Performing Arts

Performing Arts

  • Huib Schippers added an answer:
    What are the disadvantages of using western music notation to transcribe indigenous non-western ethnic music and what can be used as an alternative?

    Western music notation used widely in transcribing and notating non-western music. Well, it looks a media beside the oral transmission of music which can help grasping structure of a certain type of music, but it is not. Western music notation forces its limitations in transcriptions and through the history the notated version remains as the document or “original version” against changes take place in oral versions over time. It is in spite of modifications the written version already got through transcribing musical sound to written notation.

    Huib Schippers

    Although I have directed a Western Conservatorium for many years, I have grave reservations about using Western notation for any other purpose than supporting people who play Western music and are familiar with the sound of that music and its conventions. No notation system works without a thorough knowledge of the music it refers to. I have been playing Hindustani music (sitar) for forty years, one of the most refined music traditions in the word, and Western staff notation is simply not capable of capturing its essence, or even its basics. Even more upsetting is the extensive use of staff notation in music education (often without reference to the sound), which runs the risk of making most world music traditions appear like bad Western music by ignoring the musical qualities (in rhythmic subtleties, timbre, expression, etc.) that characterise it. I've lectures and published about this extensively, including in my monograph Facing the music: Shaping music education from a global perspective (OUP, 2010).

  • Hannah Beavis added an answer:
    What would be the best method for assessing audience experiences of a theatre production?

    I'm looking at assessing how an audience perceive a performance on the concept of ageing (delivered by older people as the performers) as well as any attitude changes that have occurred. Would anyone suggest a feedback form (more quantitative) or an open discussion at the end of the performance? Or any other methods that have been used.

    Hannah Beavis

    Thank you to everyone for your responses across the different areas.

    Claire - the tool you've recommended seems most appropriate for the scale of this project, I was just wondering are you using this tool (on a tablet) with all audience members or just a select few? And what are your opinions on the paper versus online version? 
    Because my audience will be elderly people I'm wondering about which version would be most appropriate

  • Scott Watkins added an answer:
    What was the name of the ship and the date (April - June, 1869) on which Hans Hanson (Hansson) and his wife Hanah Pehrsson sailed to USA?

    Researching American composer's early career and life - looking for early family history. Know his grandparents settled in Saunders County, Nebraska, June, 1869. Looking for name of ship on which they sailed (immigrated) to America.

    Scott Watkins

    Thank you, Karl, for writing. I'm quite certain of the year (1869) so I'll take a look at the website you mentioned. Thanks again!


  • Karen McAulay added an answer:
    When was the first fully left-handed double bass built 'from the ground up' (i.e. not converted from a right-handed instrument)?

    I'm currently writing a research MA on the history of those rare double bassists who (like me) play the instrument 'back-to-front'. There's a brief summary of my areas of research here:

    I would like to enlist your help, as members of a wide-ranging musicology community, with answering two questions:

    1) When was the first left-handed double bass built ‘from the ground up’, rather than converted from a right-handed instrument?

    (Even if we can’t answer this question outright, it would be great to know what is the earliest fully left-handed instrument you know of).

    2) Do you know of any more double bass players who play the instrument ‘back-to-front’?

    (So far, my list includes Earl May, Tony Archer, Sherwood Mangiapane, Bud Loyacano and Mark Geddes).

    Your help and input is greatly appreciated - and please feel free to get in touch with any other enquiries or anecdotes relevant to the research!

    Karen McAulay

    Have you contacted Prof. Fiona M. Palmer, author of book about Dragonetti? I believe she is at University of Maynooth, Ireland.

  • K.G Vijayakrishnan added an answer:
    Anyone knows how i can get an e-copy of Natyashastra in simple English?

    Natyashastra by Bharat Muni is a compendium of Indian Theatre and performance. 

    K.G Vijayakrishnan

    Dr.Pappu Venugopala Rao, a member of the Music Academy, Chennai may be able to help you with an annotated text. He has a gmail id which can accessed in his website.

