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Reardon-Smith, Hannah, Louise Denson y Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION". Tempo 74, n.º 292 (6 de marzo de 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Gilbertson, Simon. "Improvisation and meaning". International Journal of Qualitative Studies on Health and Well-being 8, n.º 1 (enero de 2013): 20604. http://dx.doi.org/10.3402/qhw.v8i0.20604.
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Kirmayer, Laurence J. "Improvisation and authority in illness meaning". Culture, Medicine and Psychiatry 18, n.º 2 (junio de 1994): 183–214. http://dx.doi.org/10.1007/bf01379449.
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Kirmayer, Laurence J. "Improvisation and authority in illness meaning". Culture, Medicine and Psychiatry 18, n.º 4 (diciembre de 1994): 515. http://dx.doi.org/10.1007/bf01565854.
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Engelsrud, Gunn. "Teaching Styles in Contact Improvisation: An Explicit Discourse with Implicit Meaning". Dance Research Journal 39, n.º 2 (2007): 58–73. http://dx.doi.org/10.1017/s014976770000022x.
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Since contact improvisation was “invented” in North America in the 1970s, it has gained widespread acceptance; teachers have been travelling extensively to conduct seminars and workshops. The dance form has been documented and researched from several viewpoints, but, as I see it, there is general agreement among practitioners and scholars—including United Kingdom-based Helen Thomas (2003), Norway-based Hilde Rustad (2006) and Eli Torvik (2005), and Cynthia Novack (1990), who worked in the United States—that contact improvisation is a form of nonhierarchical relations that entails an appeal to accept mutual responsibility for each other and that also implies a specific lifestyle. In her book Sharing the Dance: Contact Improvisation and American Culture, Novack, as an anthropologist, perceives contact improvisation as embodied culture where the movements are central constitutional parts. Her position is that through the study of contact improvisation, “the history of the dancing serves as a vehicle for investigating powerful interrelationships of body, movement, dance and society” (8).
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Merlino, Julio. "Coherence and Musical Meaning in Jazz Improvisation". Latin American Journal of Development 3, n.º 4 (2 de julio de 2021): 1707–15. http://dx.doi.org/10.46814/lajdv3n4-002.
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In the context of improvised music, and more specifically in jazz—a situation in which at least part of the musical “work” is created at the moment it is perceived—the performers find themselves in an ambivalent condition: like their listeners at the same time they perform the music they experience it for the first time. Improvisers experience the musical content they produce in the act of improvisation as an improvised part of a “work”—an update of it. The “work”, in this case, reveals itself at the moment of performance. In this work I discuss the understanding of musical coherence in order to
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, n.º 57 (10 de marzo de 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Van Nort, Doug. "Distributed Listening in Electroacoustic Improvisation". Leonardo Music Journal 26 (diciembre de 2016): 35–38. http://dx.doi.org/10.1162/lmj_a_00965.
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This article considers the distributed role that listening plays for both performer and audience in the process of discovering musical meaning in the context of electroacoustic improvisation through examination of particular emergent practices.
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Gratier, Maya y Julien Magnier. "Sense and Synchrony: Infant Communication and Musical Improvisation". Intermédialités, n.º 19 (9 de octubre de 2012): 45–64. http://dx.doi.org/10.7202/1012655ar.
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This paper explores the forms and functions of synchrony in two communicative contexts: jazz musicians’ performances and vocal communication between mothers and infants. We present the view that musical expression is first and foremost a form of communication, involving socially distributed practices that enable a coordination of ideas, intentions and meanings. We report on studies in developmental psychology that have highlighted infants’ early abilities to connect with others. Synchrony is quite possibly the most fundamental of these abilities, enabling flexible and affectionate social encounters. We go on to argue that synchrony grounds meaning and culture within interpersonal processes. Synchrony is, at heart, a semiotic process which can readily do without language.
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박미경. "Why 'Improvisation' Matters?: Meaning and Value of the Improvisation Emerged in the Age of Creativity and Convergence". Music and Culture ll, n.º 39 (septiembre de 2018): 33–59. http://dx.doi.org/10.17091/kswm.2018..39.33.
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Mills, Roger y Kirsty Beilharz. "Listening Through the Firewall: Semiotics of sound in networked improvisation". Organised Sound 17, n.º 1 (14 de febrero de 2012): 16–27. http://dx.doi.org/10.1017/s1355771811000471.
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Maturation of network technologies and high-speed broadband has led to significant developments in multi-user platforms that enable synchronous networked improvisation across global distances. However sophisticated the interface, nuances of face-to-face communication such as gesture, facial expression, and body language are not available to the remote improviser. Sound artists and musicians must rely on listening and the semiotics of sound to mediate their interaction and the resulting collaboration. This paper examines two case studies of networked improvisatory performances by the inter-cultural tele-music ensemble Ethernet Orchestra.It focuses on qualities of sound (e.g. timbre, frequency, amplitude) in the group's networked improvisation, examining how they become arbiters of meaning in dialogical musical interactions without visual gestural signifiers. The evaluation is achieved through a framework of Distributed Cognition, highlighting the centrality of culture, artefact and environment in the analysis of dispersed musical perception. It contrasts salient qualities of sound in the groups’ collective improvisation, highlighting the interpretive challenges for cross-cultural musicians in a real-time ‘jam’ session. As network technologies provide unprecedented opportunities for diverse inter-cultural collaboration, it is sound as the carrier of meaning that mediates these new experiences.
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Sudirana, I. Wayan. "Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar". Journal of Music Science, Technology, and Industry 1, n.º 1 (31 de agosto de 2018): 1. http://dx.doi.org/10.31091/jomsti.v1i1.502.
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ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer’s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer’s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.Keywords: improvisation, drumming, kendang, gong kebyar. ABSTRAKGong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali. Kata kunci: improvisasi, drum, kendang, gong kebyar.
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Dennen, James. "On Reception of Improvised Music". TDR/The Drama Review 53, n.º 4 (noviembre de 2009): 137–49. http://dx.doi.org/10.1162/dram.2009.53.4.137.
