La banderole imaginaire

La BANDEROLE IMAGINAIRE est un guide de techniques de jeux dramatiques, adapté aux enfants de six à dix ans environ. Il a été conçu en fonction des professeurs de l'école primaire, qui désirent explorer la créativité de l'enfant. Ce document se dessine comme suit: après élaboration des théories sur le jeu et l'enfant et de leurs implications, se dresse une série de jeux préparatoires tels la relaxation, le son, le mouvement. S'enchainent ensuite des jeux d'entraînements, par les stades de la perception et de l'expression verbale, de l'imitation et de l'imagination, pour finalement aboutir au stade créatif par le truchement de l'improvisation et du jeu dramatique. Ce guide a fait partie du projet de recherche intitulé "Création de nouvelles techniques d'intervention au niveau des Élèves" (1974-1975); il a été subventionné par le Ministère de l’Éducation (dossier 74-63).

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

L’évolution des professionnalités et métiers de l’urbain vue par des praticiens : quels enseignements pour les formations ?

Cette étude a été réalisée dans le cadre de la création de la Mention Ville et Environnements urbains, labellisée par le Laboratoire d’Excellence Intelligences des Mondes Urbains, conduite par Mathilde Girault (doctorante, UMR Triangle, LabEx IMU) et encadrée par Guillaume Faburel (professeur, UMR Triangle et responsable de l’Axe Etudes urbaines, LabEx IMU et coordinateur de l’Atelier 4 Formations et expérimentations pédagogiques).S’appuyant sur 25 entretiens qualitatifs auprès de praticiens de la région urbaine Lyon-Saint-Etienne et à l’échelle nationale, sur une analyse des référentiels métiers existants et un état de la littérature scientifique sur l’évolution des métiers de l’urbain, cette étude a :- participé à la constitution d’un réseau de praticiens impliqués dans la conception et animation de la Mention (Comité de perfectionnement) ;- dessiné les grands traits de l’évolution des cadres d’action collective, soit une coopération en essor dans la construction d’une vision politique et territoriale de l’urbain (tout particulièrement liée à une prise en responsabilité habitante), et un renouvellement du regard porté à l’espace (décentré du processus métropolitain) ;- fait émerger les attentes des praticiens en termes de formation, orientées vers une interdisciplinarité et intercognitivité pensées comme favorables à une réflexivité et une hybridité des savoirs (situés, vernaculaires, scientifiques…) ;- soulevé une recomposition des savoirs de l’urbain autour de l’individualité des praticiens, de la recherche (universitaire) et de l’environnement ; - point l’émergence de nouveaux métiers aux savoirs construits autour du paradigme de la complexité et de l’incertitude, aux pratiques relevant de la médiation, coopération et improvisation, ainsi qu’aux statuts flous et / ou hybrides revendiqués comme tels. Cette étude a ainsi permis de relever une acception différenciée par certains praticiens de la professionnalisation. Alors qu’elle est historiquement conçue comme la reconnaissance par un tiers – officialisée par une certification, un titre, etc. - d’une capacité à réaliser une fonction définie, la professionnalisation est pensée ici comme une construction in-dividuée (réflexive et singulière) de ses compétences en adéquation avec son métier et son évolutivité, par ses choix de formation (initiale et continue) et d’orientation professionnelle, les activités exercées, les lectures personnelles, les engagements associatifs et convictions… Cela influe sur le contenu des formations, leurs modalités pédagogiques et formations continues proposées.

A film director’s challenge : To manage – to manage? – The creative process in a film project

The aim of this text is to discuss how it is possible to manage the art creating process in a film project, where the circumstances are often turbulent. In normative project management literature one proceeds from the idea that a project is realised in a stable world from a clear goal. In a film project there is often a need to change your plans, to improvise both in front of the camera as well as behind the camera. In the theoretical cinematic literature the responsibility for the final film text is more and more being viewed as a product of not only the director, but of the whole team’s work. Consequently, the narrative of leadership/management in a film team can be viewed from a relational perspective where the director and those s/he interacts with, are responsible for the action, relations and social situations they construe jointly in the process of filmmaking. The organization of a film project is a temporary one. The members of a team are seldom the same from one production to another, as well as the creative process always being unique. According to process thinking, organizing can be seen as the ongoing creative activity where we structure and stabilize the chaotic, moving reality. As concerns a film project, the process of becoming of the filmic expression; careful plans, on the one hand, and improvisation and flexibility in action, on the other hand, are a precondition for its realisation. The director when setting a linguistic formulation to what is to be done, can be considered as a practical author.