  • Eric Ventura added an answer:
    How can I find ways in music experience on preservice elementary students attitudes?

    methods approach studying co-regulation of student autonomy through teacher-student relationship

    Eric Ventura

    Similar to Richard's suggestion, Orff Schulwerk includes music and movement, each informs the other.  There are similarities with Dalcroze eurythmics.  Orff Schulwerk is approachable at any skill level, and is a global approach to music education.  See the AOSA site for more information (below)

  • Neil Anderson added an answer:
    Can Mindfulness Practice (specifically meditation) be used to enhance performance of actors/dancers/artists?
    I'm interested in looking specifically at Mindfulness and Performance Art, since they often seem to share a common vocabulary, with the use of concepts like "presence", "stillness", "awareness" and so on. I'll be introducing Mindfulness practice to a small group of Hons (post grad) students this year and I'm interested if anybody else is teaching it in performing arts curricula or has explored this with practitioners or in their own work. Thanks.
    Neil Anderson

    Yes,  it would be good to read more about this research. Sounds quite exciting.

  • Emanuela Lacraru added an answer:
    Are any violin and viola performers and teachers interested in completing the survey?
    I am working on my doctoral monograph this semester and part of it is a survey investigating the opinions of college-level professors of violin and viola, and teachers of young violin or viola students about instrument setup (i.e. chin rests and shoulder rests) so that it can be made comfortable according to the individual student's body, minimizing the likelihood of performance related injury.
    I was wondering if anybody would be interested in completing this survey. If yes, it is available at the following links: (if you are a college professor of violin or viola)
    or (if you teach at the pre-college level, or adult amateurs)

    The deadline for the purposes of my monograph is February 26th, and completing it should take about 5-10 minutes.
    Emanuela Lacraru

    The photo above shows a good example of inappropriate support, overtightened neck muscles, and tension habits that can lead to injury. It was me a couple of years before I got injured, when I was trying to play without a shoulder rest; maybe I used a substitute, but it was too little support anyway. :(

  • Erik Weissengruber added an answer:
    Qualitative Research Into Acting and other Performing Arts?

    I am looking for first-person and ethnographic reports on the work of actors as they encounter texts, work together, and present to audiences. References to analogous work in music would be welcome as well.

    Erik Weissengruber


  • Joan Jeffri added an answer:
    Approaches to Succession Planning in the US Performing Arts?
    Looking for ideas about connecting Baby Boom and XY generations around succession planning in the (performing) arts, theories connected to (inter)generational exchange and shifts as well as organizational theory connected to transfer of knowledge, intangible knowledge, varied cultural values/backgrounds, etc.
    Joan Jeffri

    Look at

  • Jen Scott added an answer:
    Does anyone know of a comprehensive study of the representation of violence in art?

    Whereas violence as subject matter in performing arts, and even in the entertainment media, has been amply documented, I have not found a study in art history that researches the theme of violence in the visual art. There are discussions of violence in the art of individual artists, such as Caravaggio or Goya, but not a comprehensive study that follows the theme throughout history. In aesthetic discussions violence is often grouped with ugliness or the grotesque.  

    Jen Scott

    Douglas Hedley 2011 Sacrifice Imagined: Violence, Atonement, and the Sacred

  • Teri Howson added an answer:
    Is anyone familiar with observing theatre production rehearsals and evaluating impact of a theatre production?

    Can anyone offer any advice or suggest starting points for research on observing production rehearsals, especially if anyone has developed methods or tools for observing the pre-performance process please?

    I'm also interested in a second strand of evaluating the impact of the performance on the audience and whether there are existing tools for this that would allow for other projects to share in their methods? 

    With thanks.  

    Teri Howson

    Thanks Bill, Ngozi and Kerstin for some insightful comments and lots of potential avenues and aspects to consider. Certainly budgets will affect what type of evaluation we are able to achieve, but, I wondered if existing tools were out there for asking the audience particular types of questions it might be worth using the same or similar to allow for comparison and to add to existing research using similar methods?

    As a way of explanation, I should perhaps have added that it is a professional theatre company that have scoped out potential interest in evaluating their performance and who are particularly interested to look at how it affects the audience. We've since been in conversation about exploring the possibilities for developing this. One of the main things that has come out of the conversation so far has been their wish to try and build in a robust evaluation of their work. They have many anecdotal comments which suggest particular types of responses but they would now like to work with researchers to look at this in more depth. This may include a comparison between the intended impact and actual audience response, as has been suggested above. 

  • Neil Anderson added an answer:
    What makes a great theatre performance?
    Something we cherish for being there and are not quite the same afterward. Many performances originate in an aesthetic or style, and thus ask to be judged in that way, but occasionally within a performance or as a new work something else occurs and we as audience are transported in ways we did not expect. What is taking place at such moments?
    Neil Anderson

    Thanks for the references. It is always exciting to to widen one's reading. I shall look forward to following them up.  Like you, Peter Brook talks about  his main focus being the quality of contact between the performers and the audience, definitely not something to be taken for granted. Is your PhD published?