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Does the concept of improvisation have any meaning when a piece is recorded and experienced at another time and place? Dennen revisits John Coltrane's “My Favorite Things” from the 1963 Newport Jazz Festival to consider a theory of the reception of improvised music.
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Colapietro, Vincent. "Situation, Meaning, and Improvisation: An Aesthetics of Existence in Dewey and Foucault". Foucault Studies, n.º 11 (1 de febrero de 2011): 20. http://dx.doi.org/10.22439/fs.v0i11.3203.
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This essay explores important intersections between the thought of John Dewey and Michel Foucault, with special attention to the distinction between emancipation versus “practices of freedom.” The complex relationship between these thinkers is, at once, complementary, divergent, and overlapping. The author however stresses the way in which both Dewey and Foucault portray situated subjects as improvisational actors implicated in unique situations, the meaning of which turns on the extemporaneous exertions of these implicated agents.
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Burnard, Pamela. "How Children Ascribe Meaning to Improvisation and Composition: Rethinking pedagogy in music education". Music Education Research 2, n.º 1 (marzo de 2000): 7–23. http://dx.doi.org/10.1080/14613800050004404.
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Gintsburg, Sarali. "It’s got some meaning but I am not sure…". Pragmatics and Cognition 24, n.º 3 (31 de diciembre de 2017): 474–95. http://dx.doi.org/10.1075/pc.18017.gin.
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Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.
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Meadows, Anthony y Katherine Wimpenny. "Meaning-making processes in music therapy clinical improvisation: an arts-informed qualitative research synthesis". Nordic Journal of Music Therapy 25, sup1 (30 de mayo de 2016): 48. http://dx.doi.org/10.1080/08098131.2016.1179954.
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Sierschynski, Jarek. "Improvising Identity, Body, and Race". Cultural Studies ↔ Critical Methodologies 20, n.º 5 (15 de febrero de 2019): 429–33. http://dx.doi.org/10.1177/1532708619830129.
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In this autoethnographic narrative, the author examines moments of encountering his fugitive identity shaped by family practices, escape, sociocultural and linguistic migration. Marked as a foreign body in Europe, he (re)constructs his identity as inherently connected to systemic violence and oppression in both Europe and the United States. Responding to Western, White supremacy, anti-Blackness, and the violence of dominant normativity, he considers what it means to negate the meaning of oppressive socioeducational systems, their institutionalized language, settled expectations and practices. Thinking about his own body and the link between visibility and invisibility in racially structured societies, he examines the parallels between his own nondominant identity and those marked by the White gaze. Weaving together reflections on family history and Otherness in Europe with Black American narratives of marked visibility/invisibility, the author meditates on improvisation as a liberatory, counterhegemonic performance of reality. He concludes by returning to this text as a trace of improvisational, experimental, and liberatory thought, a medium with the potential to negate itself, to break itself, to escape itself.
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Kluth, Andrew J. "Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”". Journal of Jazz Studies 12, n.º 1 (9 de diciembre de 2019): 51–71. http://dx.doi.org/10.14713/jjs.v12i1.117.
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(Opening paragraph): In this article, I invoke the concept of intermusicality as defined by Ingrid Monson and develop its role in meaning-making in musical worlds. Her groundbreaking book, Saying Something: Jazz Improvisation and Interaction (1996) offers a sophisticated criticism of jazz improvisation and the construction of meaning therein. In doing so, it explores methods by which to nuance and/or rupture traditional historiographies that construct the jazz canon. More than intermusicality, though, I look to a more general intertextuality as a hermeneutic window disruptive to the “great man” histories that have so often heretofore constructed the jazz tradition. I argue that the notion of intertextuality is particularly useful in mediating questions of essentialism in jazz (racial or otherwise) with considerations of practical competency and an artist’s particular situatedness in that body of texts. Working against positivist taxonomies resultant in definitions of what is/is not jazz, this perspective leaves space for the refiguring work of novelty and experimentation requisite therein. This resonates with Steven B. Elworth’s (1995) claim: “Far from being an unchanging and an easily understood historical field, the jazz tradition is a constantly transforming construction” (58). In my suspicion of linear ideas of history and “progress” (and therefore, telos), I prefer to interrogate and ratify instead the complicated relationship of novelty to tradition. The negotiation of these meta-categories is at the heart of the work improvising musicians do; combining disparate ways of being in the world with musical ideas and practices to create new musico-sociocultural wholes.
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Johnston, Andrew. "Conversational Interaction in Interactive Dance Works". Leonardo 48, n.º 3 (junio de 2015): 296–97. http://dx.doi.org/10.1162/leon_a_01017.
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This paper describes an interactive dance/physical theatre work entitled Encoded, which made use of motion capture techniques and real-time fluid simulations to create systems intended to support, stimulate and augment live performance. Preliminary findings from a qualitative study of performers’ experiences with the system raise a number of issues, including the challenges of creating theatrical meaning with interactive systems, using Contact Improvisation as a metaphor for engaging creative systems, and the impact that large-scale projections can have on performers’ engagement.
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Heal, Margaret. "The Use of Pre-Composed Songs with a Highly Defended Client". Journal of British Music Therapy 3, n.º 1 (junio de 1989): 10–15. http://dx.doi.org/10.1177/135945758900300103.
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This paper illustrates how pre-composed songs which have special meaning for the client can serve as an intermediary phenomenon in psychoanalytically-informed individual music therapy, providing opportunities for the therapist and client to develop shared meanings within the therapeutic boundaries. The client is a teenage boy with moderate learning difficulties who has suffered abuse and deprivation. He is seen as highly defended, presenting an ‘opportunist’ secondary handicap (Sinason 1986) in response to earlier traumas, and as having a limited potential space (Winnicott 1971). Pre-composed songs which had special meaning for him were able to contain his emotions in a structure that was digestible for him. The use of these songs was not seen as a substitute for free improvisation, but as a necessary precursor. After an introduction, the first five music therapy sessions will be described, followed by a conclusion discussing the underlying therapeutic processes. The setting is a secondary special school in north London. Music therapy is the only formal therapy offered for children who have been deprived, neglected, and/or abused, and who struggle with the reality of handicap every day.
