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Relevant bibliographies by topics / Improvisation training

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Academic literature on the topic 'Improvisation training'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Improvisation training"

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Schirr, Bertram. "Improvisieren für mehr Beteiligung am Gottesdienst?" International Journal of Practical Theology 23, no. 2 (2019): 242–56. http://dx.doi.org/10.1515/ijpt-2018-0042.

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Abstract Analyzing contemporary experiments in homiletical and liturgical improvisation shows fresh and exciting potential for more participation in worship. The use of Free Jazz as a paradigm for liturgical and homiletical practice is complimented by the model of Theatrical Improvisation. By rendering empirical improvisations in liturgy and preaching as interactions, a grid of participatory improvisational strategies is generated that can be usefully employed for the analysis and improvement of other pastoral practices such as pastoral care or ministerial training.

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Balachandra, Lakshmi. "The Improvisational Entrepreneur: Improvisation Training in Entrepreneurship Education." Journal of Small Business Management 57, sup1 (2019): 60–77. http://dx.doi.org/10.1111/jsbm.12486.

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Delia-Pietra, Christopher J., and Patricia Shehan Campbell. "An Ethnography of Improvisation Training in a Music Methods Course." Journal of Research in Music Education 43, no. 2 (1995): 112–26. http://dx.doi.org/10.2307/3345673.

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In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on

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Kus, Michal, Tobias Eberwein, Colin Porlezza, and Sergio Splendore. "Training or Improvisation?" Journalism Practice 11, no. 2-3 (2016): 355–72. http://dx.doi.org/10.1080/17512786.2016.1221737.

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Hall, Matthew J. "Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)." Early Music 48, no. 2 (2020): 177–92. http://dx.doi.org/10.1093/em/caaa026.

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Abstract Unfigured basslines serve as the starting points for collective improvisation in several sections of Agostino Agazzari’s Eumelio (1606). Agazzari makes clear that musicians used such basslines for effective ensemble improvisations in his well-known treatise Del sonare sopra’l basso con tutti li stromenti (1607) and in other contemporaneous documents. Gloria Rose has identified isolated examples of written ‘tablatures of the bass’, or contrapuntal templates from which ensembles improvised. However, analysis of the harmonic and modal parameters of the vocal monody in Eumelio shows how c

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Déguernel, Ken, Emmanuel Vincent, and Gérard Assayag. "Probabilistic Factor Oracles for Multidimensional Machine Improvisation." Computer Music Journal 42, no. 2 (2018): 52–66. http://dx.doi.org/10.1162/comj_a_00460.

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This article presents two methods to generate automatic improvisation using training over multidimensional sequences. We consider musical features such as melody, harmony, timbre, etc., as dimensions. We first present a system combining interpolated probabilistic models with a factor oracle. The probabilistic models are trained on a corpus of musical work to learn the correlation between dimensions, and they are used to guide the navigation in the factor oracle to ensure a logical improvisation. Improvisations are therefore created in a way in which the intuition of a context is enriched with

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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with

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Mourey, James A. "Improv Comedy and Modern Marketing Education: Exploring Consequences for Divergent Thinking, Self-Efficacy, and Collaboration." Journal of Marketing Education 42, no. 2 (2019): 134–48. http://dx.doi.org/10.1177/0273475318822087.

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In an era of constant connectedness—from Twitter tweets to the 24-hour news cycle—the need for marketers to be nimble and responsive to the needs of consumers and ever-evolving markets is greater than ever before. Indeed, being able to be “in the moment” and to react instantaneously demands a different kind of training and education than the slower paced, carefully constructed, and casually timed marketing campaigns of yesterday. Improvisational comedy and its tenets—agreement (“Yes, and . . . ”); be you (and know that you are enough); make bold, unexpected choices—require a comparable, in-the

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Pehk, Alice. "Improvisation Teaching Within Music Therapy Training." Norsk Tidsskrift for Musikkterapi 7, no. 2 (1998): 179–80. http://dx.doi.org/10.1080/08098139809477940.

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Ratten, Vanessa, and Josh Hodge. "So much theory, so little practice: a literature review of workplace improvisation training." Industrial and Commercial Training 48, no. 3 (2016): 149–55. http://dx.doi.org/10.1108/ict-08-2015-0053.

