CIRQUE DE LA VOIX: VOCAL PERFORMANCES FOR THE 21st CENTURY AUDIENCE

This dissertation addresses the growing need to entice people to attend a classical solo vocal recital by incorporating thematic programming, multi-media presentations, collaborations and innovative marketing. It comprises four programs that use the above tactics, creating live performances of classical vocal music that appeal to the attention deficient 21st-century audience. Each program focuses on repertoire appropriate for the male alto voice and includes elements of spoken word, visual imagery and for movement through collaborations with actors, singers, dancers, designers and visual artists. Program one (March 1, 2004), La Voix Humaine: The Life of an Englishwoman in Music, Poetry, & Art, outlines the life of a fictitious Englishwoman through a self-composed narration, spoken by an actress, a Power Point presentation of visual art by 20th-century English artists and musical commentary provided by the collaboration of a vocalist and a pianist. Program two (October 15, 2004), La Voix Thfrmatique: Anima - Music that Moves, is a program of pieces ranging from the 14th- to the 20th-centuries of which half are choreographed by members of the University of Maryland Dance Department. Program three is a lecture recital entitled L 'Haute Voix: Identifying the High Male Voice and Appropriate Repertoire which is presented in collaboration with three singers, a pianist, a harpsichordist and a cellist. Program four, La Voix Dramatique: Opera Roles for the Countertenor Voice, comprises performances of George Frederic Handel's Giulio Cesare in Egitto (1724) in collaboration with the Maryland Opera Studio and the Clarice Smith Performing Arts Center (Leon Major, director; Kenneth Merrill, conductor). There are two performances each of the title role, Cesare (April 15 & 17, 2005), and his nemesis, Tolomeo (April 21 & 23,2005). All programs are documented in a digital audio format available on compact disc and are accompanied by program notes also available in digital format. Programs two and four are also documented in digital video format available on digital video disc.

Supporting active learning in an undergraduate geotechnical engineering course using group-based audience response systems quizzes

The use of audience response systems (ARSs) or ‘clickers’ in higher education has increased over the recent years, predominantly owing to their ability to actively engage students, for promoting individual and group learning, and for providing instantaneous feedback to students and teachers. This paper describes how group-basedARSquizzes have been integrated into an undergraduate civil engineering course on foundation design. Overall, theARSsummary quizzes were very well received by the students. Feedback obtained from the students indicates that the majority believed the group-based quizzes were useful activities, which helped to improve their understanding of course materials, encouraged self-assessment, and assisted preparation for their summative examination. Providing students with clickers does not, however, necessarily guarantee the class will be engaged with the activity. If an ARS activity is to be successful, careful planning and design must be carried out and modifications adopted where necessary, which should be informed by the literature and relevant student feedback.

A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor

Thesis (Master's)--University of Washington, 2013

Plaidoyer de Me Dupin, avocat, pour Me Isambert, prononcé devant la Cour royale de Paris... à l'audience du 13 mars 1827...

[Factum. Isambert, François-André. 1827]