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Relevant bibliographies by topics / Centers for performing arts

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Dissertations / Theses
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Academic literature on the topic 'Centers for performing arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Centers for performing arts"

1

Holden, Mark. "Opera acoustics in multi-use performing arts centers." Journal of the Acoustical Society of America 139, no. 4 (April 2016): 2169. http://dx.doi.org/10.1121/1.4950436.

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Keeney, Katherine Preston. "Public Higher Education Institutions' Investment in Performing Arts Centers." Journal of Arts Management, Law, and Society 48, no. 1 (October 12, 2017): 44–56. http://dx.doi.org/10.1080/10632921.2017.1377659.

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Shaomian, Armen. "Performing Arts Center Management." Journal of Arts Management, Law, and Society 48, no. 3 (November 10, 2017): 221–22. http://dx.doi.org/10.1080/10632921.2017.1391728.

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Kirkegaard, R. Lawrence. "Portland Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782568.

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Brooks, Todd L. "Fox Cities Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782644.

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Oguchi, Keiji, and Katsuji Naniwa. "Kitakyusyu Performing Arts Center, Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782667.

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Manchester, Ralph A. "Biomedical Ethics in Performing Arts Medicine Research." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 87–88. http://dx.doi.org/10.21091/mppa.2007.3020.

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As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The public's confidence in medical researchers has been shaken in the last few years as the result of a few well-publicized “bad outcomes” in clinical studies being done at leading academic medical centers in the U.S. and elsewhere. While we are unlikely to do gene-transfer or new drug development studies in an effort to address the health problems of musicians and dancers, we should still hold ourselves to the same ethical standards that apply to the rest of the healthcare world.

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Yanagisawa, Takahiko. "Japan’s new National Performing Arts Center." Journal of the Acoustical Society of America 103, no. 5 (May 1998): 2954. http://dx.doi.org/10.1121/1.422326.

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Shimizu, Yasushi, Yoshikazu Honji, and Fukushi Kawakami. "Theater, Niigata City Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2441. http://dx.doi.org/10.1121/1.4782027.

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Kirkegaard, R. Lawrence. "Broward Center for the Performing Arts." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782571.

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Dissertations / Theses on the topic "Centers for performing arts"

1

Ngan, Chiu-long Sunny. "Performing arts centre at Quarry Bay." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949159.

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Bernardi, Nicholas J. "Vitality of the performing arts." This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Ngan, Chiu-long Sunny, and 顔昭朗. "Performing arts centre at Quarry Bay." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986729.

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Human, Martie. "Encore - performing arts centre." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.

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Ho, Wing-ip. "The performing arts in Hong Kong is venue so critical? /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36790254.

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Pribish, Robert E. "A performing arts center on the Potomac." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53270.

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The nature of Architecture, as it could exist at the edge of a river, was investigated through the design of a Center for Performing Arts located on the design of a Center for Performing Arts located on the Potomac River. Site analysis, functional requirements and structural feasibility were among the considerations utilized in arriving at the proposed design. The Center is comprised of three theaters, restaurants, a marina, administration offices, guest suites, and their ancillary spaces. Six stair towers support a thick wall which is situated at the river’s edge. Stage areas for the theatres were located within the wall between pairs of towers, with seating on one side of the wall and backstage areas on the other. A serpentine “riverwalk” connects the towers and four plazas, encouraging public use of the river’s edge. Parking is provided by a crescent-shaped garage which also serves as a buffer to the adjacent expressway traffic.
Master of Architecture

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Poon, Ming-sum Santafe. "Street in scenes/ scenes in street-performing spaces at Ashley Road /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953850.

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Guo, Ying Ping. "Folded Intersection: a performing arts center." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9606.

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This project proposes a performing arts center in Chattanooga, Tennessee, a 170-year old industrial city. As part of the city revitalization, the design seeks to build up a "stage", and create a piece of edge at the city's northern boundary. Two folded bands, one made of skeletal steel and surfaced with copper connecting the river and the mountainous landscape beyond with the city, the other made of reinforced concrete folded to form a spatial intersection housing a series of activities: performing, spectating, and exhibiting. A curved metal screened circulation wall opens at the bottom to allow the copper band to pass as an entrance into the lobby to develop its folded intersection. Through it, an industrial stack in the middle of the site is isolated from busy city, and anchored with the building as a monument. Along the west side, an additional element characterized as the education box hovers over the ground, with unobstructed views of the river and the old steel bridge on one end, and the green hill on the other.
Master of Architecture

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何永業 and Wing-ip Ho. "The performing arts in Hong Kong: is venue socritical?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36790254.

