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Ahearn, Gavin. "Friendship and Anonymity in Collective Free Music Improvisation". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20923.
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Researchers interested in the musical practice of free improvisation have historically prioritised studies of improvisatory process at both the individual or group level. In the realm of jazz studies, discussions of group interactivity have long pointed to the role friendship plays in facilitating these processes (Berliner, 1994; Monson, 1997; Jackson, 2012) and recent qualitative studies of group decision making and interaction in jazz have demonstrated that the shared understanding embedded within relationships can help facilitate open environments ideal for free improvisation (Canonne and Aucouturier, 2015; Wilson and Macdonald, 2017). Yet parallel research into group creativity outside the jazz context has put forth an intriguing alternate idea – the notion that anonymity amongst group participants may also lead to openness during the collaborative process (Bryan-Kinns, Healey and Leach, 2007). This thesis unpacks the experiences of four Australian free music practitioners in terms of friendship and anonymity in an attempt to flesh out a spectrum of optimal conditions that might underpin successful free music exchanges. In doing so, it lays open potential areas of future research in terms of delineating how a range of different sorts of relationships might impact improvised group creativity.
2
Houdart-Joud, Sylvie. "L’invention musicale collective et guidée". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL146.
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L’invention musicale collective est une pratique relativement répandue dans les lieux où la musique est enseignée. Souvent considérée comme une approche primordiale de la musique en ce qu’elle sollicite une forte implication du sujet et son ouverture aux autres, elle constitue pourtant un objet de recherche complexe. Elle recèle en particulier plusieurs paradoxes qui ne peuvent se résoudre que par un travail de conceptualisation autour des idées d’invention musicale et de guidage. Dans un premier temps, par un ancrage dans la cphénoménologie de Michel Henry, la thèse cherche à préciser l’idée de corps musicien à partir du concept henryen de corps vivant et à circonscrire les idées de musicalité et d’invention musicale. Dans un second temps, une méthode de recherche est élaborée, dans le sillage des travaux conduits par F. Varela pour servir son projet d’une neuro-psycho-phénoménologie, afin d’enquêter, par le recours à la technique d’explicitation de P. Vermersch, sur les conduites mentales de musiciens en situation d’invention musicale collective. Les résultats concernent de jeunes musiciens en formation professionnelle. Une première expérimentation montre quelques réactions de refuge face à la perte de la référence aux idiomes musicaux habituels. Une deuxième expérimentation ciblant les procédures d’invention d’un matériau musical met au jour un recours à des connaissances corporellement inscrites jamais désignées explicitement par les musiciens. En déduction de ces résultats, il apparaît que le guidage ne peut se définir dans l’absolu car il nécessite la prise en compte de ces processus mentaux autant que la maîtrise de la relation d’interdépendance qu’il noue avec euxCollective musical invention is a relatively widespread practice in venues where music is taught. Often considered an essential approach to music since it requires significant involvement of the subject and openness to others, it is nevertheless a complex object of research. In particular, it encompasses several paradoxes that can only be resolved by conceptualizing the ideas of musical invention and of guidance. First, by diving into Michel Henry's phenomenology, the purpose of this thesis is to clarify the concept of “embodied musicality” based on the Henryian concept of “embodied life” and to define the ideas of musicality and musical invention. In a second step, a research method is developed in the wake of the works conducted by F. Varela for his project of a neuro-psycho-phenomenology. This method involves investigating, through "the explicitation method of private thinking” elaborated by the French psychologist P. Vermersch, the mental behaviour of musicians placed in a situation of collective musical invention. The results refer to young musicians who are part of a professional syllabus. A first experiment shows that musicians tend to take refuge in various behaviors due to the loss of reference points regarding the usual musical idioms. A second experiment whose target is the process involved for inventing musical materials, reveals the use of body-memory knowledge which is sophisticated but never named by musicians. These results indicate that guidance cannot be defined in absolute terms, due to the fact that full account must be taken of the mental processes involved. It also requires mastering the interdependent relationship established with these processes
3
Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /". [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Trenvouez, Arnaud. "Pour la conception de dispositifs de formation au travail collaboratif : analyse en ergonomie cognitive de l'activité collective en match d'improvisation théâtrale". Nantes, 2013. http://www.theses.fr/2013NANT3003.
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L'objectif de cette thèse était de proposer les aides à la conception de formation au travail collaboratif. Entre enjeux de conception et enjeux épistémiques, l'intelligibilité mutuelle apparaît comme un ressort essentiel à la performance collective en situation de collaboration. Pour comprendre ses conditions de production, nous avons parié sur une situation d'étude privilégiée originale : le match d'improvisation théâtrale. Six saynètes d'improvisation ont été analysées en référence au programme de recherche du cours d'action (Theureau, 2006). Les résultats mettent en évidence à un niveau local (a) cinq processus interactionnels, (b) trois systèmes contextuels mobilisés par les joueurs, © trois formes typiques de compréhension entre les joueurs, et (d) différentes ressources et processus participant à la (dé)construction de la. A un niveau global, sont mis en évidence (a) quatre phases caractéristiques dans la compréhension entre les joueurs. Ces résultats ont été complétés par une analyse des pratiques d'entrainements. Dans une approche enactive de la formation (Durand, 2008), et à partir de ces résultats (a), sont précisés des principes de conception de situations de formation au travail collaboratif, (b) des principes d'intervention pour les formateurs. Des situations pratiques de formation sont proposées.
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Hernandez-Ruiz, Haydée Margarita. "L'improvisation comme compétence, étude du déploiment d'un dispositif de gestion logistique". Thesis, Châtenay-Malabry, Ecole centrale de Paris, 2013. http://www.theses.fr/2013ECAP0010/document.
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Cette recherche est consacrée à l’étude du déploiement d’un dispositif de gestion logistique chez un constructeur automobile français. La théorie de la mise en acte des outils de gestion est utilisée pour analyser le processus du déploiement du dispositif de gestion MAF mutualisés. Celle-ci considère qu’il y a un processus d’adaptation par les utilisateurs lors de la mise en place du dispositif appelé « appropriation ». Notre proposition établit que cette appropriation se réalise « chemin faisant », sans planification et par la volonté des utilisateurs, trois caractéristiques de l’improvisation identifiées dans la littérature. A la suite des travaux de Ciborra, nous faisons appel au concept d’improvisation organisationnelle afin de caractériser les actions réalisées par les utilisateurs pour « faire avec » le dispositif de gestion. Notre démarche est fondée sur un aller-retour entre littérature et terrain qui nous a permis d’affiner les questions de recherche et la méthode d’analyse suite à la période d’observation participante d’un an (juillet 2009 à août 2010) au sein de l’équipe chez le constructeur automobile. Nous avons ainsi élaboré trois grilles de lecture pour identifier les difficultés rencontrées lors du déploiement du dispositif, caractériser les boucles prescription-improvisation lors de la mise en place du dispositif et les comparer. Notre étude nous emmène à proposer une définition de l’improvisation comme compétence à « faire avec » les outils de gestion et à construire un modèle du processus d’improvisationThis research studies the implementation of a management device at a French car manufacturer. Implementation theory is use for analyzing the device’s implementation process called « mutualized MAF ». This theory considers that an adaptation process is realized by the users during the device implementation. This process is called "appropriation". Our findings propose that this appropriation is realized «making path», without planning and voluntarily by the users, three improvisation characteristics identified by the literature. Following Ciborras’s work, we use organizational improvisation concept to characterize the actions performed by users to "make do" with the management device. Our approach is based on a going-and-coming process between literature and research ground which helped us to suit better our research questions and our analyzing method after one year observation period (July 2009 to August 2010) within the team at the automaker. We have developed three reading grids to identify difficulties encountered during the device, characterize prescription-improvisation loops during the implementation of the device and compare loops between them. Our study leads us to propose a definition of improvisation as a skill to "make do" with the management tools and to build a model of improvisation
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Canonne, Clément. "L'improvisation collective libre : de l'exigence de coordination à la recherche de points focaux. : cadre théorique. Analyses. Expérimentations". Phd thesis, Université Jean Monnet - Saint-Etienne, 2010. http://tel.archives-ouvertes.fr/tel-00676796.
