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Journal articles on the topic 'Improvisation training'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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7

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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8

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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9

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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Jackson, Paul Z. "Improvisation in training: freedom within corporate structures." Journal of European Industrial Training 19, no. 4 (1995): 25–28. http://dx.doi.org/10.1108/03090599510083413.

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МОВА, Людмила. "Improvisation as an important element of future choreographers training." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. I (2019): 130–40. http://dx.doi.org/10.38014/ehs-ss.2019.1-i.10.

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Improvisation is considered an important and indispensable element of future choreographer's training, that contributes to future choreographer’s personality development and his/ her creative potential. The author analyzes the structure of work when creating a composition according to the 3q-system (Iztok Kovac, Slovenia). This article shows cases and analysis of personal variants of working with improvisation when training students-choreographers.

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Ilari, Beatriz, Cara Fesjian, Bronte Ficek, and Assal Habibi. "Improvised song endings in a developmental perspective: A mixed-methods study." Psychology of Music 46, no. 4 (2017): 500–520. http://dx.doi.org/10.1177/0305735617715515.

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The aim of this mixed-methods study was to investigate the development of children’s improvised song endings over the course of two years, through researcher-led tasks. While quantitative data were used to examine the roles of age, biological sex, and music training on children’s improvised song endings and pitch-matching skills, qualitative data were gathered to shed light on the musical contents of improvisations, the strategies used by children when improvising, and children’s reactions to different improvisatory tasks. Although scores for both improvised song endings and pitch-matching ski

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Tint, Barbara S., Viv McWaters, and Raymond van Driel. "Applied improvisation training for disaster readiness and response." Journal of Humanitarian Logistics and Supply Chain Management 5, no. 1 (2015): 73–94. http://dx.doi.org/10.1108/jhlscm-12-2013-0043.

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Purpose – The purpose of this paper is to introduce applied improvisation (AI) as a tool for training humanitarian aid workers. AI incorporates principles and practices from improvisational theatre into facilitation and training. It is an excellent modality for training aid workers to deal with crisis and disaster scenarios where decision-making and collaboration under pressure are critical. Design/methodology/approach – This paper provides a theoretical base for understanding skills needed in disaster response and provides a case for innovative training that goes beyond the current standard.

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Larimer, Amy. "Using Comedy Improvisation Techniques to Support Dance Training." Journal of Dance Education 12, no. 4 (2012): 141–46. http://dx.doi.org/10.1080/15290824.2012.690546.

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O'Connell, Christine, Merryn McKinnon, and Jordan LaBouff. "One size does not fit all: gender implications for the design of outcomes, evaluation and assessment of science communication programs." Journal of Science Communication 19, no. 01 (2020): A06. http://dx.doi.org/10.22323/2.19010206.

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As science communication programs grow worldwide, effective evaluation and assessment metrics lag. While there is no consensus on evaluation protocols specifically for science communication training, there is agreement on elements of effective training: listening, empathy, and knowing your audience — core tenets of improvisation. We designed an evaluation protocol, tested over three years, based on validated and newly developed scales for an improvisation-based communication training at the Alan Alda Center for Communicating Science. Initial results suggest that ‘knowing your audience’ should

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Hodge, Josh, and Vanessa Ratten. "Time pressure and improvisation: enhancing creativity, adaption and innovation at high speed." Development and Learning in Organizations: An International Journal 29, no. 6 (2015): 7–9. http://dx.doi.org/10.1108/dlo-04-2015-0040.

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Purpose – Organizations are becoming more focused on time pressures when introducing innovation and creativity into their organizations. The purpose of this paper is to discuss the opportunity for organizations to focus on improvisation training as a way to gain a competitive advantage and leapfrog their competitors. Design/methodology/approach – This paper takes the approach of identifying a model of improvisation training for organizations that focuses on the convergence of planning and executive for promoting innovation training practices. Findings – This paper’s main findings are that the

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Bashkir, Olha, Violetta Panchenko, Olha Osova, and Anastasiia Zhytnytska. "Technology of Forming Future Teachers’ Readiness for Pedagogical Improvisation." Educational Challenges 26, no. 1 (2021): 15–27. http://dx.doi.org/10.34142/2709-7986.2021.26.1.02.