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McGowan, Dennis P. "The center for the creation and performance of the arts." View thesis online, 2009. http://docs.rwu.edu/archthese/30/.

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Books on the topic "Centers for performing arts"

1

C, Petersen David, and Urban Land Institute, eds. Developing sports, convention, and performing arts centers. 3rd ed. Washington, D.C: Urban Land Institute, 2001.

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Associates, Maki and. Mihara Performing Arts Center, Mihara, Japan, October 2007. Tokyo?]: Maki and Associates, 2007.

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Kawashima, Nobuko. The making of a programme diary: A study into the programming of arts presentation at arts centres in Britain. Warwick: Centre for the Study of Cultural Policy, 1998.

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Espargilière, Eléonore Marie, and Anne Dreyfus. Le Générateur: 10 ans d'art et de performances. Gentilly: Association Arts Diffusion-Le générateur, 2016.

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5

John F. Kennedy Center for the Performing Arts (U.S.). The John F. Kennedy Center for the Performing Arts. [Washington, D.C.]: The Center, 2000.

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6

Architects, Pelli Clarke Pelli. Perform: Designing for the performing arts centers PCPA : Pelli Clarke Pelli Architects. Mulgrave, Victoria: The Images Publishing Group, 2017.

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Hŏ, Nan-yŏng. Konggong kongyŏnjang ŭi kil: Kongyŏn yesul ŭi ponjilchŏk kach'i rŭl ch'ajasŏ. Sŏul T'ŭkpyŏlsi: Ssingk'ŭ Sŭmat'ŭ, 2021.

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McDaniel, Nello. The quiet crisis in the arts. New York: FEDAPT, 1991.

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Appleton, Ian. Buildings for the performing arts: A design and development guide. Boston: Butterworth Architecture, 1996.

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Power, Jan. Setting the stage: Queensland Performing Arts Complex : the first ten years. Edited by Gough Sue and Gould Kate. Brisbane, Qld: Boolarong Press, 1995.

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Book chapters on the topic "Centers for performing arts"

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Soka Performing Arts Center." In Concert Halls by Nagata Acoustics, 101–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_13.

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Lambert, Patricia Dewey. "Performing Arts Center Managers." In Professionalization in the Creative Sector, 207–26. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003138693-13.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "The Conrad Prebys Performing Arts Center." In Concert Halls by Nagata Acoustics, 277–82. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_32.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Richard B. Fisher Center for the Performing Arts." In Concert Halls by Nagata Acoustics, 23–31. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_4.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Kauffman Center for the Performing Arts: Helzberg Hall." In Concert Halls by Nagata Acoustics, 95–100. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_12.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Kauffman Center for the Performing Arts: Muriel Kauffman Theatre." In Concert Halls by Nagata Acoustics, 87–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_11.

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Thurow, Susanne, Helena Grehan, and Maurice Pagnucco. "Representing the Climate Crisis: Aesthetic Framings in Contemporary Performing and Visual Arts." In Arts, Research, Innovation and Society, 107–20. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-56114-6_9.

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AbstractThis chapter reviews the representation of climate change in performing and visual arts over the past ten years, canvassing the aesthetic exploration of the climate emergency in selected international works by surveying emergent narrative themes, key dramaturgical shifts and aesthetic strategies. Discussing the limitations of anthropocentric conventions, it investigates innovative approaches and their capability to generate knowledge about the dynamics of Earth processes and humanity’s embeddedness and interference with them. Looking to novel experimental work currently in development at The University of New South Wales (UNSW)’s iCinema Research Centre, we speculate how these emergent aesthetics may be further developed to augment the arts’s capability to deepen insight and strengthen preparedness in a rapidly transforming world.

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Cohen, Matthew Isaac. "The Cultural Center." In Inventing the Performing Arts, 198–220. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824855567.003.0010.

