Arranging and Performance Techniques

2016 ◽  
pp. 87-135
Author(s):  
Kacey Link ◽  
Kristin Wendland
Keyword(s):  
Performance Techniques ◽  
And Performance

scholarly journals Ibu Sawitri and the A/Occidental Oriental

2006 ◽  
Vol 3 (2) ◽  
Author(s):  
Monica Wulff
Keyword(s):  
Contact Zone ◽  
Women's Voices ◽  
Cultural Encounter ◽  
Performance Techniques ◽  
Art Forms ◽  
Contemporary Work ◽  
And Performance

This paper represents a companion piece or supplement to the paper titled Dancing in the 'contact zone'. In that paper I introduced Ibu Sawitri, her dance, and my experience of our embodied cultural encounter. The first part of this paper is also devoted to Ibu Sawitri, but is specifically linked to the ideas raised in the Ibu Box camera from the installation. Here I tell ‘my’ insights and interpretations of Ibu Sawitri’s life, which traverses a multitude of colonial and local patriarchies. The story is interwoven with transcripts of Ibu’s voice as presented in the installation and a range of other historical Indonesian women’s voices drawn from books and archives. In the second part of this paper I look at what it means to leave what Pratt terms the ‘contact zone’ (1992) with a body that is informed and shaped by this experience. Here I will discuss some of the main issues addressed in my camera box and the wall projection. I look at western audience reactions to the contemporary work I do in Australia with the dance and performance techniques learned in Indonesia. Based on these reactions I speculate about western perceptions of traditional and modern Asian art forms and what that says about our current western perceptions of Asia.

Endoscopic examination of the urethra and the urinary bladder in dogs – indications, contraindications and performance technique

2013 ◽  
Vol 16 (4) ◽  
pp. 797-801 ◽  
Author(s):  
M. Grzegory ◽  
K. Kubiak ◽  
M. Jankowski ◽  
J. Spużak ◽  
K. Glińska-Suchocka ◽  
...  
Keyword(s):  
Urinary Tract ◽  
Urinary Bladder ◽  
Lower Urinary Tract ◽  
Endoscopic Examination ◽  
Performance Technique ◽  
Performance Techniques ◽  
And Performance ◽  
Lower Urinary

Abstract This paper discusses indications, contraindications, and likely complications following the endoscopic examination of the urethra and the urinary bladder in dogs. In addition, the procedure performance techniques and evaluation of the particular sections of the lower urinary tract are presented as well as the equipment used for the urethrocystoscopy.

A Cultural History of Theatre: A Prospectus

2015 ◽  
Vol 56 (3) ◽  
pp. 402-421 ◽  
Author(s):  
Christopher Balme ◽  
Tracy C. Davis
Keyword(s):  
Cultural History ◽  
Social History ◽  
Theatre History ◽  
Special Effects ◽  
Technical Developments ◽  
Performance Techniques ◽  
New Directions ◽  
History Of ◽  
Theatre Studies ◽  
And Performance

If theatre historians had been paying attention to the proceedings at a Gilbert and Sullivan conference in Lawrence, Kansas in 1970, they would have heard a gauntlet strike the ground when Michael R. Booth delivered “Research Opportunities in Nineteenth-Century Drama and Theatre.” He called for research on audiences (“cultural levels, class origins, income, tastes, and development”), performance in the hinterlands (“we know that in 1866 60% of the theatre seats in metropolitan London were outside the West End”), economics (“theatre profits and losses, actors' wages, authors' income, management and organization, the pricing of seats”), and performance techniques (“technical developments in set construction, staging, lighting, traps, and special effects” as well as acting style). This cri de coeur to break the hegemony of literary teleologies is recognizable, in 2015, as a mandate to reorient inquiry toward how repertoires were delivered rather than how authorial talent was paramount, what buttressed profitability rather than what constituted fame, and who sustained a gamut of theatres rather than what demarcated elite taste. It set the agenda for aligning theatre studies in wholly new directions, and without citing a single source or calling out any particular historian it inventoried how theatre history could come into line with social history.

scholarly journals The constraints, aesthetic implications, and creative strategies of composing for networked music performance