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Purpose – The purpose of this paper is to critically review the research literature on training interventions to increase the workplace application of improvisation. Design/methodology/approach – A literature review was undertaken, work was considered in light of research methodology (qualitative, quantitative and discussion) and themes were identified and coded in Nvivo. Findings – Although there is a substantial body of research on improvisation as a workplace phenomenon, there is only limited empirical research on the workplace application of improvisation training. Research limitations/imp

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Dissertations / Theses on the topic "Improvisation training"

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Burnard, Pamela. "Into different worlds : children's experience of musical improvisation and composition." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299714.

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Becker, Theresa. "Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms." Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5129.

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Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific t

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Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.

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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for

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Ben, Chaabane Delia B. "The effects of parent implemented training on improvisation of mands by children with autism." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172144721.

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Alexakis, George. "Management training in Greece : evolution from improvisation to the systematic development of professional qualifications." Thesis, Middlesex University, 2008. http://eprints.mdx.ac.uk/3031/.

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Executive management training is a fast growing field in adult training and an important component of a wider demand for reconstruction in the educational system and its orientation towards a closer relationship with the needs of the labour market and the priorities of the business environment. This study investigates the development achieved in this field in Greece from the initial efforts made by the Greek Productivity Centre, the Hellenic Management Association and the Athens University of Economics and Business in the beginning of the 1960s up to today’s development of recognized vocationa

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Laughlin, James Edwin. "The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improvisers." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/laughlin%5Fjames/index.htm.

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Re, Adrien Marcus. "The role of transcription in jazz improvisation : examining the aural-imitative approach in jazz pedagogy." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285406.

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Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedur

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Keidan, Joshua. "Learning, Improvisation, and Identity Expansion in Innovative Organizations." University of Toledo / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1586874155982614.

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Falcone, John Paul. "Creative, Critical, and True: Training Students to Improvise Responsibly with Biblical Text: A Pragmatist, Spirit-led Model." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104536.

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Thesis advisor: Theresa A. O'Keefe<br>In this dissertation, I argue that Bible education is best understood as training students to improvise responsibly with Scripture. I explore this pedagogical model by reflecting on my experience as a Bible instructor at Cristo Rey New York High School, an inner city Catholic school. The goal of a Cristo Rey education is the integral liberation of students. In the language of liberation theology, to be "integrally liberated" is to survive and to thrive on all levels - material, cultural, psychosocial, and spiritual. Learning to improvise responsibly with S

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Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.

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Au cours d’une longue carrière, Michel Saint-Denis a développé un système de pratiques pédagogiques pour le training de l’acteur qui contribue à la formation des nouvelles générations d’acteurs anglophones et francophones. La recherche menée pour cette thèse a donc coïncidé avec une enquête sur la genèse et les transformations de cette pédagogie de l’acteur, organisée en un ensemble d’enseignements, au sein des écoles d’art dramatique fondées par Saint-Denis, à partir du London Theatre Studio. Sa formation auprès de Jacques Copeau méritait sans doute un examen approfondi et détaillé, car les t

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Books on the topic "Improvisation training"

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Training to imagine: Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership, and learning. Stylus, 2001.

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Eldredge, Sears A. Mask improvisation for actor training & performance: The compelling image. Northwestern University Press, 1996.

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Donelian, Armen. Training the ear: For the improvising musician. Advance Music, 1992.

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Training to imagine: Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. 2nd ed. Stylus Pub., 2013.

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Belt, Lynda. Improv game book II: A source book for improvisation performance training and games. Thespis Productions, 1994.

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Ulrich, Kaiser. Gehörbildung: Satzlehre, Improvisation, Höranalyse : ein Lehrgang mit historischen Beispielen. Bärenreiter, 1998.

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Grantham, Barry. Playing commedia: A training guide to commedia techniques. Heinemann, 2000.

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Playing commedia: A training guide to commedia techniques. N. Hern Books, 2000.

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Impro learning: How to make your training creative, flexible, and spontaneous. Gower, 1998.

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Music theory through improvisation: A new approach to musicianship training. Routledge, 2010.

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Book chapters on the topic "Improvisation training"

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Fotis, Matt. "The Training-Wheels Harold." In Long Form Improvisation and American Comedy. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137376589_3.

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Frost, Anthony, and Ralph Yarrow. "Improvisation in Training, Rehearsal Practice and Writing (Europe and the UK)." In Improvisation in Drama, Theatre and Performance. Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-34812-8_1.