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Sarath, Edward W. "Improvisation, Consciousness, and the Play of Creation: Music as a Lens into Ultimate Reality and Meaning". Ultimate Reality and Meaning 30, n.º 1 (marzo de 2007): 54–77. http://dx.doi.org/10.3138/uram.30.1.54.
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Twiner, Alison, Karen Littleton, Caroline Coffin y Denise Whitelock. "Meaning making as an interactional accomplishment: A temporal analysis of intentionality and improvisation in classroom dialogue". International Journal of Educational Research 63 (2014): 94–106. http://dx.doi.org/10.1016/j.ijer.2013.02.009.
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Lascarides, Alex y Matthew Stone. "Discourse coherence and gesture interpretation". Gesture 9, n.º 2 (30 de septiembre de 2009): 147–80. http://dx.doi.org/10.1075/gest.9.2.01las.
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In face-to-face conversation, communicators orchestrate multimodal contributions that meaningfully combine the linguistic resources of spoken language and the visuo-spatial affordances of gesture. In this paper, we characterise this meaningful combination in terms of the COHERENCE of gesture and speech. Descriptive analyses illustrate the diverse ways gesture interpretation can supplement and extend the interpretation of prior gestures and accompanying speech. We draw certain parallels with the inventory of COHERENCE RELATIONS found in discourse between successive sentences. In both domains, we suggest, interlocutors make sense of multiple communicative actions in combination by using these coherence relations to link the actions’ interpretations into an intelligible whole. Descriptive analyses also emphasise the improvisation of gesture; the abstraction and generality of meaning in gesture allows communicators to interpret gestures in open-ended ways in new utterances and contexts. We draw certain parallels with interlocutors’ reasoning about underspecified linguistic meanings in discourse. In both domains, we suggest, coherence relations facilitate meaning-making by RESOLVING the meaning of each communicative act through constrained inference over information made salient in the prior discourse. Our approach to gesture interpretation lays the groundwork for formal and computational models that go beyond previous approaches based on compositional syntax and semantics, in better accounting for the flexibility and the constraints found in the interpretation of speech and gesture in conversation. At the same time, it shows that gesture provides an important source of evidence to sharpen the general theory of coherence in communication.
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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music". Music Therapy Perspectives 37, n.º 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
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Nahshon, Edna. "A Hebrew Take on Shylock on the New York Stage". European Judaism 51, n.º 2 (1 de septiembre de 2018): 159–64. http://dx.doi.org/10.3167/ej.2017.510222.
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Shylock ’47 was a Hebrew-language stage production presented by the Pargod Theatre in New York in 1947. Conceived and directed by Peter Frye, it was a metatheatrical play-within-a-play that interrogated the idea of producing The Merchant of Venice in the aftermath of the Holocaust. It combined original scenes culled from Shimon Halkin’s Hebrew translation of Merchant with present-based transitional scenes, created mostly through improvisation and discussion between director and cast. What eventually emerged was a script based on Shakespeare’s text with added dramatized discussions about the play’s meaning and relevance to Jews at that particular moment in history.
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Vuorinen, Lauri y Miia Maarit Martinsuo. "Lifecycle view of managing different changes in projects". International Journal of Managing Projects in Business 12, n.º 1 (4 de marzo de 2019): 120–43. http://dx.doi.org/10.1108/ijmpb-11-2017-0135.
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Purpose A project contractor can promote the success of a delivery project by planning the project well and following a project management methodology (PMM). However, various changes typically take place, requiring changes to the project plan and actions that deviate from the firm’s established PMM. The purpose of this paper is to explore different types of changes and change management activities over the lifecycle of delivery projects. Design/methodology/approach A qualitative single case study design was used. In total, 17 semi-structured interviews were carried out during a delivery project in a medium-sized engineering company that delivers complex systems to industrial customers. Findings Both plan-related changes and deviations from the PMM were mapped throughout the project lifecycle. Various internal and external sources of change were identified. An illustrative example of the interconnectedness of the changes reveals the potential escalation of changes over the project lifecycle. Managers and project personnel engage in different change management activities and improvisation to create alternative paths, re-plan, catch up, and optimize project performance after changes. Research limitations/implications The empirical study is limited to a single case study setting and a single industry. The findings draw attention to the interconnectedness and potential escalation effect of changes over the lifecycle of the project, and the need for integrated change management and improvisation actions. Practical implications Efficient change management and improvisation at the early phase of a delivery project can potentially mitigate negative change incidents in later project phases. Changes are not only the project manager’s concern; project personnel’s skilled change responses are also helpful. The findings emphasize the importance of the project customer as a source of changes in delivery projects, meaning that customer relationship management throughout the project lifecycle is needed for successful change management. Originality/value The study offers increased understanding of changes and change management throughout the project lifecycle. The results show evidence of plan-related and methodology-related changes and their interconnections, thereby proposing a lifecycle view of integrated change management and improvisation in projects.
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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia". Popular Music 36, n.º 1 (13 de diciembre de 2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.
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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of speculative inquiry. The first part of the article considers works by Kodwo Eshun, Paul Morley and David Sudnow, idiosyncratic thinkers outside of the mainstream of academic music discourse who vividly approach writing about music through defamiliarising language and inventing concepts, generating associations based on comparative listening and describing the dynamics of musical process. In the second part of the article I draw on these writing techniques to direct my repeated listening encounters withDysnomiaand construct a prose interpretation modelled on the polyrhythms of the music. I conclude with a brief discussion of the phenomenological perspective on musical essences and suggest that music is a model for thinking through writing about music.
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Nahshon, Edna. "A Hebrew Take on Shylock on the New York Stage". European Judaism 51, n.º 2 (1 de septiembre de 2018): 159–64. http://dx.doi.org/10.3167/ej.2018.510222.
