A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

The discrepancy between social isolation and loneliness as a clinically meaningful metric: findings from the Irish and English longitudinal studies of ageing (TILDA and ELSA)

Objective
Scant evidence is available on the discordance between loneliness and social isolation among older adults. We aimed to investigate this discordance and any health implications that it may have.

Method
Using nationally representative datasets from ageing cohorts in Ireland (TILDA) and England (ELSA), we created a metric of discordance between loneliness and social isolation, to which we refer as Social Asymmetry. This metric was the categorised difference between standardised scores on a scale of loneliness and a scale of social isolation, giving categories of: Concordantly Lonely and Isolated, Discordant: Robust to Loneliness, or Discordant: Susceptible to Loneliness. We used regression and multilevel modelling to identify potential relationships between Social Asymmetry and cognitive outcomes.

Results
Social Asymmetry predicted cognitive outcomes cross-sectionally and at a two-year follow-up, such that Discordant: Robust to Loneliness individuals were superior performers, but we failed to find evidence for Social Asymmetry as a predictor of cognitive trajectory over time.

Conclusions
We present a new metric and preliminary evidence of a relationship with clinical outcomes. Further research validating this metric in different populations, and evaluating its relationship with other outcomes, is warranted.

Maurice Ravel's Gaspard de la Nuit: An Interpretive Performance Supplement

A dissertation comprising a performance supplement for Ravel’s Gaspard de la Nuit, providing a collation of key information and musicological stimuli for would-be performers.

MODERN SPORT COACHING AND THE LAW: IMPLICATIONS FOR COACH EDUCATION

Introduction
The intersection between the law of negligence and sport coaching in the UK is a developing area (Partington, 2014; Kevan, 2005). Crucially, since the law of negligence may be regarded as generally similar everywhere (Magnus, 2006), with the predominance of volunteer coaches in the UK reflective of the majority of countries in the world (Duffy et al., 2011), a detailed scrutiny of this relationship from the perspective of the coach uncovers important implications for coach education beyond this jurisdiction.  
Argumentation
Fulfilment of the legal duty of discharging reasonable care may be regarded as consistent with the ethical obligation not to expose athletes to unreasonable risks of injury (Mitten, 2013). More specifically, any ‘profession’ requiring ‘special skill or competence’ (Bolam v Friern Hospital Management Committee [1957] 1 WLR 582), including the coaching of sport (e.g., Davenport v Farrow [2010] EWHC 550), requires a higher standard of care to be displayed than would be expected of the ordinary reasonable person (Lunney & Oliphant, 2013; Jones & Dugdale, 2010). For instance, volunteer coaches with no formal qualifications (e.g., Fowles v Bedfordshire County Council [1996] ELR 51) would be judged by this benchmark of professional liability (Powell & Stewart, 2012). Further, as the principles of coaching are constantly assessed and revised (Cassidy et al., 2009; Taylor & Garratt, 2010), so too is the legal standard of care required of coaches (Powell & Stewart, 2012). Problematically, ethical concerns may include coaches being unwilling to increase knowledge, abusive treatment of players and incompetence/inexperience (Haney et al., 1998). These factors accentuate coaches’ exposure to civil liability.
Implications
It is imperative that coaches have an awareness of this emerging intersection and develop a ‘proactive risk assessment lens’ (Hartley, 2010). In addition to supporting the professionalisation of sport coaching, coach education/CPD focused on the legal and ethical aspects of coaching (Duffy et al., 2011; Telfer, 2010; Haney et al., 1998) would enhance the safety and welfare of performers, safeguard coaches from litigation risk, and potentially improve all levels of coaching (Partington, 2014). Interestingly, there is evidence to suggest a demand from coaches for more training on health and safety issues, including risk management and (ir)responsible coaching (Stirling et al., 2012). Accordingly, critical examination of the issue of negligent coaching would inform coach education by: enabling the modelling and sharing of best practice; unpacking important ethical concerns; and, further informing the classification of coaching as a ‘profession’.