  • Pedro Sangro Colón added an answer:
    Can someone recommend a good book on production?
    Drama /movie/ documentary production.
    Pedro Sangro Colón


    I recommended you this list of Books (all in Spanish):

    JACOSTE, José G. (1996): El productor cinematográfico, Síntesis, Madrid.

    CABEZÓN, Luis y GÓMEZ-URDÁ, Félix (1999): La producción cinematográfica, Cátedra, Madrid.

    LUMET, Sidney (2000):  Así se hacen las películas, Rialp, Madrid (LECTURA OBLIGATORIA)

    CONQUERO, Dolores (2002): Filmando. Seis maneras de hacer cine en España, Nuer ediciones, Madrid

    VV. AA, Cómo hacer cine (4 Vol.), Fundamentos, Madrid.

  • Ferran Gracia added an answer:
    Does anyone know about a test to determinate the musical improvement of a musician or other sort of a test or questionnaire for musicians?

    I'm doing a research protocol about the Respiratory Muscle Training for my final degree work and I need to know the personal satisfaction of the musician to determinate the subjective efficacy of the intervention, like a QoL questionnaire, but for musicians.

    Ferran Gracia

    Thanks for the help Joao

  • Juan Carlos Otaso added an answer:
    Do you know Op. 3, 9, 10 by the Belgian violinist-composer Alexandre-Joseph Artôt (1815-1845)?

    I do not know if they are fantasies, variations, for violin and piano (or orchestra).

    Juan Carlos Otaso

    I am sorry,but I can not help you.

  • Maurizio Silvestri added an answer:
    Do you know of papers about relation between Nature (rhythm, structure, sounds, flora / fauna communities) and narration in audio-visual arts?

    I am interested in thoughts and publications about any kind of similarities or relation between rhythm, structure, hierarchies in nature and in narration in audio-visual art work. Is there any similarity, does narration adapt processes we do know out of nature, we have experienced by living in specific environment influencing our way of story telling? Thanks a lot for sharing your knowledge and ideas with me.

    Maurizio Silvestri

    An other thing about Grisey, and it should be the first I added to the list, yesterday, well matching your request and present here in this net:
    by Justyna Humięcka-Jakubowska
    Sorry for that delay (and for the global one).
    Have a nice evening

    • Source
      [Show abstract] [Hide abstract]
      ABSTRACT: The spectralism of Gérard Grisey: from the nature of the sound to the nature of listening 1 ABSTRACT: The paper is an attempt to consider Grisey's music from an ontological perspective, not only as a cultural product, but above all as an entity derived from the order of nature. The spectral music, as an entity derived from the order of nature, may be studied primarily as mental reality that refers directly to the composer's stance, physical real-ity, that refers to the material from which the music is produced, and psychological reality of relating to its perception. In Grisey's creative attitude, one distinguishes several tendencies. The article de-scribes treating sound as a living organism in time, replacing the idea of timbre-matière, from the traditional art of orchestration, with timbre-son, based on the sci-ence of acoustics, a processual approach to time and form, taking account in the crea-tive process of human perceptual abilities and seeking a musical language based on scientific premises. These tendencies are described in the context of the composer's statements and examples of his work. Taking the nature of sounds as his starting po-int, Grisey headed towards the nature of listening, and the effects of this journey are his clearly specified views and their manifestation in composed musical works. An increasing amount of attention and space is currently being devoted in Polish musicological publications to the spectral music and oeuvre of Gérard Grisey 2 . Last year, in particular (the tenth anniversary of the com-poser's death), brought many texts dealing with the significance of his music in the historical context (as a technical-aesthetic proposition of the twentieth century) and the now current context of post-spectral music. The present paper considers Grisey's music from an ontological perspec-tive, not only as a cultural product, but above all as an entity derived from the order of nature. 1 Polish orig., 'Spektralizm Gerarda Griseya: od natury dźwięku do natury słuchania', Res Facta Nova 11/20 (2010), in press. 2 See, for instance, Res Facta Nova 11/20 (2010), in press.
      Full-text · Article · Jan 2009
  • Carol Shansky added an answer:
    What is performance in regards to research/peer review?
    I was recently told that performance is not scholarship because I'm merely playing what someone else wrote. I strongly disagree as the performer brings scholarship to the process of music performance. I am not only interested in your thoughts on that, but more, how does your institution accept/or not creativity as scholarship? Also, it would seem to me that "getting the call" for a performance, either because of your reputation or because you submitted a recording, would serve as peer review, but my institution says no. Thoughts?
    Carol Shansky

    Well, it's now at a point where in order for performances to be accepted as scholarship they need to be juried or somehow peer-reviewed. I understand why they ask this, but they do not want to accept that the invitation to perform is the peer review.  I've asked many others about this and we all seem to be on the same page. So, yes, performance can be considered scholarship but institutions don't really understand how to weigh or legitmize it.

