country in which vocational education is extremely stigmatized, is reforming its apprenticeship system and has set itself a target of qualifying 24 000 new artisans by 2020 (DHET 2015). Technical Vocational Education and Training (TVET) colleges are viewed as key vehicles through which large numbers of artisans can be trained. However, employers do not have trust in the quality and capacity of public TVET colleges and have taken responsibility for training artisans through their own in-house training facilities and private training providers (National Treasury n.d.). The result is that TVET colleges have been side-lined in the supply chain for artisan development. It is against this background that the South African government is piloting a dual system apprenticeship project, which aims to: a) improve the quality of artisan training at public TVET colleges; b) build employer trust in the quality of the public artisan training system; and c) position TVET education as an attractive option for young people. This research is focused on apprentices training to become electricians through a dual apprenticeship model. The dual system integrates classroom theory with on-the-job instruction thus ensuring that learning is integrated and regularly reinforced. Through semi-structured interviews and a questionnaire, this study brings the voices of 95 electrical apprentices to bear in order to develop a much deeper, richer and nuanced understanding of how apprentices experience the artisan development system. It seeks to understand what motivates young people to enrol at a TVET college, and what apprentices’ experiences, perceptions and expectations are of dual system apprenticeships. The study provides insights into the merits and challenges of dual system apprenticeships within the South African context.
XL2019

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49

Senos, Teresa Maria da Cunha Almeida Rocha de Sousa. "O desenvolvimento estético e a educação estética e artística: o programa progestart." Doctoral thesis, 2019. http://hdl.handle.net/10400.12/6979.

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Анотація:

Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Psicologia na área de especialização de Psicologia do Desenvolvimento apresentada no ISPA- Instituto Universitário no ano de 2018.
O desenvolvimento estético é nos primeiros estádios dependente da maturação e posteriormente outras variáveis interferem neste desenvolvimento. A educação estética e artística possibilita a ocorrência deste desenvolvimento. A presente tese pretende compreender em que medida, de que forma e por que processos, o programa de educação estética e artística (ProgestArt), concebido e aplicado, potencializa o desenvolvimento estético e a criatividade. Revimos a literatura evidenciando as principais teorias do desenvolvimento estético, estabelecendo inter-relações entre este domínio desenvolvimental e a experiência estética, a criatividade e as abordagens filosóficas. Por outro lado, realizámos uma análise dos principais programas de educação estética e artística clarificando a sua importância para o ProgestArt que foi suportado nas dimensões que compõe o desenvolvimento estético referidas por Parsons (1987/1992). O primeiro artigo adopta uma metodologia sistemática no domínio do desenvolvimento estético, validando um instrumento de análise deste desenvolvimento e constituindo materiais (duas séries de 4 quadros), que possibilitam serem aplicados na investigação mais fundamental e na investigação-acção. No segundo artigo sustentou-se empiricamente a teoria de Parsons (1987/ 1992), verificando se o desenvolvimento se processa do modo como é referido por este autor e tendo em consideração as faixas etárias que menciona. No terceiro estudo pretendemos compreender em que medida o ProgestArt contribui para o desenvolvimento estético e a criatividade. No decurso do programa centrámo-nos no processo, pela observação e registo das dinâmicas interactivas, que possibilitaram explicar os ganhos no desenvolvimento estético e na criatividade. Discutem-se conceitos centrais da psicologia do desenvolvimento estabelecendo pontes entre este desenvolvimento mais global e o desenvolvimento estético, clarificando os mecanismos e processos por que ocorrem. Discute-se, igualmente, a educação estética e artística clarificando os pressupostos da concepção do programa (ProgestArt) e os principais resultados decorrentes da sua aplicação. Menciona-se algumas implicações para o desenvolvimento estético e educação estética e artística e estrutura-se um novo projecto de investigação, de cariz mais fundamental, sustentado nas lacunas que nos parecem existir no domínio em estudo.
The aesthetic development is, in its first stages, dependent on the maturation of the individual and, afterwards, other variables interfere with this development. The aesthetic and artistic education allows for the occurrence of this development. The present thesis intends to understand to what extent, in what form, and by what processes the program of aesthetic and artistic education (ProgestArt), conceived and applied, enhances aesthetic development and creativity. We reviewed the literature evidencing the main theories of aesthetic development, establishing interrelations between this field of development and aesthetic experience, creativity, and philosophical approaches. On the other hand, we carried out an analysis of the main programs of aesthetic and artistic education, clarifying their importance for ProgestArt, which was supported in the dimensions that make up aesthetic development, referred to by Parsons (1987/1992). The first study adopts a systematic methodology in the field of aesthetic development, validating an instrument of analysis of this development, and making up materials (two sets of 4 paintings) which allow to be applied in the most fundamental research and action-research. In the second study, the Parsons (1997/1992) theory was empirically supported, verifying whether the development is processed the way the author mentions, as well as whether it happens in the mentioned age groups. In the third study, we intended to understand in what way ProgestArt contributes to aesthetic development and creativity. Throughout the program, we focused on the process, by the observation and recording of the interactive dynamics, that allowed for an explanation of the gains in aesthetic development and creativity. Central concepts of developmental psychology are discussed, establishing bridges between this more global development and aesthetic development, clarifying the mechanisms and processes by which they occur. The aesthetic and artistic education is also discussed, clarifying the presuppositions of the conception of the program (ProgestArt) and the main results stemming from its application. Some implications for aesthetic development and aesthetic and artistic education are mentioned, and a new project of investigation is structured, of a more fundamental nature, based on the gaps that seem to exist in the field of aesthetic development.

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SHIH, MENG-FAN, and 施孟汎. "A Case Study of Learning Attitudes toward Music Emphasis Courses of the Artistic Talent Music Program Sixth Graders." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7jkewc.

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Анотація:

碩士
國立臺中教育大學
音樂學系碩士班
105
The purpose of this study was to investigate the learning attitudes of the grade six artistic talent music program students at Changhua County Star Elementary School (a pseudonym). This research was a case study with single-case design. Through purposive sampling, the grade six artistic talent music program class taught by the researcher was invited to participate in this study. Research data included interviews, video tape recordings, and relevant documents. The target of data analysis was to know students’ learning attitudes toward orchestral ensemble and individual instrument lessons. The ways of triangulation and member-checking were used to improve the validity of research data. Based on the findings of this study, regarding students’ learning attitudes, it can be concluded: 1. Music learning interests combined with music aptitude was the cornerstone of the success for students to continue learning music. 2. Students' interests and attitudes in learning music were deeply influenced by their major instrument teachers. 3. The experiences of participating orchestra ensemble and competitions enhanced the learning interests and attitudes of students. 4. There is confliction between students’ interests in their major instruments and the values of the development in their future. 5. With associated learning, students could link their major instruments to other music professional courses. 6. Students valued the importance of educational function of taking orchestra ensemble. 7. Students positively confirmed their self-learning habits and attitudes. 8. Students’ learning habits and attitudes were influenced by their home environment. Finally, related suggestions were made to music teachers and parents according to the findings of this study for improvement for artistic talent music program and further research.

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Дисертації з теми "Programa de Artistas"

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