Realization of a task as a method of work on the movement interpretation of a musical work

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 45-57
Author(s):  
Barbara Dominiak
Keyword(s):  
Creative Process ◽  
Technical Skills ◽  
Individual Contribution ◽  
Musical Work ◽  
Theoretical Part ◽  
Definition Of

The article discusses the issue of a realization of movement interpretation of a musical work in accordance with the Emil Jaques-Dalcroze method. It gives a definition of the notion of movement interpretation, considers the role of a performer as an essential link between the author and a recipient, the existence levels of a musical-movement composition in view of Mieczysław Tomaszewski’s concepts as well as methods of work with a group of performers on the realization of kinesthetic interpretation of a musical work. The theoretical part has been supplemented with a description of a movement interpretation, the creative process of which consisted in assigning particular tasks to performers instead of teaching them to make specific steps and gestures. Thanks to this, performers could be authors, not just performers or imitators, they moved naturally, made an individual contribution to the task and enjoyed a lot the process of developing the performance. The realization of a task as a method of work on interpretation is suitable for all groups regardless of their age and technical skills.

scholarly journals The Role of Misrule in the Practice of  Performance

2021 ◽  
Author(s):  
◽  
Gregor Cameron
Keyword(s):  
Creative Process ◽  
Critical Analysis ◽  
Theory And Practice ◽  
Stage I ◽  
Community Collaboration ◽  
Definition Of

<p>In the theatre we are familiar with how rehearsal and collaboration can lead to a number of unintended discoveries that can cause a production to change tack. At the heart of this thesis is discovery- of oneself as an artist, as part of community collaboration and as part of a story told on stage. Using carnival as a frame for the space we work in, accepting that the ʻtricksterʼ cultural figure can be a manifestation of the carnival, it should be possible for the role of trickster to be taken on by someone in the rehearsal process. This is often but not always the director. These ʻhappy accidentsʼ can in fact arise through the directorʼs deliberate disruption of the community. At times, problems that raise their heads are solved through this creative process. Misrule is my definition of this and I offer my experience of this within the process of bringing Saint Punch, a carnivalesque/ Grand Guignol show, to the stage. I compare this with some other practitionersʼ experience of this process of disruptive imagination as defense of my position. By recognizing it in both theory and practice through a critical analysis my aim is to seek a synthesis intended to enrich the theatrical experience of the audience.</p>

scholarly journals CONTEMPORARY DEFINITION FOR CREATIVITY

2019 ◽  
Vol 34 (2) ◽  
pp. 373-379
Author(s):  
Elka Valcheva
Keyword(s):  
Creative Process ◽  
Dynamic Nature ◽  
New Ideas ◽  
Proper Definition ◽  
Product Presentation ◽  
Definition Of ◽  
The Individual ◽  
The Mind ◽  
Process Product

The report examines the central role of creativity in the future post-information society. There is a call for a pragmatic approach to the study of creativity, which as a consequence bears recognition of the dynamic nature of this phenomenon. At the heart of the proposed theoretical framework is the very definition of creativity, which is transformed from static to dynamic. Starting from the static central definition and considering the auxiliary definitions for the area of focus and purpose of creativity, creative personality, creativity of the individual, creativity of the environment, creative process, product of creative process, potential for creativity, product presentation and evaluation, the nature of creativity should be clarified. The new definitions have been shown to be fully compatible with the existing set of research in the field of creativity, as well as increase the effectiveness in proposing new approaches to research in support of the consideration of new theoretical hypotheses and developments. Creativity is considered to be a foundation that does not yet have a clear and precise definition because of its uniqueness. This complete lack of consensus on what research considers important in this area is a major problem. There is no consensus on exactly what creativity is. Without a proper definition, creativity researchers cannot do any research, first they must determine creativity itself. There is a lot of ambiguity in the definition. The definition keeps coming back to itself, which makes it pretty difficult to determine what creativity really means. Various constructs and aspects of the definition of creativity of many contemporary scholars are proposed and discussed. Clarifying the definition of creativity is important for understanding its very essence, as a complex phenomenon and a leading skill in the 21st century. The nature of creativity as a characteristic of a person to generate new ideas, alternatives, solutions and opportunities in a unique and different way is clarified. Creativity is the ability to grasp something unpredictable, original and unique. The creative idea must be expressive, exciting and imaginative. It is a mirror of how beautiful one can think in any circumstance. Creativity is not genetic, it can be developed if one continues to learn and understand things with rare and exceptional perception. It is an activity to uncover something that was previously hidden. As the word implies, creativity is about creation. It is about mastering the power of the mind to think of new ideas, product plans, thought experiments, tastes, sensations or art. Creativity can be a form of expression or a way of solving problems. Anyone can be creative in any context, not just a genius privilege.