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The article grounds the relevance of the special preparation of students of pedagogical universities for pedagogical improvisation based on the analysis of psychological and pedagogical literature and the ways in which future teachers acquire professional knowledge and skills. Having analyzed the content of the educational programs of psychology and pedagogy we proved that no purposeful training of future teachers for pedagogical improvisation has been organized. It caused the need for developing an appropriate technique. The purpose of the article is to develop a technique to form

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Yu, Yadong. "Application of the Analects of Confucius in training scenic dialogue." Культура и искусство, no. 7 (July 2020): 59–65. http://dx.doi.org/10.7256/2454-0625.2020.7.33383.

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The author examines four main things taught by Confucius: virtue, speech, political questions, and literature in the context of their use in teaching scenic art. The author claims that speech is extremely importance, as it is not only a criterion for assessing virtue, but also necessary means for participating in political affairs and mastering literature. The article describes asset of guidelines for speech practice, their application in teaching acting techniques, and significance for practicing &ldquo;dialogue&rdquo; in scenic speech class. Attention is focused on teaching improvisa

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Little, Nita. "Restructuring the self-sensing: Attention training in contact improvisation." Journal of Dance & Somatic Practices 6, no. 2 (2014): 247–60. http://dx.doi.org/10.1386/jdsp.6.2.247_1.

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Pereira Christopoulos, Tania, Adriana Wilner, and Maria Luisa Trindade Bestetti. "Experimental learning enhancing improvisation skills." Learning Organization 23, no. 6 (2016): 415–28. http://dx.doi.org/10.1108/tlo-04-2015-0027.

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Purpose This study aims to present improvisation training and experimentation as an alternative method to deal with unexpected events in which structured processes do not seem to work. Design/methodology/approach Based on the literature of sensemaking and improvisation, the study designs a framework and process model of experimental learning supported by a case study of Brazilian Government agents involved in an experimental process of learning fundamental for interacting with scenarios that require improvisation. Findings This study supports the proposition that improvisation capability can b

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22

Diaz Abrahan, Veronika M., Favio Shifres, and Nadia R. Justel. "Music improvisation modulates emotional memory." Psychology of Music 48, no. 4 (2018): 465–79. http://dx.doi.org/10.1177/0305735618810793.

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Music improvisation is a technique frequently used in the music therapy field. Its application involves emotional support, cognitive evaluation or cognitive/motor rehabilitation. However, its effect as a valid treatment to moderate memory has not been studied. The aim of the present study is to investigate the effect of music improvisation on emotional memory, in adults with or without musical training. Participants watched emotional or neutral images, and rated simultaneously how emotional they felt the images were, from 0 to 10 ( nothing to highly arousing). Later, participants were exposed

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Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.

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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an ama

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권수미. "Development of Creative Improvisation Training Materials for Beginner Piano Learners." 音.樂.學 26, no. 2 (2018): 145–82. http://dx.doi.org/10.34303/mscol.2018.26.2.004.

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Jeong, Min-Young. "Analysis of Character Building and Improvisation Training Method in Film." Journal of the Korea Entertainment Industry Association 11, no. 5 (2017): 83–90. http://dx.doi.org/10.21184/jkeia.2017.07.11.5.83.

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Dileo, Cheryl, Jos De Backer, Jaakko Erkkilä, Katrien Foubert, Olivier Brabant, and Nerdinga Letulė. "Clinical improvisation in music therapy: theory, practice, research and training." Nordic Journal of Music Therapy 25, sup1 (2016): 87–88. http://dx.doi.org/10.1080/08098131.2016.1180080.

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Edinborough, Campbell. "Form and Spontaneity: Training for Improvisation in Football and Theatre." Theatre, Dance and Performance Training 3, no. 2 (2012): 199–207. http://dx.doi.org/10.1080/19443927.2012.686448.

