Academic literature on the topic 'Theatre organ'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Theatre organ.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Theatre organ"
1
Smith, Geoff, and David L. Junchen. "Encyclopedia of the American Theatre Organ. Volume 1." Notes 43, no. 4 (June 1987): 789. http://dx.doi.org/10.2307/898161.
Full text
2
Owen, Barbara, and David L. Junchen. "Encyclopedia of the American Theatre Organ. Vol. 1." American Music 5, no. 3 (1987): 321. http://dx.doi.org/10.2307/3051742.
Full text
3
Shenoy, Anitha. "Care of the brain dead organ donor." Indian Journal of Respiratory Care 05, no. 02 (December 13, 2022): 705–12. http://dx.doi.org/10.5005/jp-journals-11010-05202.
Full textAbstract:
Organ donation is becoming more common but there is still a large gap between the number of people requiring transplants and the organs donated. There are set criteria for organ donation. When organ donation is considered after brain death, the physician must ensure that the prerequisites for testing are met and proceed to establish brain death using standard guidelines. The pathophysiological changes that occur after brain death must be borne in mind and utmost care should be given to counter those changes that would result in dysfunction of the donated organs. The brain dead patient must be maintained as stable as possible in the ICU. General nursing and medical care must continue. Core temperature must be maintained and infections must be treated. Blood pressure is best maintained with fluids and minimal vasopressors. Low tidal volume ventilation, optimal levels of positive end-expiratory pressures to maintain minimal FIO2, will maintain airways open and reduce extravascular lung water. Maintain euvolaemia. Maintain urine output at 0.5–3 ml/kg/h. Electrolyte abnormalities must be corrected. Maintain blood glucose concentrations between 120-180 mg %. Triple hormonal therapy improves organ function. Organ retrieval is performed in an operation theatre and a well conducted anaesthetic care is essential for the viability of these organs. One brain-dead organ donor can potentially donate ‘lives’ to eight individuals. To enhance or preserve the maximum potential of the donated organs, the anaesthesiologist and intensivist play a vital role in preserving the organs as best as possible.
4
Germay, Robert. "DO NASCIMENTO DA ASSOCIAÇÃO INTERNACIONAL DE TEATRO NA UNIVERSIDADE, OU QUANDO UMA NECESSIDADE DO TU CRIA O ÓRGÃO AITU." O Teatro Transcende 21, no. 1 (December 14, 2016): 30. http://dx.doi.org/10.7867/2236-6644.2016v21n1p30-41.
Full textAbstract:
RESUMO Do nascimento da Associação Internacional de Teatro na Universidade, ou Quando uma necessidade do TU cria o órgão AITUDesde a criacão das primeiras universidades na Idade Média, a atividade teatral universitária esteve diretamente ligada às matérias ensinadas como um auxiliar do ensino, e essencialmente praticada intra muros. Após a 2a. guerra mundial (1945), o teatro universitário iria acentuar o fenômeno de sua abertura e de sua internacionalização. Rompendo os muros da universidade, o teatro conquistaria cada vez mais visibilidade, e inúmeros grupos universitários se veriam tentados pela profissionalização. A própria universidade vai, a partir daí, considerar o teatro como objeto de estudo. E os anos 70 serão, assim, marcados em quase todas as universidades europeias, pela criação de Departamentos de Estudos Teatrais. A década de 1980 viu florescerem novos festivais internacionais que revelam claramente a abundância de teatros universitários e a grande diversidade de suas práticas. Por ocasião dos Encontros de Liège (RITU), vai ressurgir no início dos anos 90, a questão da definicão do teatro universitário, que impulsiona os liegenises a organizar um Congresso Mundial em outubro de 1994, quando foi criada a Associação Internacional do Teatro na Universidade. A AITU organzia seu 11o. Congresso em 2016 em Manizales (Colombia). Palavras chave : AITU-IUTA, Teatro Universitário, História do Teatro Universitário ABSTRACT On the birth of the International University Theatre Association, or When a need of UT creates the organ IUTASince the creation of the first universities in the Middle Ages, the university theater activity was considered as a teaching aid to the subjects taught, and was primarily practiced intra muros. After the 2nd World War (1945), University Theatre would accentuate the phenomenon of openness and internationalization. Leaving the walls of the university, theater acquired more and more visibility, and numerous academic troops were tempted by professionalization. The university itself will now consider theater as a case study. And so the 70’s will be marked by the creation of Theater Studies Departments in universities all over Europe. The 1980’s saw a flowering of new international festivals which clearly reveal the abundance of university theaters and the great diversity of practices. On the occasion of the Liège Meetings (RITU), the question of the definition of university theater resurfaced in the early 90s, which pushed the organizers to set up a World Congress in October 1994. This led to the creation of the International University Theatre Association. The IUTA holds its 11th Congress in 2016 in Manizales (Colombia). Keywords: AITU-IUTA, University Theatre, History of University Theatre
5
Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (December 10, 2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.
