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Ready, Set, Improvise!

2018-09-11
Ready, Set, Improvise!

Author: Suzanne Burton

Publisher: Oxford University Press

ISBN: 9780190675936

Category: Music

Page: 152

View: 478

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Improvisation - the creation of a unique combination of musical content within a musical context - is core to musicianship. As authors Suzanne L. Burton and Alden H. Snell II demonstrate, students already build skills that drive improvisation when they listen to music or imitate rhythmic patterns. Building from this observation, Ready, Set, Improvise! addresses improvisation in a cogent, clear, practical, and sequential manner. As an essential resource for music educators, this book synthesizes what we know about exemplary music teaching and learning, provides an easy-to-follow sequence for guiding improvisation instruction, and gives techniques for assessment of students' skill and conceptual development. Burton and Snell explore lessons in singing, rhythmic chanting, moving, and playing instrument exercises that prepare students to improvise. This all-in-one guide gives music teachers the necessary tools with which to plan the next steps for students to become independent musicians.

Notes From An Odin Actress

2010-09-13
Notes From An Odin Actress

Author: Julia Varley

Publisher: Routledge

ISBN: 9781136938535

Category: Biography & Autobiography

Page: 205

View: 274

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‘As an actress I sit, speak, run, sweat and, simultaneously, I represent someone who sits, speaks, runs and sweats. As an actress, I am both myself and the character I am playing. I exist in the concreteness of the performance and, at the same time, I need to be alive in the minds and senses of the spectators. How can I speak of this double reality?’ – Julia Varley This is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Teatret for over thirty years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company. This is a unique window onto the in-depth exercises and day-to-day processes of an Odin member. It is a journal to enlighten anyone interested in the performances, the discoveries and the hard physical work that accompany a life in theatre.

The Grammar of Grace

2019-06-11
The Grammar of Grace

Author: Kent Eilers

Publisher: Wipf and Stock Publishers

ISBN: 9781610972338

Category: Religion

Page: 556

View: 556

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This anthology is a collection of readings on the Christian life. They were carefully selected from every era of history and from across the spectrum of Christian traditions. They include letters, sermons, treatises and disputations, poems, songs and hymns, confessions, biblical commentary, and even part of a novel. In each case, the subject is life with God, life in God, life for God—life infused and enlivened by God’s grace. The editors introduce each selection, highlighting relevant aspects of the author’s biography, spirituality, and historical context. Introductions are also provided for the major eras of the church which present theological, historical, and cultural perspectives to help the reader best engage the selections. For individuals and groups, classrooms and seminars, this collection will generate dialogue between past and present, and between traditions familiar and unfamiliar. It is not merely a book on the Christian life but for the Christian life, making yesterday’s witness to life with God a resource for the Church today.

Early Keyboard Instruments

2001-03-26
Early Keyboard Instruments

Author: David Rowland

Publisher: Cambridge University Press

ISBN: 0521643856

Category: Music

Page: 172

View: 127

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A select bibliography and extensive endnotes enable the reader to take all of the issues further."--Jacket.

Eugenio Barba

2004-10-28
Eugenio Barba

Author: Jane Turner

Publisher: Routledge

ISBN: 9781134481842

Category: Performing Arts

Page: 200

View: 915

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This useful guidebook not only provides practical exercises for both students and teachers, but also offers an historical perspective on European and world theatre and charts exciting developments in theatre research Eugenio Barba is the first book to combine: *an overview of Barba's work and that of his company, Odin Teatret *exploration of his writings and ideas on theatre anthropology, and his unique contribution to contemporary performance research *in-depth analysis of the 2000 production of Ego Faust, performed at the International School of Theatre Anthropology *a practical guide to training exercises developed by Barba and the actors in the company. Eugenio Barba is recognized as one of the most important theatre practitioners working today. Along with the company he founded forty years ago, the world-acclaimed Odin Teatret, he continues to produce extraordinary theatre performances that tour the world, and his International School of Theatre Anthropology has greatly developed research into the craft of the actor. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

The Oxford Handbook of Critical Improvisation Studies

2016-08-22
The Oxford Handbook of Critical Improvisation Studies

Author: George E. Lewis

Publisher: Oxford University Press

ISBN: 9780199892938

Category: Music

Page: 640

View: 870

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Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of the Oxford Handbook of Critical Improvisation Studies gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.

Improvisation, Hypermedia and the Arts Since 1945

1997
Improvisation, Hypermedia and the Arts Since 1945

Author: Hazel Smith

Publisher: Psychology Press

ISBN: 371865878X

Category: Improvisation (Acting)

Page: 352

View: 943

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In presenting their definition of improvisation, the authors consider developments in improvisation in the arts since 1945 by emphasizing process and techniques and by featurings artists from Grotowski and Laurie Anderson to Goldsworthy.