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Fessell, David, Erin McKean, Heather Wagenschutz, et al. "Medical Improvisation Training for all Medical Students: 3-Year Experience." Medical Science Educator 30, no. 1 (2019): 87–90. http://dx.doi.org/10.1007/s40670-019-00885-0.

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Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.

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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire ne

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Cecco, Serena, and Andrea Masiero. "Improving language and interpreting skills. A teaching experience." Scenario: A journal for performative teaching, learning, research XIII, no. 1 (2019): 42–61. http://dx.doi.org/10.33178/scenario.13.1.3.

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This paper explores the potential of improvisation theatre applied to training, in particular to interpreting studies. A theoretical background on theatre and learning (at an academic and professional level) together with a theoretical background on interpreting skills and qualities provide the basis for the presentation of a small-scale experimental workshop on the use of improvisation techniques. The workshop involved 16 students and was held at the Advanced School for Language Mediation of Ciels University, Campus Padua, Italy.[1]

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Peggie, Andrew. "The Place of Improvisation in Music Education." British Journal of Music Education 2, no. 2 (1985): 167–69. http://dx.doi.org/10.1017/s0265051700004770.

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‘Improvisation’ is a provocative word. For some the word is synonymous with lack of discipline, absence of intellectual rigour and anti-musical randomness; for others, it embodies life-giving qualities of freedom, spontaneity and natural expression. The polarisation is equally evident in music education circles: those who regard the process in terms of training and appreciation perhaps favouring the former view, while those who tend towards the notion of education through music doubtless endorsing the latter.

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Phelps, Marianne, Catrina White, Lin Xiang, and Hollie I. Swanson. "Improvisation as a Teaching Tool for Improving Oral Communication Skills in Premedical and Pre-Biomedical Graduate Students." Journal of Medical Education and Curricular Development 8 (January 2021): 238212052110064. http://dx.doi.org/10.1177/23821205211006411.

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Objective: To evaluate the relationship between training in theatre improvisation and empathy, communication, and other professional skills. Methods: Undergraduate and graduate students who were participants of a 10-week summer undergraduate research program engaged in theatre improvisation techniques during a 3-hour workshop. In Study #1, a de-identified, self-report questionnaire (known as the Empathy Quotient) was administered prior to and following the workshop. Paired sample 2-tailed t-tests were performed to evaluate pre- and post-test scores. To identify additional benefits of engaging

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Trondalen, Gro, Julie Mangersnes, Lars Ole Bonde, et al. "Music Therapy for Chronic Fatigue Following Epstein-Barr Virus Infection in Adolescents." Music and Medicine 12, no. 2 (2020): 84. http://dx.doi.org/10.47513/mmd.v12i2.679.

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AbstractThis research study, which was a part of arandomized controlled trial, explored music therapy as a part of an individually tailored mental training programfor Chronic Fatigue(CF) following Epstein-Barr virus (EBV) infection in adolescents. This article presents the qualitative data stemming from the interviews, which focused on music therapy. The interviews were performed after completion of the program. The mental training program consisted of 10 sessions distributed between a family session (1), individual sessions with music therapy (4), and individual cognitive behavioral therapy (

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Quinn, Ruth. "The Performative Self: Improvisation for Self and Other." New Theatre Quarterly 19, no. 1 (2003): 18–22. http://dx.doi.org/10.1017/s0266464x02000027.

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This paper was prepared for the ‘Postmodernism and Spirituality’ conference held at the University of Central Lancashire in April this year, and Ruth Quinn has now reworked the piece in the light of Clive Barker's article in NTQ69, ‘In Search of the Lost Mode: Improvisation and All that Jazz’. Ruth Quinn first studied Theology at Oxford, but has been teaching Drama and Theatre Studies for eleven years, currently at the University of Central Lancashire within the Contemporary Performing Arts Department. Here she outlines some of the key elements of improvisation and how the dynamic between self

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Friedberg, Robert D., and Gina M. Brelsford. "Training Methods in Cognitive Behavioral Therapy: Tradition and Invention." Journal of Cognitive Psychotherapy 27, no. 1 (2013): 19–29. http://dx.doi.org/10.1891/0889-8391.27.1.19.