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"Appendix X: Wagner Noël Performing Arts Center, Midland, TX: The Star of West Texas." In Acoustics of Multi-Use Performing Arts Centers, 321–32. CRC Press, 2015. http://dx.doi.org/10.1201/b18997-33.

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"Myths and New Halls: Schematic Design through Construction Documents." In Acoustics of Multi-Use Performing Arts Centers, 82–87. CRC Press, 2015. http://dx.doi.org/10.1201/b18997-10.

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Conference papers on the topic "Centers for performing arts"

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Uluengin, Oze. "A STUDY ON CITY CENTER INSPIRED LIFESTYLE CENTERS � TWO EXAMPLES FROM TURKEY: FORUM BORNOVA AND FORUM AYDIN." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.060.

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Selcova, Lubica. "MULTIFUNCTIONAL CENTERS AS THE RESULT OF THE URBAN GLOBALIZATION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.101.

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XU, A., and A. PHILIPPE. "ACOUSTICS OF THE WEIWUYING PERFORMING ARTS CENTER TAIWAN." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16123.

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TOMUȘ, Ionuț. "General Considerations on Performing Poetry in the Current Performing Arts Context." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.

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The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring performance poetry back into discussion, as a type of artistic expression that has very well contoured specific elements, but that does not benefit from addressing broad audiences anymore, unfortunately

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Head, Michael C., and Laura A. Lewis. "Dr. Phillips Center for the Performing Arts, Orlando, Florida." In Structures Congress 2013. Reston, VA: American Society of Civil Engineers, 2013. http://dx.doi.org/10.1061/9780784412848.094.

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Fratila, Mariana. "XX-TH CENTURY ROMANIAN MUSIC: STYLISTIC ORIENTATIONS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.019.

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Kral, Vladimir. "PREPARING SCHOLARLY EDITIONS OF MUSIC IN 21. CENTURY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.047.

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Vlasov, Victor. "NOVORUSSKY STYLE IN RUSSIAN CHURCH ARCHITECTURE XX-XXI CENTURES." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.102.

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Aydin Oksuz, Aysun. "THE RELATIONSHIP BETWEEN ARCHITECT AND PATRONAGE OF OTTOMAN MOSQUES IN 16TH CENTURY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.009.

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Beane, Jeffrey A., and Rebecca Buntrock. "The John F. Kennedy Center for the Performing Arts Expansion Project." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2538.

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<p>The John F. Kennedy Center for the Performing Arts is located on the banks of the Potomac River in Washington, D.C. The Kennedy Center is home to the National Symphony Orchestra, the Washington National Opera and The Suzanne Farrell Ballet. In addition to being the nation's busiest arts facility, the Kennedy Center is also a "Living Memorial" to President Kennedy. The south expansion of the Kennedy Center, known as the REACH, provides much needed educational and rehearsal space, as well as a pedestrian link to the nearby Memorials.</p><p>The new structure combines practicality, versatility and innovation. Each surface and space created is unique, forming complex geometries and large span to depth ratios. The cast-in-place concrete structure is exposed on the interior or the exterior, including three white concrete pavilions rising out of the landscaped substructure. The pedestrian bridge connects the Kennedy Center to the river with over a 35-to-1 span to depth ratio. The REACH is scheduled to open in the Fall of 2019.</p>

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Reports on the topic "Centers for performing arts"

1

Wilkerson, A. M., T. C. Abell, and E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1220538.

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Ozdil, Taner R., James Richards, Ryan Brown, Justin Earl, and Dylan Stewart. AT&T Performing Arts Center: Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.

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Milesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb, and David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. Gaithersburg, MD: National Institute of Standards and Technology, February 2019. http://dx.doi.org/10.6028/nist.tn.2027.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.

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Wilkerson, Andrea M., Thomas C. Abell, and Tess E. Perrin. University of Maryland Wall Washer Retrofit - LED Modules Replace Halogen Lamps in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1349994.

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Ricker, R. E. Analysis of failed dry pipe fire suppression system couplings from the Filene Center at Wolf Trap Farm Park for the Performing Arts. Gaithersburg, MD: National Institute of Standards and Technology, 1994. http://dx.doi.org/10.6028/nist.ir.5389.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Miller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin, and G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1221092.

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Miller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin, and Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1165331.

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