A importância da música na transmissão de identidade e valores : o caso do grupo Noite de Mindelo : investigação ação através de um concerto pedagógico realizado em São Vicente, Cabo Verde

O propósito deste trabalho consistiu em elaborar uma análise aprofundada da música cabo-verdiana no contexto educativo enquanto expressão artística, identificando e valorizando o seu papel na identidade nacional e descrevendo os fatores que interferem na sua implementação e generalização a todos os níveis do ensino. Tendo como modelo de pesquisa uma investigação-ação e utilizando uma metodologia qualitativa e interpretativa, desenvolvida no contexto da Educação Artística em Cabo Verde a nível formal e informal, realizou-se um concerto pedagógico no Centro Cultural de Mindelo, ilha de São Vicente Cabo Verde. O projeto debruçou-se sobre a análise dos dois principais géneros musicais cabo-verdianos, a Morna e a Coladeira, os grandes compositores e intérpretes destes géneros, no sentido de provocar uma reflexão e inclusão do estudo da Expressão Musical no contexto educativo cabo-verdiano, como disciplina autónoma capaz de despertar o sentimento de identidade e valores que caracterizam uma Nação. A escolha do concerto através da avaliação dos espectadores permitiu concluir que o ensino aprendizagem da Música em Cabo Verde no contexto educativo requer uma outra abordagem, a elaboração de programas, assim como a contratação de docentes competentes para desenvolvimento dos conteúdos. Mindelo, como ilha tradicionalmente artística, está aquém desta referência e impõe a introdução de políticas educativas que possam inverter esta tendência e criar condições adequadas para que os alunos e a população se interiorizem da importância do ensino das Expressões Artísticas como vetores importantes na transmissão de identidade e valores. A prossecução de investigação nesta área e o incentivo ao desenvolvimento desta temática recomendam-se como forma de dar a conhecer os grandes artistas cabo-verdianos, as grandes composições e despertar o interesse no seio das crianças e dos jovens para a importância do estudo das Artes como uma forma lúdica de aprender e uma possibilidade de ser um artista como tantos que cantaram e cantam Cabo Verde.

Capturing and indexing rehearsals: the design and usage of a digital archive of performing arts

Preserving the cultural heritage of the performing arts raises difficult and sensitive issues, as each performance is unique by nature and the juxtaposition between the performers and the audience cannot be easily recorded. In this paper, we report on an experimental research project to preserve another aspect of the performing arts—the history of their rehearsals. We have specifically designed non-intrusive video recording and on-site documentation techniques to make this process transparent to the creative crew, and have developed a complete workflow to publish the recorded video data and their corresponding meta-data online as Open Data using state-of-the-art audio and video processing to maximize non-linear navigation and hypervideo linking. The resulting open archive is made publicly available to researchers and amateurs alike and offers a unique account of the inner workings of the worlds of theater and opera.

The Changing Relationship between Supervisors and Subordinates: How Managing This Relationship Evolves over Time

Understanding how the relationship between a subordinate and manager develops over time has been a critical matter both for academics and for business. In both academic journals and industry publications, some writers have argued that the relationship is driven by perceptions of fairness and treatment, and that developing the relationship can lead to better performance. Others have argued that higher performers get better treatment and resources, which results in superior relationships with their managers. There is really no clear answer of what comes first—perceptions of fairness, satisfaction with the supervisor, or job performance—and which leads to which.

Programa de aquisição de alimentos (2003-2010): avaliação da implementação pela CONAB no Rio Grande do Norte