Handbook of Qualitative Research Methods in Entrepreneurship

2007
Handbook of Qualitative Research Methods in Entrepreneurship

Author: Helle Neergaard

Publisher: Edward Elgar Publishing

ISBN: 9781847204387

Category: Business & Economics

Page: 520

View: 251

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. . . the Handbook of Qualitative Research Methods in Entrepreneurship is an important contribution to the field, and should be referenced in any paper using qualitative methodologies to investigate the entrepreneurial phenomenon. Craig S. Galbraith, Journal of Enterprising Communities There is no hiding behind the ramparts of dry scholarship here. The credibility of the theory being spoken of is not the stuff of constructed proofs, but alignments of critical insight and utility. This is where qualitative work can make a difference to the field, and where this book makes its mark. Robin Holt, International Journal of Entrepreneurial Behaviour and Research The Handbook of Qualitative Research Methods in Entrepreneurship is an unusually solid and multifaceted book on what qualitative methods have done, are doing and will do in entrepreneurship research. Every serious entrepreneurship scholar should read it. It points at the future! Björn Bjerke, University of Kalmar, Sweden I would warmly recommend this unique collection of qualitative methods of entrepreneurship research to both mature and beginning researchers as a menu to choose from for their planned empirical studies. For those who try to get away from only quantitative studies in both business practice and academic research, this book is their chance to find a rich inspiration in reflecting on entrepreneurship as a lived experience using grounded theory and ethnographic, discourse and narrative approaches. It might convince editors of top journals of entrepreneurship research to welcome qualitative research submissions as an indispensable complement to quantitative only submissions. This domain is not physics. In bringing together such a variety of experts from so many nationalities in this Handbook, our Danish colleagues are making entrepreneurship research a realistic global venture. Jan Ulijn, Eindhoven University of Technology, The Netherlands Helle Neergaard and John Parm Ulhøi have compiled a remarkable collection of work that both represents the range of methods and demonstrates the depth of insight that can be achieved through qualitative approaches. This book is not simply a handbook of qualitative research methods, though it well achieves this aim, it is also an important contribution towards the field of entrepreneurship research. From the Foreword by Sara Carter This expansive and practical Handbook introduces the methods currently used to increase the understanding of the usefulness and versatility of a systematic approach to qualitative research in entrepreneurship. It fills a crucial gap in the literature on entrepreneurship theory, and, just as importantly, illustrates how these principles and techniques can be appropriately and fruitfully employed. The Handbook is underpinned by the belief that qualitative research has the potential to charter hitherto unexplored waters in the field of entrepreneurship and thus contribute significantly to its further advancement. The contributors seek to assist entrepreneurship researchers in making more informed choices and designing more rigorous and sophisticated studies. They achieve this by providing concrete examples of research experiences and tangible how to advice. By clarifying what these research methods entail, how they are currently being used and how they can be evaluated, this Handbook constitutes a comprehensive and highly accessible methodological toolbox. Dealing with both well-accepted qualitative approaches and lesser-known, rarer and more novel approaches to the study of entrepreneurship, this Handbook will be invaluable to those studying, researching and teaching entrepreneurship.

Philosophy of the Performing Arts

2011-05-02
Philosophy of the Performing Arts

Author: David Davies

Publisher: John Wiley & Sons

ISBN: 9781405188029

Category: Performing Arts

Page: 248

View: 435

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PHILOSOPHY OF THE PERFORMING ARTS “David Davies’s Philosophy of the Performing Arts is long-awaited. Not since Paul Thom’s For an Audience has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively, and fairly on all the performing arts. I will use this book in my classes.” James Hamilton, Kansas State University, author of The Art of Theater “In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.” Stephen Davies, University of Auckland, author of The Philosophy of Art Philosophical inquiry concerning the performing arts has tended to focus on music – specifically classical music – which is assumed to provide a model for understanding the performing arts as a whole. This book engages with this belief and critically explores how the “classical paradigm” might be extended to other musical genres, to theater, and to dance. Taking in key components of artistic performance – improvisation, rehearsal, the role of the audience, the embodied nature of the artistic performer – the book examines similarities and differences between the performing art forms and presents the key philosophical issues that they bring into play. These reflections are then applied to the disputed issue of those contemporary artworks usually classified as “performance art.” Assuming no prior knowledge of the subject matter, this book provides an accessible, yet sophisticated, introduction to the field and a comprehensive framework for thinking about the performing arts.

The Pianist's Guide to Historic Improvisation

2020
The Pianist's Guide to Historic Improvisation

Author: John J. Mortensen

Publisher: Oxford University Press, USA

ISBN: 9780190920395

Category: Music

Page: 223

View: 888

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"This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"--