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Abstract Shylock’47 was a Hebrew-language stage production presented by the Pargod Theatre in New York in 1947. Conceived and directed by Peter Frye, it was a metatheatrical play-within-a-play that interrogated the idea of producing The Merchant of Venice in the aftermath of the Holocaust. It combined original scenes culled from Shimon Halkin’s Hebrew translation of Merchant with present-based transitional scenes, created mostly through improvisation and discussion between director and cast. What eventually emerged was a script based on Shakespeare’s text with added dramatized discussions about the play’s meaning and relevance to Jews at that particular moment in history.
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BAIZA, Zouhair. "DIDACTIC CRITIQUE AND INNOVATION TEACHING: TOWARD AN LEARNER, CRITICAL AND CREATIVE". International Journal of Humanities and Educational Research 03, n.º 03 (1 de junio de 2021): 160–67. http://dx.doi.org/10.47832/2757-5403.3-3.15.
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Critical text has been given great importance in teaching. The learners get tools to deal with, understand and analyse literature texts. Thus, they can evaluate these texts in an artistic way far from their personal point of view or other previous judgements. Despite the importance of the critique and its teaching in the Arabic language, it still has many obstacles in pedagogical level and so on. These obstacles make innovation teaching, feeling the beauty of style and the development of learners' thinking impossible and out of reach as long as there is still improvisation in didactic critique. Getting over difficulties in teaching critical text and achieving its goals is linked to providing conditions in terms of objectives or the nature of methodological reading. Critical text makes the reader, receiver and learner able to interpret the meaning and read between the lines through filling in the gaps and seeking the hidden meanings. This can only be achieved by using learner's experiences and the way he looks at the world.
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Priestley, Mary. "Music and the Listeners". Journal of British Music Therapy 2, n.º 2 (diciembre de 1988): 9–13. http://dx.doi.org/10.1177/135945758800200203.
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This paper outlines fourteen sessions of analytical music therapy (Priestley 1975) spread over six months and a follow-up session thirteen weeks later. The client was a self-referred lady psychotherapist aged 60. She had one isolated problem which many sessions of psychotherapy had failed to touch, so in fact this was a focal music therapy. Her problem was that she could not play, or even practise the piano, if she felt anyone (including her teacher) was listening. If she did she had feelings of panic and had to stop. This reduced her playing to the very minimum and naturally hindered her progress and her enjoyment of this art. As she was approaching a more leisured time of life she felt that it was now crucial to try and overcome this anxiety. This paper is based on brief notes made after her sessions and a re-hearing of the recorded improvisations. The client's name and some circumstances have been concealed to preserve confidentiality. She has seen the case study and has given her permission to publish. In order to give the feeling of the inner meaning and emotional flavour of an utterance, words or sentences in quotes are the client's own. Discussion recorded before the improvisation took place before we played. The supervisor mentioned twice is the Jungian analyst, Dr. Redfearn, with whom the writer has discussed her work for several years. The 50-minute sessions were weekly as far as possible, but dates are given.
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James, Christine A. "Metaphor in the Lab: Humor and Teaching Science". Philosophy of Humor Yearbook 1, n.º 1 (1 de septiembre de 2020): 223–36. http://dx.doi.org/10.1515/phhumyb-2020-0016.
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Abstract Using humor, empathy, and improvisation to make science more accessible to the average person, the center has helped many scientists communicate more effectively about what they do. In many cases, this involves taking science down from the metaphorical “ivory tower” and bringing it into the comfort zone of students and people who may not have had a positive experience in science classes. Avariety of metaphors are used to make science “come alive.” This is an interesting counter example to earlier theories of metaphor and comedy such as the “disparagement theory” (Mio and Graesser 1991) which described jokes as more successful if they relied on disparaging metaphors that build community through shared hostility. The metaphor approach builds community and creates inclusion through “social-facilitative functions of playful language” (Ritchie and Schell 2009). When a scientist helps a layperson or student understand humorous metaphors, it communicates the literal meaning of terms, but also the contextual meaning, research practices, and the laboratory social setting. This is argued through examples of humor, comedy, and metaphor-a timely issue given current political discussions in the United States.
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Roszko, Edyta. "A Triad of Confrontation: State Discipline, Buddhist Purification, and Indiscipline as a Local Strategy in Central Vietnam". Journal of Contemporary Ethnography 48, n.º 2 (5 de marzo de 2018): 183–208. http://dx.doi.org/10.1177/0891241618758854.
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In the village of Sa Huỳnh, state, fishers, and Buddhist clergy draw from semiotic ideologies but often employ a common political language, rarely agreeing on its meaning. Highlighting different structural positions and goals of social actors, I argue that binary oppositions exist but are not mutually exclusive, ever-lasting or antagonistic, as they shift in unexpected ways across the triadic relationship between state officials, fishers, and Buddhist clergy. By exposing the extent of improvisation and legitimation tactics, I show that religious practices are co-produced locally by the state through its diverse agents and agencies, by religious reformers through their purifying discipline, and by various categories of villagers who use indiscipline as a local tactic when acting on behalf of their gods.
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Østern, Tone Pernille. "Teaching Dance Spaciously". Nordic Journal of Dance 1, n.º 1 (1 de diciembre de 2010): 46–57. http://dx.doi.org/10.2478/njd-2010-0007.