Full textAbstract:
The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.
6
Kent, Frederick James, and John W. Landon. "Behold the Mighty Wurlitzer: The History of the Theatre Pipe Organ." American Music 5, no. 2 (1987): 225. http://dx.doi.org/10.2307/3052173.
Full text
7
Randall, Nathan A., and John W. Landon. "Behold the Mighty Wurlitzer: The History of the Theatre Pipe Organ." Notes 41, no. 4 (June 1985): 715. http://dx.doi.org/10.2307/940860.
Full text
8
Presseisen, Filip. "Organ accompaniment to silent films, part 3 – the activity of Robert Hope-Jones and its importance." Notes Muzyczny 2, no. 16 (December 30, 2021): 87–100. http://dx.doi.org/10.5604/01.3001.0015.5491.
Full textAbstract:
The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the third part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article focuses on the profile of Robert Hope-Jones, an eccentric creator of cinema organ. It describes the period preceding the time when typical theatre instruments called “Mighty Wurlitzer” acquired their final shape, i.e., from the introduction of first electromagnetic tracture innovations in England, to the establishment of Hope Jones’s collaboration with the Wurlitzer company in the United States of America and the creation of instruments of the Unit Organ type.
9
Hussain, Abid. "Brain Death: The Dilemma Continues." Anaesthesia, Pain & Intensive Care 28, no. 1 (January 31, 2024): 1–4. http://dx.doi.org/10.35975/apic.v28i1.2386.
Full textAbstract:
Despite being introduced over half a century ago and having undergone multiple refinements, the debate surrounding brain death persists within the medical community. Acknowledging the premise that brain death is not synonymous with actual death[i] but rather a novel construct introduced to meet societal demands gives rise to a series of quandaries for Muslim physicians. If brain death is not acknowledged as death under Islamic law, the harvesting of organs from individuals declared brain dead would be construed as an act of homicide. Additionally, granting consent for "deceased" organ donation might be perceived as granting authorization for the cessation of one's own life in the operating theatre.
Keywords: Brain Death; Islamic Death; Islamic Bioethics; Deceased Organ Donation
Citation: Hussain A. Brain Death: The Dilemma Continues (Editorial). Anaesth. pain intensive care 2024;28(1):01−04; DOI: 10.35975/apic.v28i1.2386
Received: January 01, 2024; Accepted: January 10, 2024
10
Kitchen, John. "The Organ Music of William Russell." Nineteenth-Century Music Review 12, no. 1 (June 2015): 9–25. http://dx.doi.org/10.1017/s1479409815000026.
Full textAbstract:
William Russell (1777–1813) came from a London family of organists and organ builders. He published two sets of voluntaries: in 1804 and 1812. As well as his liturgical duties at St Anne's Limehouse, and in the Foundling Hospital Chapel, Russell worked as pianist and composer at the Sadler's Wells Theatre; the influence of opera and theatrical music can be strongly felt in some of the voluntaries. He was also particularly interested in the development of the organ itself, and had ‘progressive’ ideas regarding early nineteenth-century organ design.Russell's music fascinatingly blends, or sometimes simply juxtaposes, several disparate musical influences. He therefore sits at an interesting point in English organ music. This article investigates Russell's own music – its forms, styles and genres – and his use of the instruments available to him. In addition, I will consider the extent to which his style was of the nineteenth century, and looked forward to future developments, of which his pioneering use of the pedals is one significant aspect.
Dissertations / Theses on the topic "Theatre organ"
1
Ismaili, Arziana, Malle Kaas, and Gertrud Ovesson. "Perioperativa sjuksköterskors upplevelser av att medverka vid en uttagsoperation." Thesis, Högskolan i Halmstad, Sektionen för hälsa och samhälle (HOS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-24372.