  • Cameen Kettanun added an answer:
    How can Foucault's notion of 'Heterotopia' be connected to the idea of 'Margins'?

    Foucault defined heterotopia as "places that do exist and that are formed in the very founding of society which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted" (1986, 3). I am working about the theatrical space as an heterotopia in which narratives of identity (and contestation of identity) can be performed and I would like to now the connections with the notion of 'margins' as I understand that an heterotopia is also a 'place for Otherness' (Hetherington 1997)

    Cameen Kettanun

    Dear Ms. Ramos,

    If I'm not mistaken, I understand that Foucault used the term "Heterotopia" to challenge the well acclaimed idea of Utopia. Mendel (2011) interpreted the term as  "a heterogenous space that juxtaposes in a single real place several spaces, several sites that are in themselves incompatible."  Filimon (2013) interpreted Foucault's Heterotopia as "sites of all things displaced, marginal, rejected, or ambivalent," which form realities as opposed to the ideal Utopian society.

    I think Eliza Claudia Filimon' s book, namely, "Heterotopia in Angela Carter's Fiction: Worlds in Collision" should be where you may find the connection you're looking for. Here's a part from that book:

    "In theater space, we suspend our disbelief and enter realities other than our own. We move to understandings that are outside the margins of our personal and cultural experience and include a symbolic realm shared by humanity: a way of thinking that is nonlinear and creative, transpersonal and transcultural. In this interior limited space, consciousness is altered and we break the normative rules that have limited out perception. It is here that we access images that were previously outside our capacities and we are able to see new patterns in the chaos." 

    Hope you still need an answer as your question was posted in January, 2015.

    Best regards,


  • Paulo Jorge S. G. Ferreira added an answer:
    Is there any research on the entonation in chamber music ensembles that include classical guitar and strings or winds?

    For instance, any research about how to use the different tuning systems and/or the equal temperament when there is a guitar in the ensemble.

    Paulo Jorge S. G. Ferreira

    Of course. I'll try to contact you. Or you can send me an e-mail.

  • Mrunal Chavda added an answer:
    How does acting "under the lights" affect an actor's performance as compared to acting during rehearsals?

    As an actor in my first collegiate play, I noticed that my acting ability and confidence were enhanced while performing under the lights during a public performance.

    Have other actors noticed the same? Is there any research that you know about that would "shed some light" on this phenomenon I experienced? 

    Mrunal Chavda

    The effect you get of your acting 'under the lights' and in presence of 'audience' has many points as suggested above. The presence of your audience and your presence on the stage creates a bond between you as a performer and spectator. This bond, as Natyashastra suggest, may be of saharadaya (connoisseur). The bhava (mental states) you perform are relished and tasted by spectator (also known as rasa). Regarding light, as Piyush Gupta has attempted to delve into an area which I aim to investigate, there seems a strong relation between lights and performance. Natyashastra deals with it; however, as it was written when daylight was used, the types of performance were divided according to the time of the day so  as to use natural lighting which may enhance performance, acting and audience's visibility.

  • Anil Onkar added an answer:
    What is the potential of CAD/CAM technology to visual and performing arts practice design studio pedagogy in higher education?
    I am interested in your opinion on integrating CAD/CAM technology into studio based design teaching and learning practice in the arts.
    Anil Onkar

    CAD/CAM will improve their imagination, they will be able to understand industry & machine needs, components & assemblies. with their art, novelty of the product can be increased which in return will improve the marketability.

  • Heather L. Corwin added an answer:
    Grotowski quotation
    Sometime ago, I heard it said that Grotowski, when asked why he adapted Marlowe's Dr. Faustus as he did, said something to the effect that he did so because he wanted to say something different to a 20th century audience than Marlowe wanted to say to a 16th century one. Does anyone know a source for & the exact wording of this quotation?
    Heather L. Corwin

    James Slowiak is one of Growtowski's 5 living protoges.  You might direct your inquiry to him.