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On s'intéresse ici à une classe particulière de phénomènes musicaux improvisés : ceux qui réunissent au moins deux musiciens improvisant simultanément et librement. Les musiciens placés dans cette situation doivent affronter un problème particulier : il n'y a aucun ensemble intersubjectif de données musicales (voire extra-musicales) qui vienne contrôler non seulement le devenir formel de l'improvisation (inter-détermination horizontale) mais encore la coexistence concurrente des différents discours improvisés (inter-détermination verticale).A partir de là, il s'agit de montrer que l'on peut penser l'improvisation collective libre, en tant qu'elle est une situation interactive, stratégique et collaborative, sous la catégorie générique du problème de coordination.Cette appartenance étant posée, la question est ensuite envisagée sous différents angles. Dans la première partie, la théorie des jeux, en particulier la théorie des points focaux, est mobilisée pour déterminer les heuristiques cognitives qui seront utilisées par les improvisateurs pour parvenir effectivement à se coordonner. On montre dans la deuxième partie la place centrale qu'occupe l'idée de coordination dans la dynamique et la gestion formelle d'une improvisation collective libre. Le cadre théorique est finalement confronté à deux types de données empiriques : des analyses d'extraits du festival Company Week, organisé par le guitariste Derek Bailey, dans la troisième partie ; et les résultats de cinq proto-expérimentations menées auprès de musiciens issus de la Norwegian Academy of Music et du CNSMD de Lyon, dans la quatrième partie.
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Houplain, Vanessa. "Développer une capacité collective de réponse en temps réel en contextes extrêmes". Electronic Thesis or Diss., Angers, 2024. http://www.theses.fr/2024ANGE0057.
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Cette thèse sur travaux a vocation à approfondir la compréhension des réponses dans le contexte de crise engendrée par la pandémie de Covid-19. Parce qu’elles sont en permanence soumises à l’imprévisibilité de leur environnement, les organisations doivent être capables de répondre en temps réel à de tels événements extrêmes qui désorganisent et menacent leur fonctionnement. Nous cherchons donc à comprendre comment développer une capacité collective de réponse en temps réel en contextes extrêmes. Notre thèse a pour originalité d’aborder cette question de la réponse à un événement extrême, habituellement difficile à observer, en mobilisant une approche qualitative réalisée en trois temps, ainsi qu'une vision dynamique de la réponse. Pour notre étude empirique, nous avons d’abord conduit des entretiens sur deux périodes auprès d'acteurs ayant été confrontés à la crise. Nous avons ensuite réalisé une étude de cas d’une université qui a apporté des réponses inédites pour faire face à l’imprévu.Nos résultats mettent en évidence que l’action collective improvisée peut être porteuse de sens pour les individus, lorsque l’organisation met en place des moyens pour les accompagner dans la progression de leurs actions. Nous mettons en avant plusieurs contributions majeures : notre modèle centré sur les vulnérabilités organisationnelles décrit comment des comportements humains, catalysés par des défaillances organisationnelles, peuvent empêcher d’anticiper une crise, puis limiter les capacités à improviser pour y répondre. Nous proposons la notion de potentiel transformatif de l’improvisation collective pour décrire comment les collectifs évoluent d’un mécanisme de construction de sens par l’improvisation vers un mécanisme de construction de sens plus réflexif. Nous mettons en évidence que les valeurs relationnelles et leur capitalisation sont un levier de la construction collective de sens pour réussir les improvisations, initier des transformations à l’issue de la crise et engager l’organisation dans une dynamique de renforcementThe aim of this thesis is to gain deeper insights into the responses to the crisis caused by the Covid-19 pandemic. Since organisations are constantly exposed to unpredictability, they must be capable of responding in real time to such extreme events, which disrupt and threaten their operations. Thus, we aim to understand how to develop a collective capacity for real-time response in extreme contexts.The original feature of our thesis is that it addresses the question of responding to an extreme event, which is typically difficult to observe, by using a three-phase qualitative approach as well as a dynamic perspective on the response. For our empirical study, we first conducted interviews in two waves with individuals who had faced the crisis. We then performed a case study of a university that developed innovative responses to manage the unexpected.Our findings reveal that improvised collective actions can provide meaning for individuals, especially when the organisation establishes mechanisms to support them as their efforts evolve. We emphasise several key contributions: our model, which focuses on organisational vulnerabilities, illustrates how human behaviour, when triggered by organisational failures, can hinder the anticipation of a crisis and subsequently limit individuals' capacity to cope. We introduce the notion of the transformative potential of collective improvisation to describe how collectives progress from sensemaking through improvisation to more reflective sensemaking. Additionally, we demonstrate that relational values and their capitalisation are a critical lever for collective sensemaking, enabling successful improvisations, fostering post-crisis transformations, and strengthening the organisation
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Wärnheim, Marcus. "Sök och du skall finna : Om att utveckla en kollektivt improviserande trio". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4026.
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In many music ensembles there are hierarchies and a focus on the vision of the bandleader. This thesis explores the possibilities of creating conditions for improvisational co-creation and follows the common development-process of an improvising trio. Emphasis is placed on democratic interplay and a collective expression without compromising with each musician’s personal sound. Through structured and free improvisations, the trio discovered and developed their musical language, limitations and possibilities. Self-recording, listening to it and discussions about what was experienced, perceived and what potential variations there might be alongside with a non-judgmental attitude served as a powerful tool to raise awareness and to develop the trio. The work resulted in a live streamed concert consisting of a freely improvised piece of music. By focusing on process-oriented solutions that involves and activates the whole ensemble, the trio has been able to develop an interplay and expression that is nonhierarchical, spontaneous and has potential to change.Marcus Wärnheim - altsaxofon
Karin Ingves - piano
Kristian Remnelius - trummor
All musik av alla medlemmar.
9
Besbes, Fehmi. "Improvisation et dramaturgie, l’« Improturgie » en Tunisie : poïétique de l’œuvre en devenir à l’exemple d’Otages par le Théâtre organique". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100132.
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L’objet de cette étude est d’interroger la place de l’improvisation dans la création théâtrale tunisienne, depuis ses origines – où elle apparaît dans des formes parathéâtrales, (el-Fdawi le conteur solo, Jha le blaguer sage, le théâtre d’ombre, etc.), jusqu’à nos jours. L’accent est mis sur les rapports organiques entre improvisation et dramaturgie, dans la formation et la création théâtrales en Tunisie, durant les dernières décennies. La notion d’"improturgie", qui traverse toute la thèse, rend compte d’une poïétique propre à de nombreux créateurs – tels Ezzeddine GANNOUN et Fadhel JAÏBI – qui consiste à construire une œuvre à partir du travail de plateau, à la recherche d’une écriture dramatique qui témoigne du contexte historique, culturel, social, idéologique et politique dans lequel elle s’inscrit. En l’absence d’un répertoire dramatique, l’"improturgie" apparaît ainsi non seulement comme un moteur d’activation dramaturgique sur la voie d’un théâtre militant – luttant contre l’impérialisme d’État et contre toute forme d’intégrisme – mais aussi comme un laboratoire de recherche pour des formes théâtrales encore inédites dans le monde arabo-musulmanThe subject of this study is to investigate the place of improvisation in the Tunisian theatrical creation since its inception, as it appears in many paratheatrical forms (such as el-fedawi, the solo storyteller, Jha, the wise joker, underground theatre, etc.), until nowadays. The focus is laid on the organic relationship between improvisation and dramatic art in Tunisian theatrical formation and creation throughout the last decades. The concept of "improturgie", which spans the whole dissertation, accounts for a poietic which is specific to particular playwrights such as Ezzeddine GANNOUN and Fadhel JAÏBI, and consists of making a play by drawing on the work on stage in the search for a playwrighting which reflects the historical, cultural, social, ideological and political context of the play. In the absence of a dramatic directory, "improturgie" appears not only as a catalyst towards a militant drama – fighting against state imperialism and all forms of fundamentalism – but also as a research laboratory for more novel theatrical forms in the Arab and Muslim worlds
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KOSMYNA, DAVID J. "WHAT YA WANT ME TO DO?: A GUIDE TO PLAYING JAZZ TRUMPET/CORNET IN THE NEW ORLEANS STYLE". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148060987.