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Cognitive behavioral supervisors influence new generations of clients and clinicians. Accordingly, the task is meaningful, rewarding, challenging, and critically important. This article describes traditional and unconventional approaches to supervising clinicians in cognitive behavioral therapy (CBT). Traditional methods such as the use of the Cognitive Therapy Rating Scale, videotape/audiotape review, live supervision, and cotherapy are reviewed. Further, inventive procedures for teaching supervisees cognitive flexibility, empathy, tolerance for ambiguity, and remaining steadfast when faced w

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Mendonca, David, and Frank Fiedrich. "Training for improvisation in emergency management: opportunities and limits for information technology." International Journal of Emergency Management 3, no. 4 (2006): 348. http://dx.doi.org/10.1504/ijem.2006.011301.

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Tawadros, Tammy. "Developing the Theater of Leadership." Advances in Developing Human Resources 17, no. 3 (2015): 337–47. http://dx.doi.org/10.1177/1523422315587898.

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The Problem Recent models of leadership emphasize the importance of adaptive, strategic, and socio-emotional capabilities for success. The development of leadership has transformed from teaching about the concept to an experiential learning of leadership, an approach that focuses on identity and problem solving. Over the past decade, improvisational theater and interactive drama based leadership development has received increasing attention; moreover, many advocate its use as a powerful and innovative experiential learning tool, to foster self-awareness and increase ability to deal with the un

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Camilleri, Frank. "‘To Push the Actor-Training to its Extreme’: Training Process in Ingemar Lindh's Practice of Collective Improvisation." Contemporary Theatre Review 18, no. 4 (2008): 425–41. http://dx.doi.org/10.1080/10486800802379474.

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Quinlan, Meghan. "Gaga as Metatechnique: Negotiating Choreography, Improvisation, and Technique in a Neoliberal Dance Market." Dance Research Journal 49, no. 2 (2017): 26–43. http://dx.doi.org/10.1017/s0149767717000183.

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Gaga, a practice developed by Israeli choreographer Ohad Naharin, is one of the most popular training methods on the global dance market. Structured as a metatechnique, or a system for negotiating techniques within one's body, Gaga teaches students to both draw on and reject multiple movement techniques to create their own movement. I consider how the paradigms of choreography, technique, and improvisation are blurred together in the pedagogical model of a metatechnique and how training dancers to shift between choreographer, dancer, and improviser has significant ramifications for understandi

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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.

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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to gro

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Casteleyn, J. "Improving public speaking in secondary education―Exploring the potential of an improvisation training." L1 Educational Studies in Language and Literature 19, Running Issue, Running Issue (2019): 1–18. http://dx.doi.org/10.17239/l1esll-2019.19.03.04.

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Del Vecchio, A., C. Pfennig, and P. Moschella. "84 Medical Student Response to Improvisation and Acting Training: Novel Curriculum Pilot Study." Annals of Emergency Medicine 70, no. 4 (2017): S34—S35. http://dx.doi.org/10.1016/j.annemergmed.2017.07.109.

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Lisovska, Tetyana. "Interpretation and improvisation as a manifestation of creative performing thinking of future educators." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 77–83. http://dx.doi.org/10.24195/2617-6688-2019-3-11.

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The author highlights the aesthetic aspect of interpretation and improvisation as components of musical creativity; the factors of effective influence on the formation of students’ creative personality of higher education institutions have been revealed. Interpretation means description, specification, explanation, translation into a clearer language. Three basic types of interpretation such as scientific, every day and artistic have been substantiated in the article. The variability of interpretation is explained by the indispensable presence of improvisation in performer’s creative thinking.

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Nicolls, Janet. "Freedom and Structure: The Acquisition of Language in a Musical Education." British Journal of Music Education 8, no. 3 (1991): 271–308. http://dx.doi.org/10.1017/s0265051700008512.