scholarly journals The Role of Misrule in the Practice of  Performance

2021 ◽  
Author(s):  
◽  
Gregor Cameron
Keyword(s):  
Creative Process ◽  
Critical Analysis ◽  
Theory And Practice ◽  
Stage I ◽  
Community Collaboration ◽  
Definition Of

<p>In the theatre we are familiar with how rehearsal and collaboration can lead to a number of unintended discoveries that can cause a production to change tack. At the heart of this thesis is discovery- of oneself as an artist, as part of community collaboration and as part of a story told on stage. Using carnival as a frame for the space we work in, accepting that the ʻtricksterʼ cultural figure can be a manifestation of the carnival, it should be possible for the role of trickster to be taken on by someone in the rehearsal process. This is often but not always the director. These ʻhappy accidentsʼ can in fact arise through the directorʼs deliberate disruption of the community. At times, problems that raise their heads are solved through this creative process. Misrule is my definition of this and I offer my experience of this within the process of bringing Saint Punch, a carnivalesque/ Grand Guignol show, to the stage. I compare this with some other practitionersʼ experience of this process of disruptive imagination as defense of my position. By recognizing it in both theory and practice through a critical analysis my aim is to seek a synthesis intended to enrich the theatrical experience of the audience.</p>

THE ROLE OF SINESTHESIA IN CREATIVE ACTIVITY OF COMPOSERS

2021 ◽  
pp. 207-213
Author(s):  
Svetlana N. Loseva ◽  
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Musical Work ◽  
Artistic Process ◽  
Romantic Era ◽  
Sensory Image ◽  
The Many ◽  
The Individual ◽  
Sensory Impression

The paper examines the problems of researching the scientific knowledge of synaesthesia and its role in creative compositional activity. An analysis of various approaches to the definition of the phenomenon of synaesthesia as a concept reflecting the form of perception, the connection between feelings in the psyche, the results of their manifestations in specific art fields: the art-aesthetic culture of the 20th century, reflects the culturological component of the phenomenon; the ratio of synaesthesia with a sensory impression having a certain color. The role of synaesthesia in creative musical activity is defined and the relationship with the general features of the style of the Romantic era and the individual psychological qualities of the composers is indicated. Consideration is given to belonging to a certain national musical culture, which bears one or another national style. An example of the manifestation of synaesthetic tendencies in the musical art in the direction of impressionism is given. V. Moskalenko distinguishes three versions of reconstruction by the performer of the composer's plan: real, conditionally real and hypothetical. One of the main distinguishing features of the composer's letter of the first half of the twentieth century is the submission to the general technocratic tendencies inherent in the culture as a whole. In the second half of the XX - beginning of the XXI centuries, the intuitive beginning in the creative process was updated. The ultimate manifestation of the intuitive and sensual principle in the process of composing practice is reflected in the ideas of the Russian composer D. Kurlyandsky, which testifies to the extreme actualization not only of the intuitive beginning, but also of the bodily, sensual experience in creating a musical work. A productive method of constructing the components of the composer's intention is the method proposed by N. Kolyadenko for establishing synesthetic models of the stages of the artistic process, where the synaesthetic model of the artistic process corresponds to the composer's intention. The role of timbre and harmony in the music of the twentieth century is noted. The texture reflects the many-sided changes in the musical paradigm of the twentieth century. The simplest example of fixing the composer's spatial thinking is the notation record. The tendencies of the graphic nature of the musical texture, which only became apparent in the works of K. Debussy, were transformed into an important component, and sometimes the predominance of textured graphics in the music of the twentieth and early twentyfirst centuries. T. Krasnikova points out such forms: a point, a line, a strip, a stream, a stain, a scattering, a cloud, a sound rain. The special research devoted to this phenomenon testifies to the potential of researching composer's remarks as an embodiment of the "semantic" palette of the "stylistics of the composer's musical speech", as well as the "artistic" picture of the world of the "composer" (by A. Sokol's definition). Thus, the remarks being the "key" to understanding the compositional sense of music, in this classification once again demonstrate the inclusion of both emotional and synesthetic components in the sensory image of the sound of a musical work. The synaesthetic analysis objectifies musical sounding with the help of synaesthetic markers, capable of directing an understanding of its meaning. However, the significance of the above mentioned components of the creative process increases when studying the composer's intention of a synesthetic character - the synesthetic concept laid down by the composer - and his performing realization.