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Abstract This article focuses on and discusses the concept of space as a theoretical tool in connection with dance pedagogy. The author suggests that to look at the dance class as spacious contributes to the dance teacher’s awareness of the fact that she operates in, and also creates, many different spaces as she teaches. This awareness might support the teacher in broadening the dance space in order to embrace differences among dancers, thereby providing the word spacious with a second meaning: generous. The author’s interest in the concept of space as a theoretical device to help understand what goes on in a dance class was born during the analysis of the video material collected for her PhD in dance (Østern, 2009). The practical investigation of the study dealt with formulating an approach to dance pedagogy with a group of mixed-ability dancers based on an understanding of the meaning-making processes among the different dancers in the project. Dialoguing with scholars like Maurice Merleau-Ponty (1962/2002), Valerie Briginshaw (2001), Shaun Gallagher, Dan Zahavi (2008) and Leena Rouhiainen (2007), the author distinguished different spaces in the dance improvisation classes she was teaching, video recording and analysing. Through this process, she developed a theory on the fact that in a dance improvisation class with differently bodied dancers meaning was made in different ways, touching on and producing different spaces. The author concludes that one main advantage of regarding a dance class as spacious is that it allows for an understanding that in class meaning-making can happen in different ways, within different spaces. Together with the dancers, the dance teacher moves in and out of these spaces as she teaches. Tone Pernille Østern (Doctor of Arts in dance) is a dance artist, teacher and researcher based in Trondheim, Norway. She is the artistic leader of the Inclusive Dance Company (www.dance-company.no) which is a small independent contemporary dance company. She has developed the Dance Laboratory (www.danselaboratoriet.no) which is a performing group with differently bodied dancers. The Dance Laboratory also formed the basis of her field work in relation to her PhD in Dance at the Theatre Academy in Helsinki (Østern, 2009). Østern is also the leader of the MultiPlié Dance and Diversity Festival, a biennial in Trondheim since 2004. The festival tries to stretch and discuss ideas about what dancing is and who can be a dancer. From 2009 she also takes up the position as assistant professor at the Program for Teacher Education at the NTNU University where she teaches and carries out research. E-mail: inclusive@dance-company.no / tone.pernille.ostern@plu.ntnu.no
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Bluestone, Daniel. "Chicago's Mecca Flat Blues". Journal of the Society of Architectural Historians 57, n.º 4 (1 de diciembre de 1998): 382–403. http://dx.doi.org/10.2307/991458.
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This essay explores the Mecca, one of Chicago's largest nineteenth-century apartment houses. Designed in 1891, the Mecca's innovative plan incorporated an exterior landscaped courtyard and two monumental interior atria. The form and meaning of these spaces diverged in important respects. The exterior courtyards appropriated aspects of the single-family residential form and domestic ideology. The interior atria relied on Chicago skyscraper models and their cosmopolitan approach to the possibilities of density. Exterior courtyards later proliferated, while atria appeared in only two other local residential buildings. Nevertheless, the Mecca's atria possessed a sense of place that deeply etched the building into Chicago's cultural and political landscape. The building became the subject of 1920s blues improvisation-the "Mecca Flat Blues." In the 1940s and 1950s tenants waged a decadelong Mecca preservation campaign. Housing rather than Chicago School aesthetics provided the preservationists with their point of departure. Race interesected with space and Mies van der Rohe's vision of modern urbanism to seal the Mecca's fate. The essay's methodology develops the social and cultural meaning of form. Moreover, it demonstrates the importance of pushing architectural history beyond the nexus of meaning created by original patrons and designers. We stand to learn a great deal about architectural and urban history by studying how people have defined and redefined, valued and devalued, their buildings, cities, and landscapes.
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Brook, Taylor. "Musicking with Music-Generation Software in Virtutes Occultae". Leonardo Music Journal 30 (diciembre de 2020): 3–7. http://dx.doi.org/10.1162/lmj_a_01086.
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This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the composer. After an overview of how the music-generation software he developed contributed to the creation of Virtutes Occultae, the composer makes comparisons between his process and the use of generative commercial music software to create music, in order to draw distinctions between creating computer-generated music to extend aesthetic sensibilities and creating computer-generated music that iterates based on established commercial styles. Finally, the composer proposes future paths for further investigation involving the development of new musical styles through computer-generated music and reactive computer improvisation.
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Grandt, Jürgen E. "The Sound of Red Dust: Jean Toomer, Marion Brown, and the Sonic Transactions of “Karintha”". Textual Cultures 13, n.º 1 (15 de abril de 2020): 128–48. http://dx.doi.org/10.14434/textual.v13i1.30075.
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On his 1973 album Geechee Recollections, free jazzer Marion Brown tackles one of the most musical African American narratives, “Karintha” from Jean Toomer’s Cane. The velocity of sound Toomer’s text seeks to transcribe in literary form Brown trans-scribes back into music propelled by what I term Afro-kinesis. Afro-kinesis is a form of motion — a Benjaminian eddy rather than a Derridean trace — that improvises modalities of transaction with and in new-old sonic topographies, and in the process limns an aural modernity that constantly reinvents itself. This kinetic ecology of sound goes beyond acoustic transposition and instead aspires to effect a signifying exchange between the mercurial improvisation of free jazz’s “new thing” and the scripted stasis of literary text, a transaction of meaning across cultural time and physical space.
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Davis, Dennis S., Dot McElhone y F. Blake Tenore. "A dialogic account of reader–text interactions". English Teaching: Practice & Critique 14, n.º 3 (7 de diciembre de 2015): 335–49. http://dx.doi.org/10.1108/etpc-04-2015-0026.
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Purpose – The purpose of this paper is to present a conceptualization of reading comprehension that extends beyond the traditional cognitive viewpoint on comprehension common in the field. Design/methodology/approach – Drawing on literature and theory from various perspectives (cognitive, sociocultural and critical), the authors propose a conceptual heuristic that can inform future scholarship. Findings – Using four foundational principles of reader–text interactions as a starting point (non-neutrality, tethered polysemy, variable agency and unruliness), the authors describe reader–text interactions in terms of the tethers/resources that are brought into the interaction, the moment-to-moment improvisation that occurs when readers meet a text and the changes at the intra- and interpersonal levels that result from and influence future reader–text interactions. Originality/value – The conceptualization can inform future research and practice in literacy by situating meaning making within a broader understanding of the processes and consequences of textual interaction.
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Myers-Coffman, Katherine, Felicity A. Baker, Brian P. Daly, Robert Palisano y Joke Bradt. "The Resilience Songwriting Program for Adolescent Bereavement: A Mixed Methods Exploratory Study". Journal of Music Therapy 56, n.º 4 (2019): 348–80. http://dx.doi.org/10.1093/jmt/thz011.