Full textAbstract:
I samband med att en organdonation ska genomföras görs en uttagsoperation, där organen tas från donatorn. Inför detta ingrepp vårdas patienten på intensivvårdsavdelningen och det finns god tillgång på forskningom hur personalen där upplever vårdandet av en tilltänkt donator. Däremot brister forskningen om hur den perioperativa personalen upplever sitt medverkande vid uttagsoperationen. Syftet med studien var att beskriva perioperativa sjuksköterskors upplevelser av att medverka vid en uttagsoperation från en avliden inför organdonation. Studien genomfördes som en kvalitativ deskriptiv studie och kvalitativ innehållsanalys. Tre anestesi- och tre operationssjuksköterskor på ett västsvenskt sjukhus intervjuades. Resultatet visade att detta ingrepp följer rutinen för en operation, med en preoperativ, en intraoperativ och en postoperativ fas. Tre kategorier framkom: förberedelser inför operationen, teamarbete och återkoppling. Konklusionen blev att förberedelserna inför ingreppet behövde förbättras. Debriefingen efteråt fungerade bra, men kunde bli bättre. Genom att tala mer öppet om etiskt svårhanterliga situationer, såsom uttagsoperationer och den stress dessa kan framkalla ges möjligheterna till att skapa egna copingstrategier.In according to organ transplantation, a tissue and organ procurement will be completed where organs will be removed from a donor. Prior to this intervention the patient will be taking care of in an intensive care unit, where there is excellent access to research regarding how the intensive care staff would experience their participation and caring of a potential donor. This though is in contrast to the lack of research into how the perioperative staff experiences their participation in the removal of organs from a donor. The aim of the study was to describe the perioperative nurses' experience when participating in the tissue and organ procurement of a deceased person prior to organ transplantation. The study was carried out as a qualitative, descriptive study and content analysis. Three nurse anesthetists and three theatre nurses at a west Swedish hospital were interviewed. The results showed that interventions of this type follow the routine for an operation with a pre- intra- and postoperative phase. Three categories emerged in the study: Preparation before the operation; Teamwork; and Processing of the experience. The conclusion was that the preparation for the procedure ought to be improved. Debriefing after the operation functions well, but could be improved. By discussing more openly about ethically difficult situations, such as tissue and organ procurement and the stress they induce, the perioperative nurses are hereby given opportunities to create their own coping strategies.
2
Santos, João Ricardo da Cunha. "Cia. Espaço em BRANCO = processos híbridos de criação." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284935.
Full textAbstract:
Orientador: Mário Alberto de SantanaAcompanha 2 DVD's com o seguinte conteúdo: DVD 1- Gravação do espetáculo teatral Teresa e o Aquário da Cia. Espaço em BRANCO POA - RS; DVD 2 - Documentação do processo de pesquisa: Fotos e Videos dos Casulos, Processo de Ensaios de Teresa e o Aquário, oficina Processos Híbridos de Criação e documentação dos espetaculos anteriores da Cia. Espaço em BRANCO: Extinção e ANDY/EDIE
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T10:38:10Z (GMT). No. of bitstreams: 1 Santos_JoaoRicardodaCunha_M.pdf: 276084863 bytes, checksum: 209e0972c7738f5bd9381a186ff43728 (MD5) Previous issue date: 2010
Resumo: O que se pretende nessa dissertação é agenciar, através de conceitos, metáforas e analogias, o processo de investigação teórico prático do encenador João de Ricardo, da Cia. Espaço em BRANCO - Porto Alegre - RS, na preparação e apresentação do espetáculo teatral "Teresa e o Aquário", que teve estréia em 2008. Para tanto, toma-se como território de reflexão as zonas de contato entre o teatro e a performance arte. Este também é um memorial do processo criativo vivido pelo encenador, abrangendo a documentação da série de ações performáticas "CASULOS" que deram início à preparação de "Teresa e o Aquário" e os ensaios do mesmo.
Abstract: This study aims to agency, through concepts, metaphors and analogies, the process of theoretical-practical investigation of director João de Ricardo, of Cia. Espaço em BRANCO - Porto Alegre, Brazil, in the preparation and performance of theater play Teresa e o Aquário, which premiéred in 2008. In order to do so, the territory for reflection is made up of contact zones between drama and performance art. This is also a memorial of the creative process experienced by the director, and includes documentation of the series of performance actions "CASULOS", which served as a starting point for the preparation of Teresa e o Aquário and for the director's rehearsals.
