Ensemble performance requires interaction to a degree rarely found outside of music. Current research on ensembles has increasingly focused on the communicative properties of performers’ physical gestures. However, this approach presupposes that communication underlies most ensemble interaction, disregarding the wealth of non-communicative interaction which may occur. In examining this topic, I have formulated three questions: • How do musicians interact and share information with each other while performing? • To what extent does the musical content being performed affect the ways it has to be physically created by musicians? • How does the physical relationship between the performer and their instrument relate to communicative and interactive processes of ensemble performance? I argue that musicians’ physical motions could not only be influenced by musical content but also be required for effective performance. These motions may be interpreted as meaningful by observers and co-performers. My research applies rehearsal observation and reflective practice within the framework of action research, allowing me to collaborate with Birmingham Conservatoire’s Boult Quartet (a postgraduate string quartet) and The Supergroup (an improvising ensemble of doctoral students) in examining the complexities of ensemble performance through an understanding of its phenomenologies, contributing to current cross-disciplinary research on embodied knowledge

No description available.

Artists in many areas of creative glass have used float glass due to its low cost, physical reliability and extensive sheet size. To date, the creative use of the coated insulating glass known as ‘low emissivity’ has not been explored. Pilkington K Glass is one of several coated low emissivity glasses developed in response to increasing energy conservation demands from the construction industry. The accidental use of a piece of Pilkington K Glass during studio artwork firing revealed an unexpected iridescent surface effect with unusual interferential colouration. To explore this creative potential, a full investigative programme was necessary. The research was undertaken from the perspective of a studio artist using a series of small scale tests leading to the making of artwork. This was an experimental approach driven by creative goals but also influenced and verified by procedures such as systematic analysis to determine repeatable criteria and microscopic examination to gain knowledge of the structure of the fired coating. Unusual effects of strong reflective colouration and iridescence were achieved through surface manipulation of K Glass by abrasion and subsequent firing at temperatures above 750ºC. Manipulation by sandblasting and fusing with traditional float glass has enabled the development of an original method named the ‘Mirror Gap Technique’ which exhibited inter-layer interferential colouration from gold to purple. These methods and the adaptation of standard float glass procedures at temperatures above 750ºC were then expanded into the creation of artworks to further develop innovative effects and applications. This project has developed and documented new possibilities that can be applied to several areas of creative glass. Exhibition and sale of the artwork as well as commissions involving multiple productions of conference gifts and company awards have indicated that low emissivity glass can be used creatively and that this research may have a commercial application. The research has been extended to examine other low emissivity coatings and provides the glass artist with an alternative palette of techniques and effects.

No description available.

This thesis is the result of the author's long-term interest in the inner workings of self-governing and other "high involvement" orchestra organizations. This interest was "sparked" by her work in the general survey of professional symphony orchestras in East and West Germany, the U.S., and U.K. conducted with Allmendinger and Hackman in the early 1990s. The findings of that research led to a general understanding of how symphony orchestras were structured, supported and led in those countries during that time period. In her own work, the author goes beyond that broad foundation in order to generate original research that illuminates how (and how well) a rare form of orchestra functions (i.e., the self-governing orchestra) and what roles musicians take within them. After a description of the rise of concert orchestras in Germany, the United States, and Great Britain and a review of the pertinent literature, four particular orchestras are then discussed in-depth: the Colorado Symphony Orchestra (Denver, Colorado USA), the Orpheus Chamber Orchestra (NYC, NY, USA), the Berlin Philharmonic (Berlin, Germany), and the London Symphony Orchestra (London, U.K.). For this study, the author uses a mutli-method research strategy to help her discover and analyze the most important issues of high involvement orchestra organizations. These issues are related to an orchestra's direction, structure, leadership and membership. The findings reveal the similarities and differences between the four orchestras studied and the dominant model of orchestra organization. The findings also indicate what role national context has played (that is, historical tradition, labor and tax laws, and level of public support) in the development of musician-involved orchestras. In discussing the weaknesses of these more democratic orchestral systems, the author identifies seven "traps" or difficulties that must be dealt with in order to attain a truly functional and sustainable level of self-governance. These include: ample time to fully develop the organization's systems and structures, having the capacity to deal with financial pressures, fostering commitment (both individual and collective commitment), managing the tradeoff between broad participation versus efficiency, the need for widespread trust and technical knowledge, the ability to handle internal power struggles, and to conduct peer reviews. In arguing the other side of the issue, the author discusses the advantages of self-governing systems. These include: a profound and widespread sense of "ownership" throughout the organization (not just in the executive offices or the board room as is the case with the dominant model) which positively affects employee commitment and motivation, less mental stress for musicians because they have a legitimate voice in organizational affairs, a sense of common purpose that "we are all on the same team, pulling in the same direction," rewards are more collective than individual so everyone shares in the success or failure of the group, there is more participation in decision making and less hierarchy, and, finally, player job satisfaction is heightened in qualitative terms. The author concludes that national context does matter in explaining the genesis of the four organizations under study, but finds, more importantly, that each orchestra's particular direction, structure, membership and leadership configurations are the critical variables to both understanding and assessing how well they will function as high involvement organizations and what role musicians will play in them.