Jazz, identidade musical e o piano Jazz em Portugal

Ao longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.

A importância do estudo aprofundado da melodia na improvisação

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

A rotinização e formalização das improvisações organizacionais: Uma proposta de investigação

O conceito de improvisação é uma inserção recente no vocabulário dos estudos organizacionais. A investigação sobre o tema permanece, por conseguinte e compreensivelmente, num estádio incipiente. Este artigo apresenta uma proposta de investigação sobre a rotinização das improvisações. Após uma revisão da literatura, são avançadas quatro proposições para futura investigação e um conjunto de instrumentos para proceder à respectiva testagem empírica. O texto procura contribuir para a literatura através da exposição do modo como pode este conceito, até agora abordado sobretudo no plano metafórico, ser operacionalizado e trabalhado empiricamente.

Bertso eguna 2016: bertso-ikuskizuna eta genero-ikuspegia

[EUS] Gradu Amaierako Lan honetan esparru hauek uztartu dira: bertsolaritza, hedabideak eta Genero Ikasketak. Hiru esparru horien bidegurutzean, 2016ko Bertso Egunaren genero-irakurketa bat egitea du helburu ikerlanak. Genero-azterketa egiteko, bertso-emanaldiaren hiru alderdi nagusi aztertu dira: batetik, antolakuntzak hartutako erabakiak aztertu dira; bestetik, bertsolarien bertso-jardunaren inguruko gogoeta egin da; eta azkenik, EITBk eginiko ikus-entzunezko ekoizpena izan da hizpide. Alderdi horien analisia egiteko lau urrats nagusi egin dira: lehenik, Bertso Egunaren inguruko dokumentazio-lana osatu da; bigarrenik, bertso-egoeren, bertso-jardunaren, eta ikus-entzunezkoaren deskripzioa egin da; hirugarrenik, deskripzioan xehaturiko ezaugarrien interpretazioa egin da, atalez atal; eta laugarrenik, atal guztien ezaugarriak kontuan harturik, ondorio orokor zenbait garatu dira.

Illuminous: performance 1

Improvised performance artwork, collaboration between creative writer and trumpet player. The work involved a live performance, duration 40 minutes, of projected, improvised creative writing and improvised trumpet playing. Use was also made of a sculptural piece, on the set, referring to ecological themes of the work.

Entwinement

This is an original performance art work, entirely improvised in a live performance space. It incorporated improvised creative writing projected into the performance space and improvised trumpet playing, working with themes of everyday emotional experiences in relationship to environmentalist- and deep-ecology-related themes and concerns.

"Music therapy helped me get back doing": perspectives of music therapy participants in mental health services

BACKGROUND: Mental health service development internationally is increasingly informed by the collaborative ethos of recovery. Service user evaluation of experiences within music therapy programs allows new phenomena about participation in services to be revealed that might otherwise remain unnoticed. OBJECTIVE: The aim of this study was to demonstrate how asking service users about their experience of music therapy can generate useful information, and to reflect upon the feedback elicited from such processes in order to gain a deeper understanding of how music therapy is received among service users in mental health. METHODS: Six mental health service users described their experiences of music therapy in one or two individual interviews. Transcripts of interviews were analyzed using the procedures and techniques of Interpretative Phenomenological Analysis. RESULTS: Interviews with mental health service users provided rich, in-depth accounts reflecting the complex nature of music therapy participation. Super-ordinate themes refer to the context in which music therapy was offered, the rich sound world of music in music therapy, the humanity of music therapy, and the strengths enhancing opportunities experienced by service users. CONCLUSIONS: Participants indicated that they each experienced music therapy in unique ways. Opinions about the value of music therapy were revealed through an interview process in which the researcher holds an open attitude, welcoming all narrative contributions respectfully. These findings can remind practitioners of the importance of closely tuning into the perspectives and understandings of those who have valuable expertise to share about their experience of music therapy services in mental health.