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This article explores the development of musical language, as it takes place alongside the study of an instrument. More than simply the ability to read the printed score, musical literacy may be achieved creatively through improvisation and composition from the earliest lessons. The basis of this learning is through training the memory of the inner ear.

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Olibie, Eyiuche Ifeoma, Chinyere Nwabunwanne, and Dorothy Nkem Ezenwanne. "Teachers’ Improvisation of Instructional Materials for Nigerian Home Economics Curriculum Delivery." International Journal of Adult Vocational Education and Technology 4, no. 4 (2013): 74–83. http://dx.doi.org/10.4018/ijavet.2013100105.

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This study was designed to ascertain the challenges of improvising instructional materials by Home Economics teachers at the Upper Basic education level in Nigeria, and as a result identify strategies for enhancing improvisation. The study used survey research design based on two research questions. The sample was four hundred and thirty-one Home Economics teachers in Upper Basic schools in Anambra State of Nigeria. A structured questionnaire, designed on a 5-point scale, was used to collect data. Findings indicated that some of the challenges faced by the teachers include how to: improvise ma

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D. Suresh, S. Satheesbabu, P. Gokulakrishnan,. "ONLINE PURCHASING PLATFORM USING CROWD SOURCING WITH IMPROVISATION OF CLASSIFICATION ACCURACY." INFORMATION TECHNOLOGY IN INDUSTRY 9, no. 1 (2021): 1123–34. http://dx.doi.org/10.17762/itii.v9i1.246.

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Crowd-sourcing is a prototype where persons cum organisations acquire facts such as ideas, micro-tasks, financial, vote casting associated to items and offerings from individuals of large, open and rapidly-evolving nature. It entails utilization of web acquired and distribute work between members to get a collective result. The software of classification tasks in crowd-sourcing is a counter step due to the inclined reputation of crowd-sourcing market. Dynamic Label Acquisition and Answer Aggregation (DLTA) crowd-sourcing framework accomplishes the classification assignment in a promising manne

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Florentin, Alice-Ioana, and Emanuel Florentin. "Body Training Systems of Stage Movement Courses, in the Drama School of Iasi City." Theatrical Colloquia 10, no. 1 (2020): 105–16. http://dx.doi.org/10.2478/tco-2020-0007.

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AbstractThe contemporary choreographic movement of the 21st century may be viewed as a true patchwork of performance techniques and styles; a build-up of movements taken from established techniques, with elements of drama, ballet, improvisation and other connected disciplines. These challenges may be met only by a multi-technical and multi-stylistic approach in the training of future actors and choreographers. The transition from the everyday body to the theater body is the result of a process based on self-knowledge, documentation and practice.

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Farris, M., J. Patterson, B. Henry, and D. Gillian-Daniel. "Virtual Medical Improvisation Training Increases Nutrition Students’ Self-Efficacy for Telehealth Interpersonal Communication Skills." Journal of the Academy of Nutrition and Dietetics 121, no. 9 (2021): A64. http://dx.doi.org/10.1016/j.jand.2021.06.191.

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Schubert, Peter. "Contrapunto Fugato: A First Step Toward Composing in the Mind." Music Theory Spectrum 42, no. 2 (2020): 260–79. http://dx.doi.org/10.1093/mts/mtaa009.

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Abstract Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and

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МОВА, Людмила. "Using dance movement therapy tools for future choreographers training." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. II (2019): 60–71. http://dx.doi.org/10.38014/ehs-ss.2019.1-ii.05.

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In the article, we considered the basic conditions for creative abilities development of future choreographers, analyzed the significance of choreographic art in personal creative development, and identified methods to increase creative activity in student-choreographers. Authors have proved that contemporary dance contributes to the discovery and emergence of the uniqueness of each person, the formation of bright creative personality, because of imagination, diversity, and unpredictability play an important role here, as each next dance performance, search for new elements of vocabulary, crea

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