Mestrado
Artes Cenicas
Mestre em Artes
3
Schreiner, Florian. "Laut, Ton, Stärke." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2010. http://dx.doi.org/10.18452/16126.
Full textAbstract:
Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein.Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger)
4
Zatloukalová, Veronika. ""Hudební scéna" - koncertní sál pro město Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394032.
Full textAbstract:
The subject of this thesis is the design concept of the architectural study of a concert hall, namely the proposal for a "MUSIC SCENE" - the concert hall for the city of Brno. As part of this study is therefore designed a hall for 591 visitors. Hall enables performances to 90-member orchestra or choir. The solution is also operating and maintenance facilities necessary facilities like auditorium. The main emphasis was put on the acoustic solution, then the overall transparency in the operation of the building and the continuity of the building and the surrounding development mainly to the existing communication system that tries to respect.
5
Csákayová, Nina. "Kruté zvuky." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-311198.
Full textAbstract:
The presented diploma work brings the theory of noise music with the main reason to clarify the pragmatics of its forming and effects. The base of the theory in construct ob the ideas of Antonin Artaud, their reflections and externalizations in the post-structuralist philosophical discourse and intermedial fine arts. Because of the topic, work also observes trends in artictic comunication trough the noise. The aim of work is to formulates the own theory of noise music trough the postulation of cruelty in the artistic speech with emphasis on the explanation of transgresive experience during the noise music performance. The results of the work contributes to the theory of appropriation trough the description of specific medium transmission in the immanent space.
6
Ferreira, Ruben Miguel Faria. "O último Tarahumara." Master's thesis, 2021. http://hdl.handle.net/10362/131194.
Full textAbstract:
O presente relatório aborda o processo de criação da performance “O Último Tarahumara”, cuja estreia teve lugar no Fórum Grandela em maio de 2021. O resultado deste projeto performativo é marcado pela oposição ao “textocentrismo” e guiou-se por um conjunto de referências teóricas sobre a “declaração de guerra contra os órgãos”, por Antonin Artaud (1947), e pela prática do “corpo-sem-órgãos” de Deleuze e Guattari (1972). Também se moldou pelas intenções com que Artaud tencionava renovar o teatro ocidental europeu. Essas mesmas intenções já o tornavam o grande percursor da Arte da Performance, o que se veio a consolidar no final da década de 60. Artaud conduziu o então paradigma da performance enquanto ação, potência e, sobretudo, presença de corpo. Neste projeto prático o corpo com a sua potência não se torna apenas uma
realidade externa observável, controlável ou mensurável. O meu corpo, enquanto performer, criou novos mundos e desterritorializou ações do quotidiano. Toda a conceção desta performance passou por um processo de pesquisa corporal na desconstrução de um corpo moldado à sociedade e que se constrói noutro corpo abstrato a partir de ações do quotidiano – construção de um corpo-sem-órgãos. A par de excertos de textos de Artaud, presentes em Para acabar de vez com o juízo de deus seguido de O Teatro da Crueldade (Artaud, 1975), o objetivo foi colocá-los, enquanto signos textuais, ao mesmo nível dos signos corporais e plásticos, assim como desconstruir as categorias hierárquicas tradicionais do teatro que Artaud propôs.This report addresses the process of creating the performance "O Último Tarahumara", which premiered at the Fórum Grandela in May 2021. The result of this performative project is marked by opposition to the “centrism text” and was guided by a set of theoretical references on the "declaration of war against organs", by Antonin Artaud (1947), and by the practice of the "body without-organs" of Deleuze and Guattari (1972). It was also shaped by the intentions with which Artaud intended to renew western European theatre. These same intentions already made him the great pioneer of the Performance Art, which was consolidated at the end of the 1960s. Artaud led then the paradigm of performance as action, power and, above all, body presence. In this project, the body, with its power, does not just become an observable, controllable or measurable external reality. My body, as a performer, created new worlds and deterritorialized everyday actions. The whole conception of this performance has gone through a process of body research in the deconstruction of a body moulded to society, and the construction of another abstract body derived from everyday actions – a Body without Organs. Along with excerpts from Artaud's texts, present in To end God’s Judgement followed by The Theater of Cruelty (Artaud, 1975), the goal was to place them, as textual signs, at the same level as the body and plastic signs, as well as to deconstruct the traditionally hierarchical categories of theatre that Artaud proposed.