The ethos of the mover/witness dyad: an experimental frame for participatory performance

This article reflects on a dance improvisation project in which the foundational relationship of the Mover Witness Dyad (MWD), the private exchange between mover and witness (and more commonly known as Authentic Movement) became an ethical and physical paradigm for an improvised performance. The untitled performance (conceived by Shaun McLeod and danced by Olivia Millard, Peter Fraser, Jason Marchant, Sophia Cowen and Shaun McLeod) took place over three nights in Melbourne in November 2014. It was specifically informed by the experiences, observations and questions drawn from an extensive studio practice of the MWD by the dancers. The practice of the MWD is a therapeutic relationship between contemplative mover and attentive witness. Falling within the wider field of Dance Movement Therapy, the MWD has uses as a therapeutic aid, in personal development and also as a context for exploring dance improvisation. An important feature of the MWD is that attention, in whatever manifestation, is directed inwardly and is engaged bodily. The form parallels dance improvisation in its emphasis on open, exploratory movement, which is grounded in the particular sensibility each individual brings to embodiment. Never intended as a performance practice, the MWD has nonetheless been used by dancers as a method for investigating dancing and towards informing or generating performance content. This project threw up considerations of values; in this case values associated with audience participation and the ethics of ‘witnessing’ improvised dance.

The Little Con-ference 2015

The Little Con is an artist led initiative and dedicated to the performance of dance improvisation. The Little Con-ference is a conference linked to The Little Con (organised by Dianne Reid)

Breathing in the atmosphere : affect and improvised dance performance

Whether conceptually or experientially atmospheres are hazy. Atmospheric situations often emerge without us being able to control or fully apprehend the conditions of their emergence. Atmospheres affect us not at the cognitive level but through embodiment - through the sensory capacities of our bodies and subsequent registers of affect. We feel atmospheres. Dance improvisers also feel what emerges in an improvisation, whether as the adrenalizing effect of the audience’s presence or because the dancer is immersed in their own movement (as the affect of interest). But dance improvisation is a situation in which atmospheres (and their affective impacts) emerge in unpredictable ways. Becoming attuned to ‘what is going on’ is an aspect of improvisational skill but improvised performance is also an exposure to ‘not knowing’ – not knowing what will happen (or how it will change), not knowing what motivated the movement. This exposure to ‘forces of not knowing’ is similar to many atmospheric situations in everyday life which we negotiate according to personal habits and personal levels of discernment. This performative paper picks up on Gernot Bőhme’s concept of a “new aesthetics” such that hazy atmospheres, and the uncertainty of where they come from, can be claimed as part of an aesthetic encounter. It also reflects on the act of breathing as a potential interface between aesthetic and scientific definitions of ‘atmosphere’.

Exploring Armenian keyboard music : roots to modern times

The extended program notes include historical facts of the composers and characteristics of the pieces being performed. The thesis also includes information about Armenian composers starting from 18th to the 20th century, composition's historical background, brief biographies of the composers as well as analysis of form and structure. The graduate piano recital comprised the following compositions: Sayat Nova - R. Andriasian Yes Mi Kharib Blbuli Pes; Komitas - R. Andriasian Garun a, Shoker Jan, Dzirani Dzar, Gakavik; A. Khachaturyan Poem; A. Babadjanyan Elegy in Commemoration of A. Khachaturyan; E. Bagdasarian Humoresque, Prelude in D Minor, Prelude in B Minor; A. Babadjanyan Improvisation and Traditional from six Pictures; A. Babadjanyan Prelude and Vagarshapat Dance; A. Arutyunian Dance of Sasoon; A. Arutyunian - A. Babadjanyan Armenian Rhapsody for Two Pianos.