This thesis aimed to evaluate the implementation of the Food Acquisition Program(PAA) through CONAB RN in the period of 2003-2010 with the perception of all agents involved in the implementation of the government program.For the methodological trajectory it was adopted a descriptive bibliographical and documentary approach with triangular qualitative and quantitative, also called evaluative research.The theoretical model was supported by the authors Draibe (2001), Aguilar and Ander-Egg (1994) and Silva(2001), among others, that focused on family farming and evaluation of implementation of public policy having as a category of analysis the size implementation of policy and the latter divided into 10 theoretical dimensions.The universe consisted of three groups: the first were the managers and technicians from CONAB(RN and Brasilia), totaling 15 subjects. The second group was of associations/cooperatives that participated in the programin 2010, totaling a sample in each access of 15 representatives. The third group of subjects totaled with 309 representatives of governmental and non-governmental organizations that received donations of food for the same period. Semi-structured interviews and forms were adopted as instruments of data collection.The data were processed qualitatively by the analysis of content (interviews and documents) and quantitatively by means of statistical tests that allowed inferences and adoption of frequencies. Among the key find ingests that the program is not standing as a structure supported by planning. The interests of the performers do not necessarily converge with the objectives of the Food Acquisition Program (PAA). A shockof goals was identified (within the same program) when comparingthe financial agent (Ministry of Rural Development and of Social Development and Fight Against Hunger Ministry r) and the executor, CONAB/RN. Within the assessed dimensions, the most fragileis the sub-managerial decision-making and Organizational Environment and internal assessment, still deserves attention the sizeof logistical and operational Subsystem, as this also proved weak.The focusin the quest toexpand thequantificationof the resultsof theFood Acquisition Program (PAA)by CONAB/RN does forget a quality management focused on what really should be:the compliance with the institutional objectives of the government program.Finally, the perspective for the traded implementation should be re-examined because excessive discretion by managers along with technical staff has characterized there al role of the Food Acquisition Program (PAA) as public policy. We conclude that the implementation model, which apparently aggregates values to the benefitted citizens, has weakened the context of work on family farms having the management model of the implementation process be reviewed by the Federal Government and point too ther paths, which have as a guide line the emancipation and developmentof the field or in the field andat the same time enables the reduction of nutritional deficiency of beneficiaries in a balanced and coherent way

The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.

Music teacher biography and its impact on teaching practice

This paper describes research carried out as part of a wider doctoral study on ‘the biography of music teachers, their understanding of musicality and the implications for secondary music education’. Music teachers will come from a range of diverse backgrounds, though research data would suggest that most seem to have been educated as ‘classical’ music performers which will have an affect on what they perceive to be central competencies in the development of young musicians. In turn, this will determine, to some extent, what is taught and learned in the secondary music classroom. This study explores the impact of the biography of secondary music teachers as they seek to develop the musicianship of their pupils and present the activities in which the young people will be expected to participate. A mixed methods approach has been taken, including surveys, observation and interviews. Surveys amongst a sample of experienced and trainee teachers have produced a range of quantitative data on respondents’ experience of and values related to music education; whilst qualitative data in the form of lesson observation notes and transcription of semi-structured interviews have been the result of working with a small sub-set of participants. The outcomes of study have suggested a clear link between biography and classroom practice but that there are also other potential tensions which arise, such as in the subject knowledge development of practitioners as they move from musician to teacher. Implications for a variety of stakeholders in secondary music education include a consideration of the development of subject knowledge together with potential review of national and local education policy, the nature of undergraduate music study and the ‘shape’ of initial teacher training in England.

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.

Femininos de montar - Uma etnografia sobre experiências de gênero entre drag queens

The paper presents a discussion about gender and body in the drag queens experience at Natal city (RN). From the different concepts that characterizes the identity processes on subjects who perform gender transformation (transvestites, transsexuals and female impersonators), the justification for studying the drag character is observed as a means to understand matters that are important when you take such a position. Therefore, there is a need for a linkage between the various concepts responsible for this definition, in addition to considering the historical and cultural process responsible for the creation of such categories, identities and stereotypes among these individuals. In this sense it will be possible to carry out a critical analysis on the different social loads present in each representation, and understand what is at stake in the attribution of classifications and terminologies that are applied to different expressions of metamorphosis. This ethnography considers the debate from a field research conducted at LGBT social establishments and other performance spaces of these people, verifying their dynamics in these places and investigating relationships between performers, personas and characters and also backstage scene in which they participate

Criação coreográfica contemporânea: breve enquadramento conceptual

O documento integral está disponível através do link que se encontra no campo Versão do Editor.