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Landry, Pascal. "Étude du processus de production allographique et autographique du groupe d'improvisation collective libre The Contest of Pleasures". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34462.
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Machado, André Campos. "A improvisação livre como metodologia de iniciação ao instrumento: uma proposta de iniciação (coletiva) aos instrumentos de cordas dedilhadas". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-02022015-151052/.
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Esta pesquisa investiga as possibilidades de iniciação aos instrumentos de cordas dedilhadas por meio da improvisação livre. Ela divide-se em três partes: fundamentação teórica, oficinas de improvisação livre e elaboração de um caderno de iniciação. A reflexão teórica tem como principais referências, as pesquisas de Rogério L. M. Costa e H. J. Koellreutter a cerca da Improvisação Livre, e as investigações de Flávia M. Cruvinel sobre o Ensino Coletivo de Instrumentos Musicais. Os diversos tipos de gestos musicais são descritos com enfoque no gesto instrumental, termo adotado na pesquisa para representar os elementos da técnica instrumental. Os gestos instrumentais foram selecionados através de seis oficinas de improvisação livre realizadas nos Conservatórios Estaduais de Música do Triângulo Mineiro, onde se procurou uma forma de registro gráfico musical que favorecesse a prática da improvisação livre e colaborasse no desenvolvimento de um caderno de iniciação aos instrumentos de cordas dedilhadas. Esta nova proposta de iniciação instrumental divide-se em seis partes através da sugestão de roteiros para improvisação livre, grafados de forma não tradicional, com o objetivo de estimular a exploração sonora e timbrística em sintonia com a música da contemporaneidade. Através da criação, da liberdade gestual e da expansão da escuta, permite ao aprendiz desenvolver habilidades instrumentais e musicais para a criação de seu próprio repertório, de acordo com sua identidade, sua biografia, sua experiência de vida.This research investigates the possibilities of initiation to plucked strings instruments through free improvisation. It is divided into three parts: theoretical foundation, free improvisation workshops and notebook initiation. The theoretical reflection has as main references the research of Rogério L. M. Costa and H. J. Koellreutter about Free Improvisation and Flávia M. Cruvinel investigations on Collective Teaching of Musical Instruments. The various kinds of musical gestures are described focusing on instrumental gesture, term adopted in the research to represent the elements of instrumental technique. The instrumental gestures were selected during six free improvisation workshops held in music conservatories in the state of Minas Gerais, where he sought a form of musical graphic record favoring the practice of free improvisation and collaborate into the development of a notebook initiation to plucked strings instruments. This new instrumental initiation proposal is divided into six parts that suggest a guide for free improvisation, written in a nontraditional way, with the aim of stimulating sound and timbre exploration combined with the contemporary music. Through the creation of the gestural freedom and the expansion of listening abilities, it seems likely that could develop musical and instrumental skills to create his/her own repertoire, according to his identity, his biography and life experience.
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Carlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS". Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.
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DanceM.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses
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Hiller, James. "Theoretical Foundations for Understanding the Meaning Potentials of Rhythm in Improvisation". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126076.
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Music TherapyPh.D.
This study is a theoretical inquiry into the meaning potentials of rhythm in improvisation, with implications for improvisational music therapy. A review of music therapy literature regarding assessment and treatment reveals that improvisation is a widely applied music therapy method, but that rhythm--found universally in all forms of clinical improvisational processes--has received little attention. Theories from the areas of music philosophy, psychology of music, social psychology of music, musicological studies of jazz, and music therapy are explicated and implications for potential meanings of rhythm for improvisation and improvisational music therapy are described. Concepts that are foundational to the ways that the various theories find meaning in music include symbolism, metaphorical conceptualization, and interpersonal interactions. Theoretical foci for analysis include improvised rhythm (i.e., the rhythmic products), an improviser or co-improviser's processes while playing, and the perspective of a listener. Differences between solo improvisation and co-improvisation processes are considered. An integral theory of rhythm in improvisation is proposed along with clinical implications. Potential benefits of the study for music therapy and musicology are proposed and considerations for future investigations regarding the topics of rhythm and improvisation are articulated.
Temple University--Theses
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Becker, Theresa. "Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms". Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5129.
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Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and…, mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student. Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.Ph.D.
Doctorate
Education and Human Performance
Education; Instructional Technology
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Barton, Christopher Paul. "IDENTITY AND IMPROVISATION: ARCHAEOLOGY AT THE AFRICAN AMERICAN COMMUNITY OF TIMBUCTOO, NEW JERSEY". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/241688.
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AnthropologyPh.D.
This dissertation focuses on the African American community of Timbuctoo, Westampton, New Jersey. Timbuctoo was founded circa 1825 by formerly enslaved and free born African Americans. The community operated as a "station" along the Underground Railroad. At its peak Timbuctoo had over 125-150 residents and supported a general store, "colored" school, AMEZ church, cemetery and several homesteads. Today the only standing markers of the nineteenth century community are the gravestones in the cemetery. In 2007, Westampton Township acquired roughly four acres of the nearly forty arces that once comprised Timbuctoo. From 2009-2011, Christopher Barton and David Orr conducted archaeological work at the community. The focus of this dissertation was the excavation and analysis of 15,042 artifacts recovered from the Davis Site, Feature 13. The Davis Site was purchased by William Davis 1879. Davis and his wife Rebecca raised their five children in a 12x16ft home constructed on the 20x100ft property. Between the 1920s to the 1940s the foundation of the Davis home was used as a community trash midden. Specifically, this dissertation looks at the practices of yard sweeping, architecture, construction materials, home canning and the consumption of commodified foods. A practice theory of improvisation is posited as a working model to explaining the reflexive practices used by marginalized residents to contest social and economic repression. This theory of improvisation seeks to complicate narratives of poverty through underscoring the dynamic disposition of material culture and everyday life.
Temple University--Theses
17
Klass, Nicole. "MOLIERE AND COMMEDIA DELL'ARTE:PAST, PRESENT, AND FUTURE". Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4005.
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This thesis will explore the application of comemdia dell'arte technique to a contemporary performance. UCF's spring 2005 production of Molière's The Trickeries of Scapin will serve as a resource in both commedia dell'arte's ability to resonate with a modern audience as well as an analysis of the actor's process in fusing elements of commedia dell'arte and contemporary acting techniques. This document will include a thorough description of the history and origins of commedia dell'arte in order to decipher existing elements today. Also included, will be major influences on commedia dell'arte including Greek and Roman Comedy. It is important to discuss Roman comedic playwrights Plautus and Terence as two major influences on both the style of commedia dell'arte as well as major influences on Molière and his writing. A description of both playwrights previously mentioned will be given as means to explore the similarities between the two playwrights and Molière, specifically the similarities of Terence's Phormio and Molière's The Trickeries of Scapin. In addition to exploring the history behind commedia dell'arte and Molière, this thesis will include the rehearsal process of creating a contemporary version of Molière's Zerbinette. The application of the previous two years of graduate work including studies of Laban, Linklater, and Cicely Berry will be used in creating Zerbinette's vocal and physical life in a contemporary fashion, while maintaining certain elements of the commedia dell'arte style. In concluding this thesis, the evolution of commedia dell'arte will be discussed, and how it is in existence today. Just as commedia dell'arte evolved in the seventeenth century from previous art forms, it has never stopped evolving, constantly being influenced by every generation. From Greek Comedy playwrights' such as MeNander, to Roman comedic playwrights such as Plautus and Terence, to farcical and satirist Molière, commedia dell'arte does exist today, and will be examined throughout this thesis project.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
18
Kidwell, Christopher L. "The ambient sound engine : a tool built for improving interactive and improvisational performance". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1279.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Engineering and Computer Science
Computer Science
19
Mahoney, John Francis. "CURRENT PRACTICES IN NORDOFF-ROBBINS MUSIC THERAPY (NRMT): THE VIEWS OF CONTEMPORARY PRACTITIONERS IN 2011". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163088.