2021 ◽  
Author(s):  
◽  
Rebekah Wilson
Keyword(s):  
New Technologies ◽  
Music Performance ◽  
Network Services ◽  
Musical Score ◽  
Public Network ◽  
Public Networks ◽  
Performance Techniques ◽  
And Performance ◽  
Private Network ◽  
Networked Music

<p>Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to—and make cumbersome—the performance of tightly synchronised music, which traditionally depends on the conditions of transmission stability, ultra-low latency, and shared presence. These conditions are experienced optimally only when musicians perform at the same time and in the same place. Except for specialized private network services, public networks are inherently latent and unstable, which disrupts musicians’ ability to achieve precise vertical synchronisation and create an environment where approaches to music performance and composition must be reconsidered. It is widely considered that these conditions mean that networked music performance is a future genre for when network latencies and throughput improve, or one that is currently reserved for high-end heavily optimised networks afforded by institutions and not individuals, or one that is primarily reserved for improvisatory or aleatoric composition and performance techniques. I disagree that networked music is dependent on access to advanced Internet technologies and suggest that music compositions for networked music performance can be highly successful over regular broadband conditions when the composer considers the limitations as opportunities for new creative strategies and aesthetic approaches. In this exegesis, I outline the constraints that prove that while networked music performance is latent, asynchronous, multi-located, multi-authorial, and hopelessly, intrinsically, and passionately digitally mediated, these constraints provide rich creative opportunities for the composition and performance of synchronised and resonant music. I introduce four aesthetic approaches, which I determine as being critical towards the development of networked music: 1) postvertical harmony, where the asynchronous arrival of signals ruptures the harmonic experience; 2) new timbral fusions created through multi-located resonant sources; 3) a contribution to performative relationships through the generation and transmission of vital information in the musical score and through the development of new technologies for facilitating performer synchronisation; and 4) the post-digital experience, where all digital means of manipulation are permitted and embraced, leading to new ways of listening to and forming reproduced realities. Each of these four aesthetic approaches are considered individually in relation to the core constraints, through discussion of the present-day technical conditions, and how each of these approaches are applied to my musical portfolio through practical illustration.</p>

scholarly journals The constraints, aesthetic implications, and creative strategies of composing for networked music performance

2021 ◽  
Author(s):  
◽  
Rebekah Wilson
Keyword(s):  
New Technologies ◽  
Music Performance ◽  
Network Services ◽  
Musical Score ◽  
Public Network ◽  
Public Networks ◽  
Performance Techniques ◽  
And Performance ◽  
Private Network ◽  
Networked Music

<p>Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to—and make cumbersome—the performance of tightly synchronised music, which traditionally depends on the conditions of transmission stability, ultra-low latency, and shared presence. These conditions are experienced optimally only when musicians perform at the same time and in the same place. Except for specialized private network services, public networks are inherently latent and unstable, which disrupts musicians’ ability to achieve precise vertical synchronisation and create an environment where approaches to music performance and composition must be reconsidered. It is widely considered that these conditions mean that networked music performance is a future genre for when network latencies and throughput improve, or one that is currently reserved for high-end heavily optimised networks afforded by institutions and not individuals, or one that is primarily reserved for improvisatory or aleatoric composition and performance techniques. I disagree that networked music is dependent on access to advanced Internet technologies and suggest that music compositions for networked music performance can be highly successful over regular broadband conditions when the composer considers the limitations as opportunities for new creative strategies and aesthetic approaches. In this exegesis, I outline the constraints that prove that while networked music performance is latent, asynchronous, multi-located, multi-authorial, and hopelessly, intrinsically, and passionately digitally mediated, these constraints provide rich creative opportunities for the composition and performance of synchronised and resonant music. I introduce four aesthetic approaches, which I determine as being critical towards the development of networked music: 1) postvertical harmony, where the asynchronous arrival of signals ruptures the harmonic experience; 2) new timbral fusions created through multi-located resonant sources; 3) a contribution to performative relationships through the generation and transmission of vital information in the musical score and through the development of new technologies for facilitating performer synchronisation; and 4) the post-digital experience, where all digital means of manipulation are permitted and embraced, leading to new ways of listening to and forming reproduced realities. Each of these four aesthetic approaches are considered individually in relation to the core constraints, through discussion of the present-day technical conditions, and how each of these approaches are applied to my musical portfolio through practical illustration.</p>