Challenges of Fear Conditioning Research in the Age of RDoC

2017 ◽  
Vol 225 (3) ◽  
pp. 189-199 ◽  
Author(s):  
Tina B. Lonsdorf ◽  
Jan Richter
Keyword(s):  
Fear Conditioning ◽  
Clinical Diagnosis ◽  
Research Domain Criteria ◽  
Major Focus ◽  
The Future ◽  
Definition Of ◽  
Methodological Considerations ◽  
Research Domain

Abstract. As the criticism of the definition of the phenotype (i.e., clinical diagnosis) represents the major focus of the Research Domain Criteria (RDoC) initiative, it is somewhat surprising that discussions have not yet focused more on specific conceptual and procedural considerations of the suggested RDoC constructs, sub-constructs, and associated paradigms. We argue that we need more precise thinking as well as a conceptual and methodological discussion of RDoC domains and constructs, their interrelationships as well as their experimental operationalization and nomenclature. The present work is intended to start such a debate using fear conditioning as an example. Thereby, we aim to provide thought-provoking impulses on the role of fear conditioning in the age of RDoC as well as conceptual and methodological considerations and suggestions to guide RDoC-based fear conditioning research in the future.

Timing is everything: Examining the role of constraints throughout the creative process.

2018 ◽  
Vol 12 (4) ◽  
pp. 471-488 ◽  
Author(s):  
Kelsey E. Medeiros ◽  
Logan M. Steele ◽  
Logan L. Watts ◽  
Michael D. Mumford
Keyword(s):  
Creative Process

Business Model Literature Overview

2014 ◽  
pp. 79-130 ◽  
Author(s):  
Ales Novak
Keyword(s):  
Business Model ◽  
Financial Reporting ◽  
Business Models ◽  
Potential Role ◽  
Financial Instruments ◽  
Business Logic ◽  
Literature Overview ◽  
Ifrs 9 ◽  
Definition Of

The term ?business model' has recently attracted increased attention in the context of financial reporting and was formally introduced into the IFRS literature when IFRS 9 Financial Instruments was published in November 2009. However, IFRS 9 did not fully define the term ‘business model'. Furthermore, the literature on business models is quite diverse. It has been conducted in largely isolated fashion; therefore, no generally accepted definition of ?business model' has emerged. Therefore, a better understanding of the notion itself should be developed before further investigating its potential role within financial reporting. The aim of this paper is to highlight some of the perceived key themes and to identify other bases for grouping/organizing the literature based on business models. The contributions this paper makes to the literature are twofold: first, it complements previous review papers on business models; second, it contains a clear position on the distinction between the notions of the business model and strategy, which many authors identify as a key element in better explaining and communicating the notion of the business model. In this author's opinion, the term ‘strategy' is a dynamic and forward-looking notion, a sort of directional roadmap for future courses of action, whereas, ‘business model' is a more static notion, reflecting the conceptualisation of the company's underlying core business logic. The conclusion contains the author's thoughts on the role of the business model in financial reporting.

The Role of Moral Education on the Dress Code in the Higher Learning Institution

Sains Insani ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 10-14
Author(s):  
Ira Meilita Ibrahim ◽  
Taufik A. Latif ◽  
Afi Roshezry Abu Bakar ◽  
Muthualagan Thangavelu
Keyword(s):  
Moral Education ◽  
Private University ◽  
Public University ◽  
Higher Learning ◽  
Private Institutions ◽  
Dress Code ◽  
Institutions Of Higher Learning ◽  
The World ◽  
Definition Of

The advancement of European dress to the rest of the world was linked to the definition of civilization as “a stage of social development considered to be more advanced” and “polite and good-mannered”. The widespread of their fashion style in the 19th and 20th centuries influenced the way the rest of the world attire. The fashion trend and dressing style thus change the purpose of dressing through time. The dressing style in campuses especially in private institutions of higher learning is under particular scrutiny, as it is often said to be inappropriate for a learning environment. This study looked at the importance of moral education, and its role in implementing the dress code for students among university students especially between two types of university i.e. public university and private university. It looked on the dressing style of students, both male and female, and the factors that lead to their dressing pattern which is common among students. This study also advocated the students’ understanding of the content of dress codes in their learning institution and the role played by moral education in regard to dress code. The overall study highlighted students’ perception towards the implementation of the dress code and punishment in their learning institution. The methodologies used to carry out this study are questionnaires and interviews. This study will therefore ascertain the important of dress code among students at higher learning institution and the role of moral education in cultivating values in order to dress properly or decently. Key Words: moral education, dress code, higher learning institution, civilization.

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