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Music TherapyPh.D.
The purpose of this study is to describe current practices in Nordoff-Robbins Music Therapy (NRMT) practice as perceived by contemporary practitioners in 2011 compared with the original approach as developed by its founders. I did this by interviewing prominent NR music therapists in the field, and asking them how their way of practicing compared to hobelieved Nordoff and Robbins originally practiced the model. I then transcribed and analyzed their responses to the interview questions, looking for themes of commonality and difference in their responses.
Temple University--Theses
20
gALLANT, Alan. "ANTON CHEKHOV:THE CHARACTERIZATION AND INTERPRETATIONOF A HISTORICAL FIGURE FOR THE STAGE". Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2599.
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ABSTRACT This thesis will explore the execution of the monograph role of "Anton Chekhov" in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the original script with endnotes and a structural analysis. Social and historical background of the character, Anton Chekhov, a real person, is presented. This background includes the history as it pertains to Anton Chekhov and the national mindset in pre-revolutionary Russia. This background is integral in not only the development of the character, but also of the script which supports the character. Much of what is contained in the script is from correspondences, anecdotes, and written material from and about Anton Chekhov. These materials will be used as interpretive tools in the development of the character, and includes clues to physical appearance and personality. The character analysis contained herein is, in part, a reflection of these historical and environmental concerns. In addition, external and internal portrayal and the means used to achieve them are discussed. These means include physical and vocal techniques for the stage in conjunction with the use of emotional recall, behaving "as if," and being emotionally and energetically present for the acting partner. Since this is a "one man show," the acting partner will take the form of the audience as other or confidante. This phenomenon, and its effect on the performance, is included in the written thesis. The acting approach in execution of the monograph will also be reflected in a journal, which will contain a record of the successes, challenges, choices and adjustments made in the rehearsal/performance process. Included among these will be the various adjustments made in order to achieve a higher level of spontaneity in movement and transition, and how this semi-improvisational approach aided in adjusting to each unique audience in performance. Analysis will be provided by members of the committee. Dr. Julia Listengarten and Mark Brotherton will submit performance analysis, while the committee chair, Dr. Donald Seay will also provide rehearsal reports. Script work on An Evening with Anton Chekhov will begin in October of 2005, with rehearsals commencing on February 6, 2006. Two performances will be given at the Black Box theatre on the campus of UCF on Monday, February 27, and Tuesday February 28, 2006.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
21
Mitsudome, Yukiko. "Development and Reliability of a Music Therapy Assessment Tool for People with Dementia". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/218020.
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Music TherapyPh.D.
Advancements in medical care are helping people to live longer lives. However, this longevity brings other challenges and health issues. As baby boomers age, the needs of an increasing number of individuals are growing as a consequence. Dementia is an issue in this aging population, and is associated with cognitive and other types of losses. Persons with dementia need emotional support, and these needs increase as the dementia progresses. It is important that these individuals with dementia receive medical and therapeutic care to maintain their quality of life for as long as possible. Music therapy is one treatment option that has been shown to provide cognitive, physical, emotional, social and behavioral benefits for this population. However, music therapy-specific assessments are needed to document the clinical and research outcomes of music therapy interventions. The purpose of this study was to examine the reliability of the Music Therapy Assessment for People with Dementia (MTAPD), a researcher-developed measure designed to assess behaviors or responses of persons with dementia during singing or vocalization, instrumental improvisation and in non-musical domains. In order to develop assessment items, the researcher, using videotapes, extracted and identified essential elements of clients' behaviors and responses. Those items were categorized into three domains (i.e., behaviors or responses during singing or vocalization (n=7), behaviors/responses during instrumental improvisation (n=16), and non-musical response or behaviors (n=6). Scoring was based on a five-point scale for items. After developing the assessment tool, the researcher asked eight music therapists with expertise in dementia to review the assessment. Nordoff-Robbins (NR) music therapists (n=9) and non-NR music therapists (n=14) participated in the reliability testing of the assessment. Therapists rated the musical behaviors and responses of clients in these three domains while viewing 15 video excerpts of clients with dementia in music therapy sessions. Results showed that the MTAPD was a reliable instrument for assessing musical and non-musical behaviors of individuals with dementia. An inter-rater reliability analysis generated particularly strong findings with all intraclass correlation coefficients above r = 0.85 with the exception of the analysis of agreement among the NR trained music therapists with more than 10 years of clinical experience. With further reliability and validity testing, the MTAPD may serve a variety of purposes in music therapy clinical practice and research.
Temple University--Theses
22
Laster, Andrew Jay. "AMPHION.pdf". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304705.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
23
Laster, Andrew Jay. "ZETHOS.pdf". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304811.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
24
Laster, Andrew Jay. "Amphion and Zethos: An Orchestral Work Reimagined as a Concerto for Five Improvisers". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304872.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
25
Bingham, Robert. "Improvising Meaning in the Age of Humans". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/450625.
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DancePh.D.
This dissertation is an ecological philosophy rooted in dance as a somatic mode of knowing and as a way of perceiving the world through and as movement. It is phenomenological, drawing meaning from a dedicated practice of improvisational dance and from extensive dialogue with dance and somatics artist/philosopher Sondra Horton Fraleigh. This emergent knowledge is integrated into discourses and practices addressing the relationship of the human and more than human world in the context of a deepening environmental crisis in the 21st century. Employing both somatic and conceptual ways of knowing, I investigate dance as a tool for restoring a sense of ecological kinship with nonhuman co-habitants of planet Earth. The pretext for the dissertation is the emerging concept of the Anthropocene, a term introduced by Paul Crutzen in the early 2000s which defines human activity as the dominant geophysical force affecting the movements of the Earth system, including weather patterns and chemistries of soil, air and water. This concept, while subject to debate both in and out of the sciences, highlights the entanglement of humans and Earth and calls into question anthropocentric notions placing humans at the center of the universe of significance and meaning. In light of growing challenges associated with the Anthropocene, including climate change and mass extinction, the dissertation makes a case for greater inclusion of ecological and environmental contexts in dance studies scholarship as an epistemological move towards increasing reciprocity with Earth. I argue that environmental crisis, while daunting, presents an opportunity for radical creativity in re-thinking the interconnected movements of human bodies and planet Earth. In summer 2015, I conducted a one-month, fieldwork-based interview with Fraleigh, which included verbal dialog, dancing, and exploration of the landscape of southern Utah, where she lives following retirement from university teaching. Fraleigh, whom I had known personally and professionally for twelve years since studying with her as an MFA student in the early 2000s, is a dance artist, philosopher and somatic educator widely known within and outside the academic dance community for her writing and teaching in phenomenology, dance aesthetics, somatics, and butoh. Her decades of inquiry into the nature and meaning of dance and human embodiment have consistently included questions about the relationship of humans and nature, and she has argued that humans are ecological as well as cultural beings. Through collaborative somatic and intellectual processes, we extended questions we shared about the relationship of humans with Earth through its contextualization within the emerging paradigm of the geologic Age of Humans. The dissertation is organized into two parts. Part One describes the onto-epistemological context for the fieldwork I conducted in Utah and includes background literature on the subjects of body, perception, matter and environmental ethics, followed by an explanation of the research methodologies I employed. Part Two is a phenomenological account of the fieldwork, which spirals between thick description of specific experiences and theoretical reflections on emergent meanings. Through this format, I integrate somatic and conceptual ways of knowing and illuminate dance as a mode of meaning making and response to geologic transformations taking place on Earth. By engaging dance as a tool for thinking about and with the Anthropocene, I aim to promote more scholarly inquiry into ways that dance can and does transform, heal, revitalize and aestheticize human-Earth relations in the context of a planet in crisis.