I have chosen to be assessed as an interpreter and conductor of New Music for British Brass Band. This critical evaluation represents a summary of my work on the four required projects of the DMA course, in which I hope to demonstrate a high level of creative interpretation. This evaluation will also demonstrate my ability to show original insights into certain musical works and formulate sound critical judgments in order to elicit performances which have been critically acclaimed by my peers within this chosen medium. Project One aims to demonstrate a capacity for producing perceptive and imaginative musical interpretations in preparing and conducting the first commercial recording of brass music of Arthur Butterworth (DOYCD130). As will be argued elsewhere, Butterworth is a nationally recognized figure with a wide range of musical publications, and this recording includes four world premiere recordings of the composer's work and a new commission, Sinfonia Concertante. Project Two is a further CD recording entitled The Brass Music of Michael Ball 1 (DOYCD135). This presents a programme of highly crafted pieces of the composer's wide style and approach. There are five world premiere recordings which offer new insights into the composer's work as well as new interpretations of his work in fine performances. This project also includes an examination of a new work, A Cambrian Suite, jointly commissioned by the Black Dyke Band and the Brass Band Heritage Trust, first performed at the Royal Concert Hall at the RNCM on the 18th February as part of the Festival of Brass 2002. Project Three consists of two live recordings, produced digitally, and stored on single Compact Discs. The two works Sinfonia Concertante Arthur Butterworth and Atlantic Philip Wilby were premiered respectively at the Harrogate International Music Festival, July 28 th 2001 and The Festival of Brass January 18th 2002. Both these composers enjoy high status as nationally recognised composers, and their premiere performances offer significant first insights into the works in question. I would argue that this demonstrates a capacity for eliciting imaginative musical interpretations from a highly talented group of musicians. During my DMA registration I have performed ten world premieres: Masque, Danceries, and Alchymist's Journal by Kenneth Hesketh., Sinfonia Concertante Opus 111 by Arthur Butterworth, Atlantic and Concerto 1945 by Philip Wilby, Call of the Cossacks by Peter Graham, The Sword and the Crown by Edward Gregson, A Cambrian Suite by Michael Ball and Trombone Concerto by Martin Ellerby. This range of performances displays my commitment to developing the repertoire of the Brass Band Movement. I have also undertaken eight studio recording projects, The Eternal Quest QPRL 21 ID, The Essential Dyke Vol. Ill DOYCD121, Spectacular Classics Vol. IIOBR876, The Music of Arthur Butterworth DOYCD130, The Music of Michael Ball DOYCD135, Black Dyke Plays Verdi OBR883, The Heaton Collection SP&S100, Call of the Cossacks DOYCDI38. These projects represent an endeavour to unveil and demonstrate the level of expertise and flexibility available in the current British Brass Band movement, which draws its influences from sources as diverse as Classical, Contemporary, Popular, and World Musics. Project Four A public performance will be given by the Black Dyke Band conducted by myself as part of the National Brass Band Championship of Great Britain, in the Royal Albert Hall on 19 th October 2002. This will give the examiners the opportunity to judge my abilities for themselves.