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Abstract Music therapy research with youth who are grieving often reports on a combination of interventions, such as lyric analysis, improvisation, and/or songwriting. Unfortunately, the lack of theoretical transparency in how and why these interventions affect targeted outcomes limits interpretation and application of this important research. In this exploratory study, the authors evaluated the impact of an 8-session, theory-driven group songwriting program on protective factors in adolescent bereavement, and also sought to better understand adolescents' experiences of the program. Using a single-group, pretest-posttest convergent mixed methods design, participants were enrolled from three study sites and included 10 adolescents (five girls and five boys), ages 11–17 years, who self-identified as grieving a loss. Outcomes measured included grief, coping, emotional expression, self-esteem, and meaning making. Qualitative data were captured through in-session journaling and semi-structured interviews. There were no statistically significant improvements for grief, self-esteem, coping, and meaning making. Individual score trends suggested improvements in grief. The majority of the participants reported greater inhibition of emotional expression, and this was statistically significant. Thematic findings revealed that the program offered adolescents a sense of togetherness, a way to safely express grief-related emotions and experiences verbally and nonverbally, and opportunities for strengthening music and coping skills. These findings suggest that engaging in collaborative therapeutic songwriting with grieving peers may decrease levels of grief, enhance creative expression, and provide social support. More research is needed on measuring self-esteem, emotional expression, coping, and meaning making outcomes in ways that are meaningful to adolescents.
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S.Volskaya, Anastasia, Olga A. Chupryakova, Svetlana S. Safonova y Gulnaz T. Karipzhanova. "Semantico-Functional Features of Expressive Derivatives in the Artistic Discourse of V. Makanin". International Journal of Engineering & Technology 7, n.º 4.36 (9 de diciembre de 2018): 983. http://dx.doi.org/10.14419/ijet.v7i4.36.24936.
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The paper is devoted to the study of semantic and functional features of expressive derivatives, both usual and occasional, in the artistic gist of the novel “Asan” by V. Makanin, as well as their role in structuring the individual-author’s linguistic picture of the world. It has been proven that the derivation of expressive lexemes is the result of improvisation according to established patterns, and that the formation of occasional substantives, adjectives and verbs involved the main methods of the Russian word derivation. It is noted that in the artistic discourse of V. Makanin, in the substantive word-formation, suffixation plays a leading role, which takes place in the sphere of abstractness and includes such lexical-semantic groups as expressive substantives with the meaning of a person, expressive substantives with the meaning of abstracted action or an abstract feature with connotation, as a rule, negative and/or reduced colloquial connotation. While in the sphere of adjectival and verbal word formation, confixation and prefixation, as the formation of expressiveness, is most productive. The paper considers the phenomenon of semantic word formation, describes the formation of semantic derivatives, including in the field of occasional vocabulary. Expressive derivatives in the artistic discourse of V. Makanin are a bright sign of his individual style, an important means of expressing the world view and outlook of the writer.
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Frieler, Klaus, Martin Pfleiderer, Jakob Abeßer y Wolf-Georg Zaddach. ""Telling a Story." On the Dramaturgy of Monophonic Jazz Solos". Empirical Musicology Review 11, n.º 1 (8 de julio de 2016): 68. http://dx.doi.org/10.18061/emr.v11i1.4959.
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The metaphor of storytelling is widespread among jazz performers and jazz researchers. However, little is known about the precise meaning of this metaphor on an analytical level. The present paper attempts to shed light on the connected semantic field of the metaphor and relate it to its musical basis by investigating time courses of selected musical elements and features in monophonic jazz improvisations. Three explorative studies are carried out using transcriptions of 299 monophonic jazz solos from the Weimar Jazz Database. The first study inspects overall trends using fits of quadratic polynomials onto loudness and pitch curves. The second study does the same using selected features related to intensity, tension and variability over the course of phrases in the solos. The third study examines the distribution of the relative positions of various improvisational ideas in a subset of 116 solos. Results show that certain trends can be found, but not to a large extent. Significant trends most often display arch-shaped curves as expected from classical dramatic models. This is also in accordance with the fact that expressive improvisational ideas are more often found in the last part of a solo, while more relaxed ideas occur earlier. All in all, jazz improvisations show a wide range of variation and no single overarching dramatic model could be identified.
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Delic, Lidija. "Poetic grounds of epic formulae". Balcanica, n.º 44 (2013): 51–78. http://dx.doi.org/10.2298/balc1344051d.
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The study of oral formulae in the twentieth century had several phases. After the initial - very stimulating and influential - research by M. Parry and A. B. Lord, who focused on the technique of composing the poem and the mnemotechnic function of formulae, the focus at first shifted to the concept of performance (J. M. Foley), and then to the mental text (L. Honko), which introduced into research horizons social, ideological, psychological and mental conditions of improvisation, interaction between the singer and the audience, collective and individual factors of memorising, cultural representation, and the like. Although all the abovementioned aspects undoubtedly determine the structure of a specific variant, it should be kept in mind that formulae transcend concrete improvisations and connect different epic zones, different local traditions and different times. The formula precedes verbal improvisation both chronologically and logically. Therefore - before explaining the repeating of formulae by the needs and nature of improvisation (composition-in-performance) or the generating of formulae in specific variants by textualisation of mental text - we must explain the existence of the formula in the first place. This paper seeks to point out the complex system of factors that determine the genesis of formulae. Formulae are regarded as cultural codes, which combine elements from different spheres (the conceptualization of space, time, colour and so on, elements of rituals, customary norms, historical experience, life realities, ethics, etc.). Therefore, their structure is described in terms of hidden knowledge, hidden complexity, frame semantics, the tip of the iceberg, compressed meanings. Meanings ?compressed? in the formulae are upgraded with new ?income? in every new/concrete realisation (i.e. poem) and this is the area where aesthetics rivals poetics.
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Kropova, Daria S. "Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film". Journal of Flm Arts and Film Studies 8, n.º 4 (15 de diciembre de 2016): 76–83. http://dx.doi.org/10.17816/vgik8476-83.