Temple University--Theses
26
Albornoz, Yadira Elizabeth. "THE EFFECTS OF GROUP IMPROVISATIONAL MUSIC THERAPY ON DEPRESSION IN ADOLESCENTS AND ADULTS WITH SUBSTANCE ABUSE". Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38057.
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Music TherapyPh.D.
The effect of group improvisational music therapy on depression in adolescents and adults with substance abuse was investigated. It was hypothesized that group improvisational music therapy would relieve depressive symptoms. Twenty-four Spanish-speaking patients receiving outpatient and inpatient treatment for substance abuse at Fundación José Felix Ribas (FJFR), located in Mérida State-Venezuela participated in the study. All participants completed the Beck Depression Inventory (BDI) and the Hamilton Rating Scale for Depression (HRSD) before being randomly assigned to experimental or control groups, each consisting of three cohort groups recruited over a nine month period. The experimental group received 12 group improvisation sessions over a three-month period, along with the standard treatment program provided at the facility, and the control group received only the standard treatment program. Post-test measures were completed at the end of each three-month treatment cycle. Differences between groups in pre-test and post-test scores were calculated using the Mann-Whitney U Test. Results showed that both groups were equally matched on all pretest measures. As for post-test measures, significant differences were found between the groups on HRSD, but not the BDI. The experimental group was significantly less depressed after treatment than the control group, as measured by the HRSD. Improvisational music therapy led to statistically significant greater improvements in psychologist-rated depression (HRSD) when compared to the regular treatment program alone; although no statistical differences were found in the improvements on the BDI between the two treatments, improvisational music therapy had a clinically significant effect. Possible explanations are offered. The most important limitations of the study were the small sample size, absence of a depression assessment tool specifically for substance abuse, and the use of the first version of the BDI instead of the second version as well as lack of information on demographic and clinical data.
Temple University--Theses
27
Cooper, Michelle L. "A MUSICAL ANALYSIS OF HOW MARY PRIESTLEY IMPLEMENTED THE TECHNIQUES SHE DEVELOPED FOR ANALYTICAL MUSIC THERAPY". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173335.
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Music TherapyPh.D.
This study examined how Mary Priestley musically implemented 15 Analytical Music Therapy (AMT) techniques for exploring conscious material, accessing unconscious material, and strengthening the ego. Using the Priestley archives at Temple University, the author listened to 96 recorded examples of individual AMT sessions with 31 adult clients that were made between the years 1975-1991 to examine and aurally identify the musical phenomena and patterns occurring in the musical implementation of AMT techniques. The results of the study present clinical considerations necessary for applying each AMT technique and the clinical/musical roles of the analytical music therapist. Finally, this study presents distinctions between traditional and contemporary AMT practice and implications for AMT training and supervision.
Temple University--Theses
28
MacDonald, Glyn Alan. "Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2204.
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This practice-led research project has produced musical works that bring together ensembles from the Western Classical tradition that only read notation, and, jazz soloists who improvise. Three works ‘Standing Ground’, ‘The Journey’ and ‘Matt versus the Zombies’ were composed for three ensembles each with an improvising soloist. These ensembles included a British style Brass Band, Brass Quintet and a double Saxophone quartet.
The project built on the work of Andy Scott and Eddie Sauter, both of whom wrote for non-jazz ensembles and an improvising artist without including a jazz rhythm section. The accompanying non-jazz ensemble was written in such a way as to provide interactive possibilities to assist the improviser in their creativity. The works in this project included elements found in the jazz rhythm section that I believed could be notated idiomatically. These elements were: call and response; interjection and setting and sustaining the groove. Data was collected through journaling and audio recording of the process from composition, to rehearsal and through to the performance. The compositions were recorded and the works analysed in this exegesis. The exegesis is written in a way to take the reader through the journey I have undertaken to produce these works, hence it is exploratory in nature.
Broadly speaking, injecting the elements from the jazz rhythm section into notated parts for a variety of musicians, both amateur and professional, was a successful and viable approach. The recordings, coupled with the analysis herein, shows that there were moments, where the elements of call and response, and interjection, notated in the accompanying musicians’ parts, created moments of dialogue, and the improvising artist used these to assist them in their improvising creativity. Feedback from all concerned (soloists and groups) was positive and supports the notion that community and professional ensembles, jazz and classical stylistic worlds can coexist, and learn from one another and make music that transcends style and notation constraints. This project adds to the scope of methodologies within creative music research practice. It also stands as an example of one that specifically addresses ways of notating for reading ensembles that will allow them to engage with improvising musicians.
29
Turowski, Pamela L. "Turowski 2017 Familiar Repertoire Survey Audio File.mp3". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/482726.
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Music EducationPh.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses
30
Turowski, Pamela L. "FRS and MAT Data Set.xlsx". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/482727.
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Music EducationPh.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses
31
Turowski, Pamela L. "Beginning Band Students' Familiarity with Method Book Repertoire as Predictor of Music Achievement". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/470435.
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Music EducationPh.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses
32
O'Neal, Kathleen. "An Examination of the Connection Between Genuine Dialogue and Improv". Master's thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6335.
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The value of improv training extends beyond the stage. Improv has been successfully utilized and applied in a variety of ways in the workplace, school, and community. This study examines the connection between genuine dialogue and improv to determine if improv exhibits dialogic qualities. Three focus groups were conducted with a total of nineteen improv students. Additionally, an interview was conducted with the director of a hospital's Innovation Lab where improv is used in an organizational setting. The conditions for dialogue set by Gordon (2006) served as a guideline for analyzing data. Thematic analysis generated categories used to analyze data. The most prominent of Gordon's conditions for dialogue within improv were Imagination & Innovation, Vulnerability and Immediacy of Presence. The importance of this study, implications and future studies for the connection between improv and dialogue are examined.M.A.
Masters
Communication
Sciences
Communication; Interpersonal Communication Track
33
Yeboah, Amy Oppong. "(Re)inscribing Meaning: An Examination of the Effective Approaches, Adaptations and Improvisational Elements in Closing the Excellence Gap for Black Students". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/224585.
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African American StudiesPh.D.
From great African nations like the Ancient Kemites, Akan and Gikuyu, the world witnessed the development of the most powerful social structures, governance systems, ground breaking innovations in science and technology, and systems of thought that still exist today. Hence, in looking at the low performance levels of Black students today, the question becomes, how do the descendants of those who created writing, mathematics, and science; and then in the face of episodic disruptions laid their lives on the line to read, write, and built public schools, Sabbath schools, and Historically Black Colleges and Universities, close the excellence gap between their actual performance and deeply rooted cultural expectations? The present study reviews the essential questions and proposed solutions for closing the excellence gap that have been offered by previous generations of scholars. Africana Studies methodological framing questions were used to examine the long-view experiences of African people as well as a three tier critical ethnographic research methods approach. The study revealed that Black students gained a level of excellence in the face of disruption through: (1) Collective Training, (2) Spiritual and Moral Balance, and (3) Content Mastery. The prerequisite for sustaining educational excellence was found to be in the individual roles female and male representatives play as the primary educators of Black children. Secondly, nurturing a sense of identity through a spiritual understanding of social order and moral responsibility to the collective is also a requirement. Nevertheless, what unites and emerges as the chief element is content mastery. The ability to retain and keep content through listening and reading; and present a level of mastery on that information through speaking, writing and action to solve problems, completes the reciprocal process of educational excellence.