Soundscape Composition: Enhancing our understanding of changing soundscapes

2017 ◽  
Vol 23 (1) ◽  
pp. 20-28 ◽  
Author(s):  
Brona Martin
Keyword(s):  
Compositional Techniques ◽  
Field Recordings ◽  
The Past ◽  
Performance Techniques ◽  
The World ◽  
Cultural Themes ◽  
Soundscape Studies ◽  
Cultural Science ◽  
And Performance ◽  
Acoustic Environments

This article discusses the affordances of soundscape composition and how the techniques and approaches of this genre have been embraced as an inter-disciplinary research methodology. Since its emergence from the World Soundscape Project, the concept of soundscape composition has set out to enhance our listening awareness of our soundscapes, inspiring and establishing a discourse that explores a sense of place through sound. Soundscape composition over the past decades has established itself as a popular compositional practice among acousmatic composers utilising compositional techniques that go beyond phonographic representation of acoustic environments. Electroacoustic techniques explore not only the transformation and processing of field recordings but also the spatialisation and performance techniques used to create immersive and realistic soundscapes. These compositional developments since the establishment of the World Soundscape Project have brought this genre of music to a wider audience as it has developed into a cross-disciplinary practice. Soundscape studies methodologies such as soundwalking, listening and recording are being utilised by a broader research cohort outside of soundscape composition. This article provides a survey of recent projects and compositions that incorporate a soundscape and cross-disciplinary approach that reflects a variety of cultural themes and issues within the disciplines of social, political and cultural science.

About Russian Old-timers' Performing Style in the Northern Regions of the Udmurt Republic

10.34690/209 ◽  
2021 ◽  
pp. 166-175
Author(s):  
Евгения Анатольевна Склярова
Keyword(s):  
Dynamic Features ◽  
Performance Techniques ◽  
Local Tradition ◽  
Northern Regions ◽  
Udmurt Republic ◽  
Round Dance ◽  
And Performance ◽  
Local Traditions

Статья посвящена исследованию некоторых аспектов исполнительского стиля русских старожилов северных районов Удмуртской Республики на примере песенных жанров, включенных в календарную обрядность (песни святочных гаданий «Илею», колядки, хороводные, лирические песни). Экспедиционные материалы показывают, что темброво-тесситурные особенности и исполнительские приемы приобретают значение типичных элементов песенного стиля исследуемого ареала, свидетельствуя о единстве музыкального фольклора русских старожилов наряду с самобытными чертами местных локальных традиций. В статье указываются способы фиксации фольклорно-этнографического материала в экспедиционных условиях, которые дают возможность воссоздать фольклорные записи, представить звучащие песни включенными в определенный контекст, с учетом особенностей их функционирования; раскрываются сведения о том, кем, когда, в каком пространстве и как исполнялись колядки, песни святочных гаданий «Илею», хороводные и лирические песни. Эти сведения позволяют сделать вывод о некогда активном бытовании перечисленных жанров, об их значимости в местной традиции. Певческие приемы («петь на ростяг», «скольжения-переходы», взятия и сбросы дыхания), темброво-тесситурные, динамические особенности песенных форм, точные высказывания носителей традиции о звучании различных жанров музыкального фольклора углубляют знания об исследуемой культуре, позволяют воссоздать ее своеобразный звуковой облик, а также выявить музыкально-выразительные средства, характерные и для других песенных традиций. Article is devoted to the study of some aspects of the performing style of Russian old-timers in the Northern regions of the Udmurt Republic on the example of genres included in the calendar rites (songs of YuLe divination “ILeyu,” Christmas carols, round dance and Lyrical songs). The expedition materials show that timbre and tessitura indicators and performance techniques are becoming typicaL elements of the performing styLe in the studied areas. They point to the unity of the Russian old-timers musical folklore along with the original features of LocaL traditions. The articLe reveaLs the ways to record foLkLore and ethnographic materiaL in expeditions. It aLLows us to recreate foLkLore texts, imagine sounding songs incLuded in a certain context, taking into account the pecuLiarities of their functioning. This work provides detaiLed answers to the questions of who was performing the caroLs, songs of YuLe divination “Ileyu,” round dance and LyricaL songs, testifying to the once active existence of the Listed genres, their importance in the Local tradition. Singing techniques (singing “narostyag” (“stretching” signing), sLiding transitions, taking and resetting breath), timbre and tessitura, as weLL as dynamic features of song forms, accurate expressions of the bearers of tradition about the sounding of various genres of musical folklore deepen knowLedge about the cuLture under study, aLLow us to recreate its originaL sound appearance and identify musical and expressive means characteristic of other song traditions.