  • Usha Thiyam added an answer:
    Does anyone apply flipped classroom principles as guest speaker or supply teacher?
    I signed up to do a short course as a teaching artist. I understand the principles of "flipping the classroom" and getting more class participation. But has anyone tried to incorporate these principles into a guest lecture or when a supply teacher? I am struggling to see how a one-off session can be 'flipped', when you don't know how much the class already knows.
    Usha Thiyam
    Karen I like this idea "conversation" instead of lecture. Our focus is becoming more student-centric.
  • Peggy Murray added an answer:
    I am looking for examples in Baroque opera (any sub-genre) of characters that personify (are allegorical representatives of) places. Any ideas?
    Probably because of Baroque opera's heavy reliance on classical mythology there are several examples of allegorical characters personifying ideas -- from the muses to emotions (like love, discord, folly, etc.). Here, though, I'm looking for people who symbolize cities, countries, regions, continents, etc.
    Peggy Murray
    Thanks! I like it!
  • Jt Velikovsky added an answer:
    Transmedia Research Zurich October 2013 - looking for partners/ experts
    Research Project Zurich October 2013 - Looking for partners and advice
    CAST/ Audiovisual Media at the Zurich University of the Arts currently develops a research project in the field of transmedia storytelling. We would like to analyze the levels and forms of audience participation around the Swiss transmedia and ARG project "Die Polder" (October 2013, Zurich) we observe and monitor the project and look how transmedia stories can activate and engage the audience. We are looking for partners to cooperate. You have experience in transmedia research and/or have knowledge in new transmedia audience measurement methods. We would be also thankful for references and examples of transmedia evaluation and research.
    Jt Velikovsky
    Hi Martin,
    just FYI, the book is also out now. (8 pounds, but should soon also be free, on EBSCO)
  • Wendy Kooken added an answer:
    Evaluation of performing art exercises for health professional skills improvement?
    To improve nurse and field health professional relational skills we have run a specific educational intervention that used performing art and theatre (experiential laboratories).
    Has anyone been involved in such experiences before? We are testing different evaluation methodologies but we are still far from understanding what is happening during and after the intervention.
    A focus group, specifically observing greed and individual diary of the experience was conducted and analyzed. In one case, we have also used a controlled observation in a quasy-experimental setting since randomization was not possible.
    Any suggestions, indications or reference suggestions are well-accepted.
    Thanks a lot for the help
    Wendy Kooken
    It may be appropriate for you to consider using qualitative methodology as well. In a recent article my colleagues and I outline a strategy for measuring change in student nurse attitudes towards clients who are homeless. Such an idea might be helpful.

    Worlds apart in the same town? A qualitative comparison of pre- and post-clinical themes assessing student nurse perceptions of homeless, mentally ill clients.

    Wendy C Kooken, Julie K Baylor, Kelly R Schwend
    Illinois Wesleyan University, 1312 Park Street, STV 214, Bloomington, IL 61701, United States. Electronic address: .
    Nurse education today (Impact Factor: 0.91). 07/2013; DOI:10.1016/j.nedt.2013.06.005
    Source: PubMed
    ABSTRACT Student nurses' negative attitudes towards men who are homeless and mentally ill disrupt development of therapeutic relationships. Without therapeutic relationships these men may feel stigmatized. Assessing student attitudes allows for insights to improve students' abilities to develop therapeutic relationships. The purpose of this research was to assess student nurses' pre- and post-perceptions towards homeless mentally ill clients during a mental health clinical through analysis of pictorial data. Data was analyzed through a qualitative, phenomenological method. On the first and last days of clinical experience, students were asked to draw a picture in response to the question: "How far apart are you from these men?" We analyzed pre- and post-drawings separately and changes were compared. Four pre-attitude themes and two post-attitude themes were identified. Pre-attitude themes demonstrated student drawings as geographically distanced from the clients and living in two different worlds. Post-drawings reflected themes where clients and students were under the same roof and often physically touching. We suggest using this easily reproducible, inexpensive method to gain insights into student attitudes. The difference in the drawings objectively demonstrates the effectiveness of clinical experiences in changing student nurse attitudes towards men who are homeless and mentally ill.
  • Jt Velikovsky added an answer:
    Can anyone recommend research on magic realism in theatre and dramaturgical research?
    Our theatre group is returning to the rehearsal room soon. We would like to put together some reading material and chart out the dramaturgical research. I am in search of books that explain theory, practice, politics, history and contemporary usage.
    Jt Velikovsky
    Karen's (and Michael and Sarah's) article on Magic Realism in Lumina #3 was fantastic. ie
    I can highly recommend it,

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