Temple University--Theses
34
Goodman, Dave. "Tony Williams' drumset ideology to 1969: Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies". Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7797.
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I identify Tony Williams’ formative drumset ideology as being emergent from his adaptive modeling of the feel, technique and creativity identified in the drumming of Art Blakey, Max Roach and Philly Joe Jones respectively and present the results of extensive textual and musicological research on Williams’ formative practices between 1945 and 1969 as an archetype for cultivating originality in jazz drumset performance studies. I examine patterns of creative thought in the New York jazz community as they developed from the relative heteronomy of modernist bebop improvisation to the postmodernist aesthetic of jazz-rock fusion resulting in the emergence of collective autonomy in musical interaction and improvisation. My research reveals Willams’ possession of autotelic personality and utilisation of learning techniques associated with heutagogy. Also identified is the prevalence of entrainment in the social and musical interactions of the New York jazz community and I interpret these qualities through the lens of the theory of complex adaptive systems as a model for learning in jazz drumset performance studies. I analyse Williams’ ensemble and solo drumming in comparison to that of Blakey, Roach and Jones in addition to Roy Haynes by using an analytic schema designed specifically for identification of contrasting qualities in the voicing of rhythm and expression as revealed in the grouping and ordering of limbs in drumset performance. I present a complete stylistic overview of Williams’ recorded output until 1969 including swing, avant garde, ballad, straight eighth-note and sixteenth-note oriented styles as well as complex temporal events such as polymetric superimposition, rubato, polytempo, superimposed metric modulation, metric modulation and tempo fluctuation.
35
Carpente, John Albert. "Contributions of Nordoff-Robbins Music Therapy Within a Developmental, Individual-Differences, Relationship-Based (DIR®)/Floortime™ Framework to the Treatment of Children With Autism: Four Cases". Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/42498.
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Music TherapyPh.D.
This study was concerned with the effectiveness of Nordoff-Robbins Music Therapy (NRMT) carried out within a Developmental, Individual-Difference, Relationship-based (DIR®)/Floortime Framework in addressing the individual needs of children with autism. In NRMT, the child is an active participant in the music making process, playing various instruments that require no formal training. The therapist's task is to improvise music built around the child's musical responses, reactions, responses, and/or movements to engage him or her in a musical experience that will facilitate musical relatedness, communication, socialization, and awareness. The DIR® model provides a comprehensive framework for assessing, understanding, and treating the child. It centers on helping the child master the building blocks of relating, communicating, and thinking through the formulation of relationships via interactive play, using Floortime (a systematic way of working with the children to help them reach their developmental potential). This study sought to determine the effectiveness of NRMT in meeting musical goals specifically established for each individual child, and to conclude if progress in musical goals paralleled progress in non-musical (DIR®) goals.
Temple University--Theses
36
Borglund, Dawn. "EVELYN OFFSCREEN: AN APPLICATION OF INTERACTIVE PERFORMANCE METHODSIN ALTERNATE REALITY GAMING". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3066.
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For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
37
Brantley, Kathryn Perkins. "Who do I Play: Appraising the Impact of Teacher-in-Role with Kindergartners in an ESOL Classroom". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5143.
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Educators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role to impact the development of a classroom drama; while negotiating tension felt between desires for student-led discovery and the necessity of meeting curriculum benchmarks. Academic studies establish process drama as a tool to aid English Students of Other Languages or ESOL classrooms. Process drama heightens comprehension, whole language usage and ownership of learning. Using the methodology of reflective practice I analyzed my teaching in role to determine how I negotiate diverse and conflicting objectives. I facilitated a six week process drama with four to six-year-old ESOL students at a learning centre in Hong Kong. This study improved this teacher's understanding and usage of teacher-in-role. The ideals of a process centered classroom were not always realized, but the needs of the population necessitated adaption from expectations. The experiences of the researcher indicate ambiguous character may not be the best way to motivate dialogue among this population of ESOL students. Students' age and English experience suggests using co-participant characters whose motivations are clearly defined. This study contributes to the discussion on what differing "role types" offer facilitators of process drama and how it may be used to meet demands of curriculum including development of performances. Process drama with very young students presents a field for further research investigating methods and practices to effectively structure process dramas that address their learning.ID: 031001277; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: .; Title from PDF title page (viewed February 25, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 70-77).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Adults
38
Nicolas, Laura. "La disposition enseignante à un "agir collectif" : Analyse de la réception enseignante des négociations apprenantes en classe de FLE". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030099/document.
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Située au carrefour de la didactique des langues et cultures et de la sociologie de l’éducation, cette thèse porte sur la gestion simultanée, par le professeur, des besoins et intérêts de chacun des apprenants ; à partir de l’observation de la réception enseignante des interventions négociatrices d’apprenants, on s’attache à définir les contours d’une « disposition » (propension) enseignante à satisfaire à la fois les besoins de l’individu qui parle et ceux de ses pairs. A ce titre, le présent travail propose d’apporter une contribution tant aux recherches portant sur les pratiques professionnelles enseignantes qu’aux études concernant l’acquisition des langues en apprentissage collectif. Le dialogisme bakhtinien, le socioconstructivisme vygotskien, le paradigme dispositionnaliste de Lahire, les théories de l’action conjointe développées par Filliettaz, et l’approche connexionniste de la pensée enseignante proposée par Tochon se trouvent entre autres utilisés tant au niveau théorique que méthodologique. A partir de l’analyse d’un corpus recueilli par vidéo au sein d’une classe de FLE pour migrants, en Greta, on observe la manière dont une enseignante s’affilie et se désaffilie des négociations individuelles d’apprenants qui surviennent en activité de « conversation didactique ». A l’aide des outils offerts par l’analyse des conversations, la microsociologie, la linguistique de l’interaction, la pragmatique psychosociale et l’analyse du discours, on décrit finement la régulation de la parole apprenante par l’enseignante (actes de valorisation de l’apprenant, d’encouragement à sa prise de parole ou de désengagement). Ces observations sont enrichies des commentaires que cette même enseignante effectue sur son propre agir, à travers des entretiens d’auto-confrontation et d’explicitation ; les verbalisations recueillies, porte d’accès à la fabrique de l’action enseignante, permettent de définir « la disposition à un agir collectif » comme un puissant critère d’affiliation ou de désaffiliation enseignante : les négociations individuelles d’apprenants sont évaluées par le professeur à la lumière de leur intérêt didactique et pédagogique pour le groupe. Cette disposition, qui amène l’enseignante à établir un lien transversal entre les propos des uns et le fil thématique en cours de co-construction, agit finalement en tant que « connexion fonctionnelle » sur laquelle repose en partie le fonctionnement improvisationnel des enseignantsThe following study discusses the ability of teachers to simultaneously deal with the needs and interests of every learner in the classroom. Through the observation of a teacher’s feedback moves to students’negotiations of meaning, we conducted an exploration of his or her disposition (tendency) to meet both the negotiator and his or her peers’ needs. As such, this study aims at contributing to the field of teaching professional practices and of second language acquisition. The theoretical framework of this study relies on the Bakhtinian dialogism, Vygoskian socioconstructivism, the paradigm of “dispositions” developed by Lahire, the theory of joint action developed by Filliettaz and the connectionist approach to teacher decisionmaking, which has been developed by Tochon. Through the analysis of video recorded data that have been collected during conversational activities in a French classroom for adult migrants, we provide an in-depth investigation of the teacher’s moves of affiliation and disaffiliation from learners’ individual negotiations. Conversation analysis, microsociology, linguistic interactionism, psychosocial pragmatics, and discourse analysis are integrated in the research methodology in order to provide an accurate description of a teacher’s regulation of learners talk (elicitation, incitation or disaffiliation). Stimulated recall methodology has also been used to complete the interaction analysis. The results demonstrate that the teacher’s affiliations to individual negotiations are made in the light of their pedagogical utility for the peers. It is therefore argued that the teacher’s tendency to link each learner’ needs and interests to his or her peers’serves as a powerful functional connection on which the teachers’ improvisational decision-making process during classroom interactions is mostly based
39
Cauchetiez, Elisabeth. "Ce théâtre que nous faisions...el théâtre de la mie de pain, una experiència del teatre de l'actor-dramaturg en el context de la creació col·lectiva, 1979-1990". Doctoral thesis, Universitat Rovira i Virgili, 2015. http://hdl.handle.net/10803/386419.