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Wiener, Daniel J. "Benefits of Theatrical Improvisation in the Training of Psychotherapists." In Psychotherapy, Literature and the Visual and Performing Arts. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_8.

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Garthoff, Raymond L. "Preparation, Training, and Improvisation." In How Russia Makes War. Routledge, 2020. http://dx.doi.org/10.4324/9781003102847-20.

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"From Hell, No to Yes, And: Applied Improvisation for Training in Conflict Resolution, Mediation, and Law." In Applied Improvisation. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350014404.ch-010.

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"Improvisation – access – training – touching on a definition." In Making an Entrance. Routledge, 2013. http://dx.doi.org/10.4324/9781315012711-11.

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MacDonald, Raymond A. R., and Graeme B. Wilson. "Talking about improvisation." In The Art of Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.003.0003.

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This chapter highlights that we understand improvisation, largely, through talking about it. Talking about music is a fundamental part of how we make sense of music. This chapter argues that spoken definitions of improvisation serve specific psychological purposes for the speaker in creating, negotiating, and maintaining a particular line of argument, and this line of argument is linked to the musical identities and broader psychological identities of the speaker. Talking about improvising is important not just because it describes improvisation, but also because it constructs musical and social realities for those engaged in the dialogue. This chapter makes the following key points: How improvisers talk about music shapes how they engage with music; musical identities are important aspect of music making; training improvisers to understand and articulate why they value the music they like should be an important part of improvisation pedagogy; and musical identities may be more important for improvisers than for other types of musicians.

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Murphy, Keith M. "Imagination, Improvisation, and Letting Go." In Collaborative Anthropology Today. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753343.003.0003.

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This chapter shows collaboration through the research on face-to-face collaboration, a collaboration with George Marcus as co-organizer of a series of “ethnocharrette” events at the University of California, and the results of collaborations between participants in those events. It explores the different subfields of anthropology that tend to display different general orientations to collaboration and sharing. It also discusses archaeology and biological anthropology wherein collaborative research is more or less treated as a given. The chapter cites the training in linguistic anthropology in which participants share their data order to widen the scope of possible interpretations and analyses beyond what the fieldworker can conjure. It sketches the uncommon figure of a lone anthropologist that dominates the subfield's imaginary, and basic collaborative practices like data sharing.

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Burrow, Colin. "Homer as Improviser?" In Epic Performances from the Middle Ages into the Twenty-First Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0016.

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This chapter illustrates connections between Homer’s Iliad and Odyssey and the techniques of improvisation as heard in jazz performances. It starts by noting the inadequacy of the usual dictionary definition of ‘improvise’, inasmuch as it omits any consideration either of creativity or of necessary practice and training. After looking at a passage from Homer’s Iliad, and observing such well-known features as the use of repeated words and phrases (‘formulas’), it segues to jazz, noticing that similar techniques are employed, particularly repeated melodic motifs. The author illustrates (through improvisations from the jazz standard ‘Night and Day’) that these motifs can be modified and developed in much the same way as Homeric formulas. In each genre, the use of formulaic material is by no means an indication of mechanical and artless composition; rather such techniques are the fundamental tools of a creative artist composing and performing simultaneously.

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Dumit, Joe. "Notes Toward Critical Ethnographic Scores: Anthropology and Improvisation Training in a Breached World." In Between Matter and Method. Routledge, 2020. http://dx.doi.org/10.4324/9781003084792-4.

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Conference papers on the topic "Improvisation training"

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"On the Application and Significance of Improvisation in Music Teaching Activities." In 2020 International Conference on Educational Training and Educational Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000955.

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Pushkina, Valentina, Svetlana Razmahova, Dilbar Borisovets, Irina Gernet, and Tatyana Shirokova. "Use of Speech Exercises at Correction of Rigidity Level in Students." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-74.

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To date, the guiding values of the domestic educational system have been changed. Knowledge and skills have been substituted with competences i.e., the ability to perform any work in an efficient and the cheapest manner. A practice-oriented approach has come to the forefront, requiring changes in teaching methods and technology. Therefore, active and interactive forms of education have taken a significant place in the educational process. By organising the learning process in this way, personal features of students, plasticity and flexibility of mental formations play an important role. In the

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"Research on Improvisational Accompaniment Training and Practical Teaching in Piano Teaching." In 2018 4th International Conference on Education, Management and Information Technology. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icemit.2018.100.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient cr

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