Développement d’un questionnaire cognitif bref, le FaCE (The Fast Cognitive Evaluation), selon la modélisation Rasch adapté aux patients avec cancer

Les déficits cognitifs sont présents chez les patients atteints de cancer. Les tests cognitifs tels que le Montreal Cognitive Assessment se sont révélés peu spécifiques, incapables de détecter des déficits légers et ne sont pas linéaires. Pour suppléer à ces limitations nous avons développé un questionnaire cognitif simple, bref et adapté aux dimensions cognitives atteintes chez les patients avec un cancer, le FaCE « The Fast Cognitif Evaluation », en utilisant la modélisation Rasch (MR). La MR est une méthode mathématique probabiliste qui détermine les conditions pour qu’un outil soit considéré une échelle de mesure et elle est indépendante de l’échantillon. Si les résultats s’ajustent au modèle, l’échelle de mesure est linéaire avec des intervalles égaux. Les réponses sont basées sur la capacité des sujets et la difficulté des items. La carte des items permet de sélectionner les items les plus adaptés pour l’évaluation de chaque aspect cognitif et d’en réduire le nombre au minimum. L’analyse de l’unidimensionnalité évalue si l’outil mesure une autre dimension que celle attendue. Les résultats d’analyses, conduites sur 165 patients, montrent que le FaCE distingue avec une excellente fiabilité et des niveaux suffisamment différents les compétences des patients (person-reliability-index=0.86; person-separation-index=2.51). La taille de la population et le nombre d’items sont suffisants pour que les items aient une hiérarchisation fiable et précise (item-reliability=0.99; item-séparation-index=8.75). La carte des items montre une bonne dispersion de ceux-ci et une linéarité du score sans effet plafond. Enfin, l’unidimensionnalité est respectée et le temps d’accomplissement moyen est d’environ 6 minutes. Par définition la MR permet d’assurer la linéarité et la continuité de l’échelle de mesure. Nous avons réussi à développer un questionnaire bref, simple, rapide et adapté aux déficits cognitifs des patients avec un cancer. Le FaCE pourrait, aussi, servir de mesure de référence pour les futures recherches dans le domaine.

NEW PERSPECTIVES: TRANSCRIPTIONS FOR VIOLA

One must only glance upon Franz Zeyringer’s 400-page, exhaustive Literatur für Viola to understand the error of the familiar but casual criticism of the paucity of the viola catalogue. Examining Zeyringer’s resource, however, we find a trend: while the viola repertoire contains many pieces (over 14,000 works) and does lay claim to many masterworks (Bartok’s Viola Concerto, Hindemith’s Sonatas, Mozart’s Sinfonia Concertante, etc.), many of the pieces originally written for the instrument are not widely recognized compositions and not often considered outstanding achievements. The violist, much like the double-bassist, bassoonist, and hornist, faces a certain challenge when selecting repertoire for a recital: a lack of large, important works that both fit the instrument and challenge the recitalist. This project will aim to expand recital repertoire for the viola through the development of new transcriptions, using the previously transcribed Fantasy Pieces by Schumann (trans. Leonard Davis) and Sonata No. 2 in E-flat, Op. 120 by Brahms (trans. Brahms) as an inspiration and guide. As a result, the catalogue of viola repertoire will not only be increased but the difference in tone and depth of the instrument may unveil previously unnoticed perspectives on the works. With a primary aim to expand the literature of the viola through the development of new transcriptions, this project will also strive to offer new, previously unnoticed perspectives on preexisting works. Through the changing of the instrumentation, listeners and performers will have the opportunity to explore the character of the compositions in a fresh and possibly illuminating way. Perhaps this project will encourage previously unexplored transcriptions to be realized and performed. While the recital repertoire for the viola boasts many and great works, the original transcriptions of this project attempt to infuse the collection with new and interesting possibilities for both study and performance. This dissertation project is comprised of three recitals featuring works transcribed for viola and, in most cases, newly transcribed by myself. All events took place on the campus of University of Maryland, College Park: Recital #1 on November 9, 2014 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center; Recital #2 on May 9, 2015, in Ulrich Recital Hall; and Recital #3 on November 6, 2015, in the Gildenhorn Recital Hall.