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En primer lloc, la recerca pretèn dibuixar un retrat sociològic i cultural de l'últim període del segle XX, marcat per la fascinació per la creació col·lectiva i els principis de mutació dels gustos del públic que presagien el declivi d'aquesta pràctica teatral. Intenta donar resposta a la delicada qüestió de saber si aquest canvi d'orientació era fruit d'una voluntat política o d'una evolució del sistema econòmic o simplement el final d'una moda. Remarca que el teatre de creació col·lectiva té un fort lligam amb l'associacionisme que suggereix una via alternativa en el funcionament relacional del món laboral. Per contrarestar la jerarquització, proposa un model igualitari de presa de responsabilitat i l'autogestió dels mitjans econòmics. Cap als anys 90, la influència de l'esperit de l'associacionisme s'ha reduït i en conseqüència la forma teatral que representava els gustos d'aquest moviment social ha perdut ressó. La creació col·lectiva magnifica la figura de l'actor, perquè posar l'executant com a responsable de la creació suposa crear un espectacle partint dels coneixements de l'intèrpret. L'obra s'elabora a l'escenari durant els assaigs a base d'improvisacions i privilegia l'acció i el gest. Les troballes neixen de "l'estat de joc" que l'actor desenvolupa per la pràctica diària. Es busca l'espontaneïtat, entesa com una recerca sobre sí mateix i no com un tot s'hi val. L'impuls de la persona és filtrat pels coneixements de l'actor que domina el seu Art.En primer lugar, la investigación pretende dibujar un retrato sociológico y cultural del último período del siglo XX, marcado por la fascinación por la creación colectiva y el inicio del cambio de gustos del público que presagian el declive de esta práctica teatral. Intenta dar respuesta a la delicada pregunta de dilucidar si este cambio de orientación fue fruto de una voluntad política, de una evolución del sistema económico, o simplemente el final de una moda. Realza que el teatro de la creación colectiva mantiene un destacable lazo con el sistema asociativo que sugiere una alternativa en el funcionamiento relacional del mundo laboral. Para contrarrestar la imposición de la jerarquía, propone un modelo igualitario y la auto-gestión de los medios económicos. Hacia los años 90, la influencia del sistema asociativo se reduce y en consecuencia la forma teatral que representaba los gustos de este movimiento social pierde fuelle. La creación colectiva magnifica la figura del actor porque otorgar al ejecutante la responsabilidad de la creación presupone crear un espectáculo a partir de los conocimientos del intérprete. La obra se elabora en el escenario, en los ensayos, a base de improvisaciones. Los hallazgos nacen del "estado de juego" que el actor desarrolla con la práctica diaria. Se busca la espontaneidad, entendida como una investigación sobre sí mismo y no como "todo vale". El impulso de la persona se filtra a través de los conocimientos del actor que domina su arte.
First of all, the research tries to draw a sociological and cultural picture of the last period of the XXth Century, characterized by the fascination for collective creation and the beginning of change: the taste of public mutated and this fact foresaw the decline of that theatre practice.The author aims to understand this process and answer a sensitive question: was that change planed by political will or was it the result of an evolution of the economic system, or more simply, was it the end of a state of mood? She remarks that this practice has a link with the encrease of the spirit of association which proposes an alternative way for the relationships in the labour.To counteract the hierarchy, it presents a pattern of equality to take decisions and it suggests the self-management of the economic means. In nineties, spirit of association partly lost its weight and consequently that teatrical aesthetics which stood for the taste of that social movement faded. Collective creation puts the actor in the loop. This one becomes responsible of the creation because he creates the show taking account of his own knowledge of interpretation art. The show moves forward on stage during rehearsals thank to improvisations. Actors discover the findings of the play when they are in a particular state, a playing mood. They develop it throughout the daily practice. They look for spontaneity as a research upon themselves but not everything is accepted. Personal impulse is filtered through actor's skills.
40
Lin, Chung-Hsien, i 林宗賢. "IMPROVISATION AND CRÉATION COLLECTIVE IN LE THÉÂTRE DU SOLEIL AND PERFORMANCE WORKSHOP THEATRE". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/14494273921770918673.
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碩士淡江大學
法國語文學系碩士班
98
Comparison of the thesis of collective improvisation in Lai Sheng Chuan and Araine Mnouchkine How would you compare writing techniques and use their masterpiece: "Peach Blossom Land" and "1789" to be an example. Definition of collective improvisation from start to elaborate the historical development of the longitudinal collective improvisation in France and Taiwan''s main development process. Lai Sheng Chuan Chapter of collective improvisation, to start, structure and process, aesthetics, and personal characteristics of the four points for the horizontal analysis. And "we are all so grown up" and "Peach Blossom Land" as an example to explain their creative process and techniques to show. Chapter III of Mnouchkine collective improvisation, to initiate, structure and process characteristics and aesthetics of the four major points for the horizontal analysis. And to "1789" as an example to explain their creative process and techniques to show. Comparing Chapter IV, "The Peach Blossom Land" and "1789", through to the Lai Sheng Chuan and Mnouchkine understanding of collective improvisation, to examine similarities and differences between the two works. And through the director''s aesthetic, the creative process of collective improvisation, data files and devices, four stage, to resolve how the two directors of the aesthetic concept presented in the works. The final chapter sum Lai Sheng Chuan and Mnouchkine and the essence of creative thinking and collective creativity and improvisation that is actually two tools, and implementation of the "seize the moment" and "and the actor with the creation" to accomplish its two major characteristics of such work.
41
Haywood, NT. "Complexity through interaction: An investigation into the spontaneous development of collective musical ideas from simple thematic materials". Thesis, 2014. https://eprints.utas.edu.au/18662/6/Whole-Haywood-thesis.pdf.
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The
purpose
of
this
research
is
to
investigate
and
describe
the
optimum
conditions
under
which
collaborative
improvised
musical
expression
in
performance
can
be
established.
This
study
is
an
exhaustive
examination
of
selected
performances
of
an
ensemble
in
which
I
perform.
This
ensemble
was
newly
formed,
specifically
for
this
research
study.
The
research
investigates
the
impact
of
the
ensemble
dynamic
on
the
improvisations
of
each
individual
within
the
ensemble
and
the
way
in
which
this
affects
and
informs
my
own
playing.
Performances
and
recordings
by
this
ensemble
are
used
as
the
basis
of
the
research
presented
in
the
accompanying
exegesis.
The
weighting
of
this
project
is
80%
folio
and
20%
exegesis.
The
recordings
have
not
been
analysed
in
the
traditional
harmonic,
melodic
and
rhythmic
manner
as
the
focus
of
this
study
is
on
the
way
in
which
musicians
connect
at
an
intuitive
level.
The
manner
in
which
each
participant’s
contributions
affect
their
co-‐performers
has
been
analysed
and
discussed.
Aural
perception
and
the
collective
and
individual
musical
history
of
the
participants
are
seen
as
significant
factors
and
as
such
have
been
investigated
through
interviews.
It
is
proposed
that
a
musician’s
familiarity
with
repertoire
should
be
such
that
conscious
decision
making
in
performance
becomes
redundant.