Books on the topic "Theatre organ"
1
Strony, Walter. The secrets of theatre organ registration. 2nd ed. Carefree, AZ: W. Strony, 1991.
Find full text
2
Eddington, Jelani. The art of theatre organ arranging. Racine, WI: RJE Productions, 2009.
Find full text
3
Sanderson, John. Frank Olsen: Theatre organ virtuoso : a memoir. Thorold, Ont: Sanmar Marketing, 1985.
Find full text
4
John, Sanderson. Frank Olsen, theatre organ virtuoso: A memoir. Thorold, Ont., Canada: Sanmar Marketing, 1985.
Find full text
5
Inkster, Donald. Union Cinemas Ritz: A story of theatre organs and movie variety shows. Hove, England: Wick Book Publishers, 1999.
Find full text
6
M, Hall Ben, ed. The best remaining seats: The golden age of the movie palace. New York, N.Y: Da Capo Press, 1988.
Find full text
7
Thiele, John. When the mighty Wurlitzer reigned in the Regent. Campbelltown, S. Aust: J. D. Thiele, 2011.
Find full text
8
Schütz, Karl. Theater- und Kinoorgeln in Wien. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1991.
Find full text
9
Schamberger, Fiona Claire. Hermann Nitsch: Das Gesamtkunstwerk des Orgien Mysterien Theaters und seine Disziplinen = The Orgian Mysterian Theatre and its disciplines as a total art work. Klagenfurt: Museum moderner Kunst Kärnten, 2012.
Find full text
10
Turley, Fred. Mighty music at the movies: The cinema organ in Sheffield and the surrounding area. Sheffield: Sheaf Pub., 1990.
Find full textBook chapters on the topic "Theatre organ"
1
Aston, Elaine. "From Orlan to Bernhardt: Recycling French Feminism, Theatre and Performance." In Contemporary French Theatre and Performance, 137–48. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_11.
Full text
2
Mitchell, James. "Other Types of Organ." In The Pipe Organ, C5—C5F20. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197645284.003.0006.
Full textAbstract:
Abstract This chapter talks about the most common variants of organ outside of the typical pipe organ: the chamber organ, harmonium, theatre organ, and the Hammond organ. Each instrument has a dedicated section explaining in depth their sound, notation, and value for composers, while musical examples are used where possible to provide starting points for further exploration. Most of these instruments are rarely discussed at the same time as regular pipe organs, so this chapter links together the various musical worlds these instruments inhabit, encouraging composers not only to explore these remarkable instruments but also, through them, to think differently about the pipe organ itself.
3
Komlós, Katalin. "Clavier Instruments and Textures." In Fortepianos and their Music, 33–52. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198164265.003.0004.
Full textAbstract:
Abstract In this manner we kept on a loquacious intercourse the whole day, during which, he not only played a great deal on the Harpsichord, Organ, Piano forte, and Clavichord; but shewed me the theatre, and all the curiosities of Ludwigsburg, as well as wrote down for me, a character of all the musicians of that court and city.1
4
Mohi Ud Din, Mr Mudasir. "ADVANCEMENTS IN OPERATION THEATRE AND ANAESTHESIA: THE ROLE OF AI." In Artificial Intelligence and Emerging Technologies, 81–85. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/nbennurch308.