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This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov, filmmaker I. Ivanow-Vano,1952). Special attention is drawn to the opera film The Queen of Spades (composer Pyotr Tchaikovsky, filmmaker R. Tihomirov,1960). The author discloses in fairy-opera-film elements of commedia dell'arte, that is improvisation and masks. For example in films The Love for three Oranges (composer Sergei Prokofiev, filmmakers W. Titov and J. Bogatyrenko,1970) and The Magic Flute (composer Wolfgang A. Mozart, filmmaker I. Bergman,1975). The author comes to the conclusion concerning the targets and tasks of a fairy-opera-film. Through watching fairy-opera-films children should live cultural and psychological history of humanity step by step in its development through music, dance culture and drama (theater). The main task of fairy-opera-film is to save an entity of a human being, to prevent a childs mutation into either a superman (or bermensch in F. Nietzsches term) or degeneration.
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Teparić, Srđan. "Movement strategies ASJ the basis for creating transcendence in the composition of The Tree of Life by Ivana Stefanović". New Sound, n.º 52-2 (2018): 71–86. http://dx.doi.org/10.5937/newso1852071t.
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The composition The Tree of Life by Ivana Stefanović, for string orchestra, was written in 1997. It is composed of several entities of similar meaning, which derive from one motif. This fact alone suggests that this composition is essentially a powerful allegory that achieves a complex picture of the birth of human life and its development. The compositional techniques of decorating, superimposing and improvisation are powerful metaphors that indicate the flowering of living wood. From the analytical point of view, the composition by Ivana Stefanović is interesting to observe for it avoids postmodernist procedures. On the contrary, it is like reinterpreting the modernist idea of construction, but tying itself to the transcendent metaphor of life. The aforementioned procedures, which render their perpetual branching to be perceived as a single entity, lead to a complete musical gesture that begins, matures, and ends in transcendence. The common mode of all the procedures used in this piece is the movement that arises from one constant, a pulsation. Musical gestures related to several strategies will be examined in an analytical way. The first is decorating, which is directly related to similar strategies: growing, blooming and improvisation. The binding together of such situations leads to the creation of a unique musical gesture that points to life itself. Such symbolic unity, from the beginning to the end, has been realized in a transcendent mode. In this capacity, the composition The Tree of Life by Ivana Stefanović stands aside from most of the usual stylistic procedures of the time in which it was created. The combination of the strategies used points to a ludic game of linking the pulsation, that is, movements, which stand in direct union with the inexpressible sphere of symbolic, that is, unstoppable eternal currents. The work deals with the analysis of strategies by which motor musical movements, as symbols, at the signifying level, are placed as gestures of expressing the transcendent. Moving lines and their collisions, places for creating prolongation, spreading and shrinking of the texture with the change of its layers, development of motifs with the pronounced application of the variation procedure, all these procedures will be treated as methods of building a unique tree of life. The composer began her narrative network with the basic motif cell, with the first statement, "in the beginning it was [...]". Based on the identification and method of combining the compositional strategies of the movement, it will be possible to prove the thesis of a transcendental musical gesture, formed as a result of the complex interrelations between the individual meaningful units.
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Audrian, Nahemia. "MAKNA PENGALAMAN PELATIH BERINTERAKSI DENGAN LUMBA-LUMBA DALAM PERTUNJUKAN "DOLPHIN SHOW" OCEAN DREAM SAMUDRA". Jurnal Common 3, n.º 1 (7 de agosto de 2019): 81–93. http://dx.doi.org/10.34010/common.v3i1.1951.
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Interaksi manusia dengan hewan telah menjadi fenomena yang selalu terjadi selama berabad-abad. Salah satu hewan yang memiliki kapabilitas kecerdasan tinggi dalam berkomunikasi ialah lumba-lumba. Lumba-Lumba ialah salah satu mamalia laut yang sering di pertunjukan di berbagai wahana wisata, sirkus, hiburan, juga penelitian maupun pengobatan. Keterlibatan lumba-lumba ini tidak terlepas dari peran pelatih yang selalu berinteraksi dalam melatih lumba-lumba. Penelitian ini bertujuan untuk mengetahui makna pengalaman pelatih dalam berinteraksi dengan lumba-lumba dalam pertunjukan “Dolphin Show” di Ocean Dream Samudra – Ancol. Pemaknaan nilai-nilai hidup dalam pengimplikasian jenis komunikasi yang diterapkan pelatih dalam metode pelatihan menjadi dasar pembahasan. Peneltian dilakukan di dolphinarium Ocean Dream Samudera – Taman Impian Jaya Ancol. Penelitian ini menggunakan pendekatan fenomenologi interpretatif dengan pendekatan model Collaizi (1978) sebagai teknik analisis data beserta triangulasi sumber data. Interaksi antar pelatih dan lumba-lumba didasarkan oleh rasa cinta pada hewan yang didukung oleh penggunaan jenis komunikasi seperti verbal, gestur, objek, peluit ultrasonik, fokus tatapan mata, dan bahasa telepati. Interaksi didukung juga oleh perubahan makna simbol, proses konsisten disiplin dan pemberian reward dalam proses latihan. Kesalahan berinteraksi yang terjadi saat pertunjukan ditutupi oleh kemahiran pelatih dalam improvisasi acting. Koneksi yang terjalin antar pelatih dan lumba-lumba memungkinkan komunikasi antar manusia dan hewan dapat terjadi.
Abstract
Human - animal interaction has always been a phenomenon throughout hundreds of years. One of the cleverest animal species that have high inteligence capability in communication are dolphins. Dolphins are one of the cetacean group that often being shown in various places such as theme park, circus, entertainment, research and also medication centre. This involvement of dolphins usually attached with the role of trainers that always interact while training those dolphins. This research aimed to discover the meaning of trainers and dolphins’ interaction experience in “Dolphin Show” Ocean Dream Samudra – Ancol. The meaning of life value in implicating communication aspects used by trainers becoming analysis foundation. This research was held in Ocean Dream Samudra – Taman Impian Jaya Ancol. This research uses Collaizi’s (1978) model as data analysis techniques and the triangulation sources of data. Interaction between trainers and dolphins is based on the feeling of love for animals in which supported by incorporating communication aspects such as verbal, gesture, objects, ultrasonic whistle, focus in eye sight, and telepathy. The changes in meaning produced by symbol and the consistency, discipline and reward management in training also support the interaction process. Miss comunication that occur during shows, covered by the ability of acting improvisation. The connection between trainers and dolphins enabling communication between human and animals.