In
fact,
it
is
felt
that
the
need
to
deliberately
think
about
both
physical
and
material
requirements
of
music
making,
when
playing,
is
a
hindrance
to
high
quality
musical
performance,
both
during
improvisation
and
interpretation
of
pre-‐composed
materials.
To
this
end,
there
is
a
need
to
separate
the
manner
in
which
a
musician
accumulates
musical
knowledge
via
practice,
from
the
way
they
present
music,
as
a
performer.
The
study
explores
this
important
relationship
in
the
context
of
the
case
study
of
the
project
album.
These
issues
have
also
been
examined
with
a
view
to
offering
some
insight
into
the
mindset
and
methods
that
best
support
the
development
of
high-‐level
improvisation
and
interpretive
skills.
42
Grondin, Anne-Marie. "Incidences de la relation entre le lieu d'appartenance (Hochelaga-Maisonneuve) et les acteurs-participants dans la réalisation d'une création théâtrale multimédia". Mémoire, 2007. http://www.archipel.uqam.ca/3352/1/M9685.pdf.
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L'ensemble de ce mémoire est composé de la description pratique, logistique et théorique d'un projet de création théâtrale appliqué au contexte urbain. La première partie de ce travail met en place le concept de création artistique pressenti dans le cadre de la dynamique identitaire. Il situe les champs de la création dans un premier secteur: le quartier Hochelaga-Maisonneuve. Y sont exposés l'hypothèse de création, ainsi que les intentions de création qui en découlent, le processus de création choisi (les Cycles Repère), les paramètres et fondements de ce processus de création, la définition, dans le présent contexte d'une terminologie acteurs-participant(es) et les conditions matérielles dans lesquelles la création a eu lieu. À ce titre, y sont indiqués les modes de sélection des
acteurs-participant(es) ainsi que les matériaux sensibles prélevés dans le secteur selon le mode de création employé. Finalement, la dernière section de cette entrée en matière expose ce qui, dans le résultat final (la création), sera mesuré afin de vérifier l'exactitude de l'hypothèse de départ ainsi que les paramètres et instruments de mesure préalables développés dans le cadre de la présente recherche.
Le deuxième chapitre met en contexte les intentions de création en exposant les fondements théoriques de l'identité dans la perspective de la culture ainsi que le sentiment d'appartenance dans une définition étymologique et anthropologique. Suivra un exposé des différentes stratégies identitaires employées selon les contextes (ruraux ou urbains, traditionnels ou post-modernes) ainsi que la situation particulière des identités plurielles (nomadisme urbain) dans la ville-transit. Toutes ces notions seront transposées dans le contexte urbain (le quartier Hochelaga-Maisonneuve) par le biais du concept d'espace transitionnel de D.W. Winnicott, lequel procède de la notion d'objet transitionnel. Dans cette section, toute la dualité du terme identité ainsi que les différentes notions d'appartenance territoriale ou de réseau qui y sont associables seront remises en contexte à l'intérieur de l'espace transitionnel que constitue le secteur. Y seront également définis les modes de relation à l'espace transitionnel ainsi que les effets dudit espace sur la construction identitaire. Finalement, cette partie sera reliée au prochain chapitre par l'énonciation et la définition des concepts de vouloir de création et d'acte-pouvoir de Gérard Mendel, lesquels font lien ici entre l'exposé théorique sur l'identité culturelle et le futur projet de création dans la ville-transit. La troisième partie décrit les incidences du sentiment d'appartenance observées au cours du processus de création et identifiables dans le résultat final. Dans le cadre de la phase d'investigation du processus de création, y seront décrits les différentes pratiques de la relation à l'espace transitionnel: l'énonciation des résultats du brainstorming, la description des lieux choisis pour la captation vidéo, le choix des ressources sensibles employées, le rôle spécifique de la technologie employée (la caméra miniDV), les liens et rapports entre les lieux de tournage et les lieux du scénario ainsi que les effets de la profondeur de champs temporel de la ville sur l'emploi spécifique des statues comme matériau sensible de départ dans le processus des cycles Repère. Les thèmes abordés et les axes de scénarisation de la pièce Carnet Urbain #1, seront examinés sous la loupe des effets de la double identité réseau/territoire sur la création des personnages ainsi que les effets de leurs stratégies identitaires sur le scénario de l'histoire. La dernière partie de ce chapitre sera consacrée à l'interprétation des résultats du questionnaire de post-production appliqué aux acteurs-participant(e)s sur la double incidence du sentiment d'appartenance dans le processus de création. En dernier lieu, l'annexe du présent mémoire comprendra toute la description de la création collective incluant le contexte de création, le portrait des acteurs-participant(e)s, le déroulement du travail collectif ainsi que les règles spécifiques d'improvisation et le protocole des répétitions, les résultats obtenus (et les scènes qui en sont issues), les résultats des différentes étapes du processus de création des Cycles Repère (Ressource, Partition, Évaluation et Représentation), une description des différents espaces du spectacle ainsi que tous les aspects scéniques de la création théâtrale obtenue: le synopsis, la scénographie, la typologie des personnages, la représentation scénique et audio-visuelle, le décor et les éclairages, de même que les costumes. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Création théâtrale, Urbanisme, Identité, Appartenance, Cycles Repère, Atelier d'improvisation, Multimédia, Stratégie identitaire, Nomadisme urbain.
43
Zaidan, Francois. "Transindividuation et individuation collective : une exploration à travers l’improvisation libre et la rythmanalyse". Thèse, 2016. http://hdl.handle.net/1866/18679.
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En s’appuyant principalement sur le travail de Gilbert Simondon (1989) et sur celui de Bernard Stiegler (2010, 2012, 2013), ce mémoire de maîtrise explore la relation entre les notions d’individu et de collectif. D’une part, cette relation est conceptualisée et développée à travers les concepts de transindividuation et d’individuation collective ; et d’autre part, celle-ci est explorée via les théories de l’improvisation libre (free improvised music). S’intéressant aux différentes modalités de cette pratique musicale (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), cette recherche conçoit l’improvisation libre comme une approche radicale permettant d’aborder autrement la relation entre les notions d’individu et de collectif. L’agencement, la confrontation et la négociation des singularités individuelles des musiciens.nes en présence étant au centre de la pratique de l’improvisation libre, la méthodologie mobilisée vise à cerner les dynamiques permettant de saisir la complexité de cette relation. En s’appuyant particulièrement sur la research-from-creation et la creation-as-research (Chapman & Sawchuk, 2012), l’aspect méthodologique de ce mémoire est ancré dans la recherche-création. En ce sens, les principaux matériaux d’analyse ont émergé de l’expérience de séances d’improvisation libre dans laquelle l’immédiateté et l’éphémérité de la création ont été vécues, discutées et ultérieurement analysées à travers les concepts de rythme et de présence propres à la rythmanalyse d’Henri Lefebvre (1980, 1992).Relying mainly on the work of Gilbert Simondon (1989) and Bernard Stiegler (2010, 2012, 2013), this master’s thesis explores the relation between the notions of individual and collective. On one hand, the relation is conceptualised and developed through the concepts of transindividuation and collective individuation ; and on the other hand, it is explored through free improvisation / free improvised music theories. Looking at the different modalities of that musical practice (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), this research conceives free improvisation as a radical approach to tackle differently the relation between the notions of individual and collective. The assemblage, confrontation and negotiation of individual singularities of musicians being at the centre of free improvisation, the chosen methodology tends to define the dynamics allowing to understand the complexity of that relation. Relying particularly on research-from-creation and creation-as-research (Chapman & Sawchuk, 2012), the methodological aspect of this thesis is anchored in research-creation. In that sense, the main analysis materials have emerged from the experience of free improvisation sessions in which the instantaneity and ephemeral aspect of creation were lived, discussed and subsequently analysed through the concepts of rhythm and presence inherent to Henri Lefebvre’s rhythmanalysis (1980, 1992).
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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing". Thesis, 2009. http://hdl.handle.net/1807/18109.
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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.