A Performance Engineering Case Study: Software Retrieval System?

2001 ◽  
pp. 317-332 ◽  
Author(s):  
José Merseguer ◽  
Javier Campos ◽  
Eduardo Mena
Keyword(s):  
Retrieval System ◽  
Performance Engineering ◽  
A Performance

The Category Is . . . Opulence!

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Joseph Plaster
Keyword(s):  
Performance Studies ◽  
Knowledge Creation ◽  
People Of Color ◽  
Gender Nonconforming ◽  
Johns Hopkins University ◽  
The Cross ◽  
And Gender ◽  
A Performance

In recent years there has been a strong “public turn” within universities that is renewing interest in collaborative approaches to knowledge creation. This article draws on performance studies literature to explore the cross-disciplinary collaborations made possible when the academy broadens our scope of inquiry to include knowledge produced through performance. It takes as a case study the “Peabody Ballroom Experience,” an ongoing collaboration between the Johns Hopkins University Sheridan Libraries, the Peabody Institute BFA Dance program, and Baltimore’s ballroom community—a performance-based arts culture comprising gay, lesbian, queer, transgender, and gender-nonconforming people of color.

Integrating a performance-based approach into practice: a case study

2005 ◽  
Vol 33 (2) ◽  
pp. 128-141 ◽  
Author(s):  
David Hammond ◽  
James J. Dempsey ◽  
Françoise Szigeti ◽  
Gerald Davis
Keyword(s):  
A Performance

scholarly journals (Per)forming Open Form: A Case Study with Earle Brown’s Novara

2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Drake Andersen
Keyword(s):  
Linear Time ◽  
Open Form ◽  
Structural Function ◽  
A Performance

Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time.

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