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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM". Вестник Пермского университета. Российская и зарубежная филология 13, n.º 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.
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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.
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Brown, John Russell. "Voices for Reform in South Asian Theatre". New Theatre Quarterly 17, n.º 1 (febrero de 2001): 45–53. http://dx.doi.org/10.1017/s0266464x00014317.
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The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporary needs, not only by drawing upon their unique qualities – but also by respecting the injunction in the Natyasastra that the actor must combine discipline with a readiness for improvisation. John Russell Brown here supports the conclusions of the symposium that the qualities of Asian theatre which differentiate it from western forms – of a quest for transformation rather than representation, a concern with emotional truth rather than ideological ‘meaning’ – can best be pursued by such an approach, restoring to the theatre ‘its enabling and necessary role in society’. John Russell Brown was the first professor of Drama and Theatre Arts at the University of Birmingham, and subsequently Associate Director at the National Theatre in London. More recently he has taught and directed in the USA, New Zealand, and Asia, and is now Visiting Professor of Performing Arts at Middlesex University. The most recent of his numerous books is New Sites for Shakespeare: Theatre, the Audience and Asia (Routledge, 1999).
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Kizel, Arie. "following philosophy with children concepts in practice of teacher education". childhood & philosophy 15 (30 de diciembre de 2019): 01–21. http://dx.doi.org/10.12957/childphilo.2019.44574.
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Teacher-student dialogue plays a central role in facilitating the ongoing growth of those engaged in education, particularly dialogue that invites student reflection on the instruction being given and the teacher herself. Dialogue should aid students in articulating self-awareness (conscious or unconscious) regarding their behaviour and learning habits and the learning process and its results at the same time as assessing their quality and the ways in which they may be improved. One of the reasons behind our increasing inability to break down the inherent barrier between teachers and students is due to a lack of engagement in ongoing dialogical reflection as a means of advancing the teaching-learning process within the school. This article summarizes the philosophical concepts of a ten years of teacher education program which was designed according to the principals of Philosophy with Children. The program fostered creativity and self-reflective thinking in schools and in teacher education and offered dialogical methods. It is based also on six dimensions that are the basis of Philosophy with Children: learning from a place of questions, community of learning that resists the educational hierarchy that boasts of omniscience, coordinator as a participant in the learning process, learning in the real present, legitimization of improvisation as a way of learning , learning as liberating the learner from disciplinary boundaries. All six dimensions view Philosophy with Children as a pedagogy of searching at whose center lies the pursuit of meaning that facilitates personal development—and thus self-direction and capability.
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Redhead, Lauren. "'Entoptic landscape' and 'ijereja': Music as an iterative process". New Sound, n.º 49 (2017): 97–113. http://dx.doi.org/10.5937/newso1749097r.
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Entoptic landscape and ijereja are both works that can be considered as expanding collections of materials. They explore the spaces between composition, notation, performance and improvisation by considering all of these activities as equally 'performative'. Each work comprises a set of materials that includes scores, fixed media audio and video, recorded live performances, studio-edited performances, and performance strategies. In the case of each piece, materials created in and by previous performances go on to inform future performances of the music. As such, there can be no 'definitive' performance or statement of the works, and nor can they ever be considered finished or bounded. This is how these pieces conceive of music as an iterative process: they are intended as statements of that process. Nicholas Bourriaud (2010) identifies the creative artist as a 'semionaut': one who must navigate between signs and signifiers in order to negotiate, interpret, and create meaning. In the 'work' of music, the composer, performer and listener can all be thought of as semionauts; they take part in the same processes to create and recreate the 'work'. In my own practices I embody and enact all three of these positions, and I seek to blur the boundaries between listening, performing and composing. Contemporary artistic forms in Bourriaud's terms, then, are 'journey forms': they internalise and externalise an experience of movement through the work as a temporal and spatial territory. The music presented here offers an opportunity for the exploration of the journey form as a compositional strategy, a tool for performance and interpretation, and a framework for criticism.
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Kontos, Pia, Mary L. Radnofsky, Phyllis Fehr, Mike R. Belleville, Frances Bottenberg, Mary Fridley, Susan Massad et al. "Separate and Unequal: A Time to Reimagine Dementia". Journal of Alzheimer's Disease 80, n.º 4 (20 de abril de 2021): 1395–99. http://dx.doi.org/10.3233/jad-210057.
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The rapid emergence of COVID-19 has had far-reaching effects across all sectors of health and social care, but none more so than for residential long-term care homes. Mortality rates of older people with dementia in residential long-term care homes have been exponentially higher than the general public. Morbidity rates are also higher in these homes with the effects of government-imposed COVID-19 public health directives (e.g., strict social distancing), which have led most residential long-term care homes to adopt strict ‘no visitor’ and lockdown policies out of concern for their residents’ physical safety. This tragic toll of the COVID-19 pandemic highlights profound stigma-related inequities. Societal assumptions that people living with dementia have no purpose or meaning and perpetuate a deep pernicious fear of, and disregard for, persons with dementia. This has enabled discriminatory practices such as segregation and confinement to residential long-term care settings that are sorely understaffed and lack a supportive, relational, and enriching environment. With a sense of moral urgency to address this crisis, we forged alliances across the globe to form Reimagining Dementia: A Creative Coalition for Justice. We are committed to shifting the culture of dementia care from centralized control, safety, isolation, and punitive interventions to a culture of inclusion, creativity, justice, and respect. Drawing on the emancipatory power of the imagination with the arts (e.g., theatre, improvisation, music), and grounded in authentic partnerships with persons living with dementia, we aim to advance this culture shift through education, advocacy, and innovation at every level of society.