This thesis investigates the provision of orchestral training in Great Britain through the opportunities offered in pre-graduate, undergraduate and postgraduate areas. The research follows on from the 1965 and 1978 Gulbenkian Reports, "Making Musicians" and "Training Musicians" and investigates those conclusions and recommendations of the reports which appertain to this thesis. The research was carried out by surveys, interviews and through literature available to the author. Surveys were carried out by questionnaire and interviews were undertaken in person. The research aimed to prove three particular points. Firstly that British youth orchestras perform a vital task in providing the initial training of orchestral musicians. Secondly, whether the view taken by some of the British professional orchestras that British conservatoires do not devote sufficient curriculum time to complete orchestral training to the standards required by the professional orchestras is accurate. Thirdly that better opportunities for postgraduate orchestral training are required. This thesis thus concentrates on the provision for those students who show ability in playing an orchestral instrument and have attained entry into the higher levels of orchestral performance. Thus the research looks at orchestral provision at county level, conservatoire junior departments, national youth orchestras, conservatoires, universities, postgraduate opportunities and the summer music schools. The conclusions drawn from the research are that, despite serious financial pressures, the provision of orchestral training before entry to higher education is continuing to produce very high quality playing opportunities. In nearly all cases this is a good depth of provision, with young players being offered subsidised orchestral training courses on a regular basis and for many, the opportunity of working alongside professional conductors and tutors. The responses indicate the positive value placed on the training opportunities provided at this level and that they are held in high esteem by the music profession. The research also shows that conservatoires have not yet come to terms with the dilemma of developing high profile master musicians whilst at the same time ensuring that the training of instrumentalists encompasses all aspects of the orchestral profession and other changes in employment opportunities for their students. Postgraduate training that is already available receives high praise, but there are significant findings indicating that a greater provision is necessary.

This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.

No description available.

This dissertation is based on the premise that design, no matter how intricate or complex in nature, arises from something as basic and rudimentary as a ‘need’. It is a process of retrospection into how interior design answers the needs of human beings in the environment. The aim of the project is celebrate the act of waiting and the experience of the ‘every-day’ world. Interior design is used to acts as ‘mediator’ between people, their needs and the environment. The project sheds light on the ‘every-day' life world by investigating the activities and interactions of people within the context of a public transport facility. The ‘status-quo’ of such facilities in South Africa is questioned by investigating the extent to which interior design acts as mediator to facilitate the user. The main activities of ‘waiting’ and ‘foodvending’ form the basis of the design project. The proposed site (Spaza Shed) is located in Scheiding Street at the north-western edge of the Pretoria Station precinct in the central business district (CBD) of Pretoria. Originally used as an office building, it underwent radical alteration when it was converted into a bus terminal by Stauch and Vorster Architects in 1993. This typological change rendered the building isolated from the rest of the site context. In addition, following the upgrading of what is today the new bus station building (south of the building) the Spaza Shed was abandoned and used for storage. Today, the building houses several steel kiosks of which only a few are occupied by food-vendors who prepare and sell ‘traditional’ meals. Lack of facilities and systems mean that the building presents a health risk to both tenants and customers. The northern edge of the building consists of a series of small shops and inadequate benches where bus commuters clamour while waiting. The proximity of the Spaza Shed relative to the bus station provides the potential for the Spaza Shed to serve as an active waiting station for bus commuters as well as pedestrians moving past the building. The proposed program rests on the basis of mediation and interaction by connecting the Spaza Shed building with the bus station as well as the CBD. An active waiting area is proposed which will house seating (based on ergonomic principles and postures), public restroomand shower facilities, food kiosks, interior green spaces, free wifi access and interactive information stations. A proposal is made for a a play area and a day care center. / Dissertation MInt(Prof)--University of Pretoria, 2013 / Architecture / MInt(Prof) / Unrestricted