Moscow Circus performers during May Day march in Brisbane 1968

Performers from the Moscow Circus on float during May Day parade, Brisbane, Australia, 1968

Composing idiomatically for specific performers : collaboration in the creation of electroacoustic music

Cette thèse examine l'impact de la collaboration avec des instrumentistes particuliers sur la composition de quatre œuvres électroacoustiques. Assumant un rôle plus important que celui de consultant ou conseiller, les interprètes ont influencé les décisions de l'auteur / compositeur dans le cadre de multiples ateliers et d'enregistrements de ceux-ci. Cette thèse examine ainsi comment les outils médiatiques de la musique électroacoustique affectent et enrichissent les relations personnelles : ces outils favorisent la transcription et la traduction, qui à la fois soulignent et transforment la spécificité du son. Le dialogue de la collaboration permet par la suite non seulement une réconciliation plus facile entre les éléments médiatisés et directs dans une oeuvre, mais aussi l'ouverture de son potentiel d'interprétation. En se servant d'une méthodologie qui fait appel à une pratique d'auto-réflexion et récursivité, cette thèse explore des sujets tels que : l'analyse du style personnel dans un cadre linguistique; l'importance du contact physique dans la collaboration et sa traduction incomplète sur support; et les défis de la préservation de la musique électroacoustique pour média ou interprète particulier. Des exemples de la création collaborative de quatre œuvres, racontés de manière personnelle, sont tressés parmi le récit plus théorique de cette thèse, imitant le va-et-vient de la recherche-création.

Performing performers: embodiment and intertextuality in the contemporary biopic

The actor’s body is of critical importance to the biopic’s representation of ‘real’ lives, to issues of physical and gestural resemblance, and in its role as the dramatic vehicle; acting out significant moments, embodying transformations. Through detailed examination of Beyond the Sea (2004), De-Lovely (2004), Molière (2007), films which foreground the construction, and constructedness, of life through performance and spectacle, this chapter explores the self-reflexive and intertexual embodiment of life stories. It focuses on the material details of performance in relation to distinctly contemporary strategies of film style and tone, and how these connect to questions of expectation and agency.

On how high performers keep cool brains in situations of cognitive overload

What happens in the brain when we reach or exceed our capacity limits? Are there individual differences for performance at capacity limits? We used functional magnetic resonance imaging (fMRI) to investigate the impact of increases in processing demand on selected cortical areas when participants performed a parametrically varied and challenging dual task. Low-performing participants respond with large and load-dependent activation increases in many cortical areas when exposed to excessive task requirements, accompanied by decreasing performance. It seems that these participants recruit additional attentional and strategy-related resources with increasing difficulty, which are either not relevant or even detrimental to performance. In contrast, the brains of the high-performing participants "keep cool" in terms of activation changes, despite continuous correct performance, reflecting different and more efficient processing. These findings shed light on the differential implications of performance on activation patterns and underline the importance of the interindividual-differences approach in neuroimaging research.

Master Albert Schirmer, one of the principal Performers on the German Stage, in London

Signatur des Originals: S 36/G02163

View of the Orchestra and Performers in Westminster Abbey, during the Commemoration of Handel.

Signatur des Originals: S 36/G02675

Kaleidophone : new resources of melody and harmony : pitch scales in relation to chord structures : an aid to composers, performers, arrangers, teachers, song-writers, students, conductors, critics, and all who work with music /

Mode of access: Internet.