Algorithmic Thinking and Central Javanese Gamelan

2018 ◽  
Author(s):  
Charles Matthews
Keyword(s):  
Audience Participation ◽  
Rule Based ◽  
Rewriting Systems ◽  
Performance Techniques ◽  
Computer Aided ◽  
Different Types ◽  
And Performance ◽  
Algorithmic Thinking ◽  
Rule Based Systems

This chapter explores the idea of central Javanese gamelan (also known as karawitan) as rule-based music, examining areas where algorithmic thinking can take place in both performance and composition. Different types of performance techniques are discussed, exploring the degree to which rules can be used to generate melodic content from a notated outline called the balungan (meaning ‘skeleton’ or ‘frame’ in Javanese). Several applications of algorithms in the contexts of ethnomusicology and composition are presented, with a focus on grammars and rewriting systems. This leads to a discussion of the author’s work with rule-based systems in composition and performance, including integration of computer parts in a live gamelan ensemble through augmented instruments. The chapter concludes with an overview of Pipilan: a piece of software developed in Max/MSP for computer-aided composition, which has also been used to facilitate audience participation in performance and installation settings.

scholarly journals Sleep, activity, temperature, and performance: Techniques for long-term monitoring in the mouse

1981 ◽  
Vol 13 (6) ◽  
pp. 723-726
Author(s):  
Pierre M. Hahn ◽  
Tom Schmidt ◽  
Ajay Agarwal ◽  
Richard Friedman ◽  
Merrill M. Mitler
Keyword(s):  
Performance Techniques ◽  
Activity Temperature ◽  
Long Term Monitoring ◽  
And Performance ◽  
Term Monitoring

Ta'wil of Action: the New World Performance Laboratory's Persian Cycle

1996 ◽  
Vol 12 (46) ◽  
pp. 156-176
Author(s):  
Lisa Wolford
Keyword(s):  
New World ◽  
Northwestern University ◽  
Performance Techniques ◽  
Theatre Company ◽  
Private Research ◽  
Potential Impact ◽  
Experimental Theatre ◽  
And Performance ◽  
Diverse Ensemble ◽  
Traditional Performance

The New World Performance Laboratory is an experimental theatre company based in Cleveland, Ohio, founded by a number of artists who originally collaborated in the context of Jerzy Grotowski's Objective Drama Programme. NWPL investigates traditional performance techniques of various cultures, conducting private research as well as mounting publicly-accessible productions. Iranian director Massoud Saidpour, a founding member of the company, has developed a series of performances based on Sufi teaching stories which explore the adaptation of traditional Persian materials and performance idioms for presentation by a culturally-diverse ensemble. Here, Lisa Wolford examines the traditions and source materials from which Saidpour's performance structures are derived, and considers the potential impact, both for participants and spectators, of working with material drawn from esoteric or initiatory genres. Lisa Wolford participated in Jerzy Grotowski's Objective Drama Programme from 1989 to its conclusion in 1992. Her book on Objective Drama Research,The Intersection of the Timeless Moment, is forthcoming, and she is also co-editor with Richard Schechner ofThe Grotowski Sourcebook, to be published by Routledge. Her writings on Grotowski and the New World Performance Laboratory have appeared inThe Drama Review, and she is currently completing her doctoral dissertation on Grotowski's recent work at Northwestern University.

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