Full textAbstract:
The field of medicine, particularly surgery and Anaesthesia, has witnessed remarkable advancements over the years. This article explores the evolution of the operation theatre and Anaesthesia, emphasizing the transformative impact of technology and Artificial Intelligence (AI) on these critical medical domains. In the realm of surgery, technological progress has led to the expansion of minimally invasive procedures, such as laparoscopic surgery and robotic-assisted surgeries. These innovations contribute to reduced patient discomfort, faster recovery, and improved precision. 3D printing technology further enhances surgical preparation by allowing surgeons to create accurate organ replicas for preoperative planning. Anaesthesia practices have also evolved, with the increased adoption of local Anaesthesia for awake surgeries, epidural Anaesthesia for childbirth, and regional Anaesthesia to minimize opioid use in orthopedic procedures. These advancements aim to enhance patient comfort and reduce complications associated with traditional anaesthesia methods. The integration of AI into operation theatres and anaesthesia brings real-time data analysis capabilities, enabling continuous monitoring of patient vital signs during surgery. AI-assisted robotic surgery systems enhance surgical precision, providing surgeons with detailed 3D visualizations. In the field of anaesthesia, AI analyzes physiological data to predict and minimize complications, adjust anaesthesia administration, and estimate post-surgery opioid requirements, mitigating the risk of addiction. While AI contributes significantly to surgical advancements, it is emphasized that technology should complement, not replace, the expertise of medical professionals. The collaborative efforts of skilled surgeons, anaesthetists, and innovative technology promise a future where patients can benefit from efficient, safe, and remarkable surgical experiences
5
Menchero, Juan, and Juan Menchero. "Habit, Suggestion, and Imitation in Fin-de-siècle Spanish Theater." In Daring Adaptations, Creative Failures and Experimental Performances in Iberian Theatre, 111–42. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781802078015.003.0008.
Full textAbstract:
This chapter analyses changing attitudes towards actors and live performers in the context of emergence of organicism, and in relationship to one of its main tenets: the idea that form follows function, or that "function" makes the organ. Closely related to the process of nationalization, insofar as imitation of the right models was believed to help spread a common sentiment, this idea is also partly responsible for the persistent negative bias against the poorly paid, overworked actors of the teatro por horas. An important but frequently overlooked dimension of theatrical “degeneration” (“degeneración” appears very frequently in the literature) is precisely the culturally diffuse belief in the existence of a link between the hackwork of playwrights and composers and its deleterious effect on the performer’s body, which was extended to barkers (“pregoneros”), greengrocers (“verduleras”) and other such jobs carried out by lower-class individuals.
6
Collett, Guillaume. "Theatres of Terror and Cruelty: From Noise to the Voice." In The Psychoanalysis of Sense. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474409025.003.0003.
Full textAbstract:
While, for many, Deleuze’s philosophy is synonymous with his concept of the ‘body without organs’, and even though he first explicitly develops this concept in The Logic of Sense, a large part of the present book argues that it is rather the organ-ised body – here figuring specifically as incarnated structure, building explicitly on Leclaire – on which his onto-logic of sense hinges. Nonetheless, this body only emerges later on in the ‘dynamic genesis’, the psychoanalytic portion of The Logic of Sense which provides a psycho-sexual account of language acquisition and of the emergence of sense, and first we must turn to the dis-organ-ised body of Klein and Artaud. In The Logic of Sense, Deleuze develops his conception of the body without organs based on a reading of the work of Antonin Artaud.
7
Woodson, Lee C. "Anaesthesia: preoperative management of patients with acute burns." In Burns (OSH Surgery), 117–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780199699537.003.0014.
Full textAbstract:
Major burn injuries affect every organ system and present challenges for every aspect of perioperative anaesthetic care. Although anaesthetists possess skills and experience that match the needs of these critically ill patients, perioperative decisions require consideration of unique pathophysiological changes associated with large burns along with knowledge of predictable technical challenges. Careful preoperative evaluation and preparation is critical. Initial care of patients with inhalation injury may involve management of difficult airways including bronchoscopic examination. Preoperative evaluation requires understanding of fluid resuscitation of burns. Adequate planning for perioperative care also depends on close preoperative communication with ICU staff and surgeons. Intraoperative care should be compatible with ICU course and goals, while anaesthetic choices such as monitors, vascular access and blood products are determined by the surgical plan. Impaired thermoregulation in burn patients requires attention to equipment and conditions in the operative theatre.
8
Galea, Marco. "Bodies without Organs and Organs without Bodies:." In Redefining Theatre Communities, 101–14. Intellect Books, 2020. http://dx.doi.org/10.2307/j.ctv36xw38z.12.
Full text
9
"II.3. Körperlose Organe." In Postspektakuläres Theater, 129–48. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839412190-009.
Full text
10
"II.3. Körperlose Organe." In Postspektakuläres Theater, 129–48. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839412190-009.
Full textConference papers on the topic "Theatre organ"
1
Dekhici, Latifa, and Khaled Belkadi. "Bi-objective Operating Theater scheduling case of the paediatric hospital of Oran." In 2014 International Conference on Logistics and Operations Management (GOL). IEEE, 2014. http://dx.doi.org/10.1109/gol.2014.6887438.
Full text