Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

Ecos en la escritura (Échos dans l’écriture) vise à explorer la représentation de l’expérience dans le roman d’avant-garde latino-américain. D’après les idées de Walter Benjamin, nous définissons « l’expérience » comme une façon de donner du sens, tant à une série de perceptions et affections corporelles, qu’au récit historique d’une culture. Depuis la fin du 19e et le début du 20e siècle, l’expérience est radicalement transformée par l’émergence des nouveaux médias et des nouvelles technologies d’inscription, telles que la photographie, le cinéma, le phonographe, la machine à écrire et la radio. Ainsi, en dialogue avec la théorie des médias de Friedrich Kittler et Katherine Hayles et, dans un contexte latino-américain, avec les œuvres de Rubén Gallo et Flora Süssekind, nous analysons un groupe des romans d’avant-garde pour montrer les effets des technologies d’inscription sur les modalités de représentation. Le corpus comprend les romans suivants : Los siete locos (1929) y Los lanzallamas (1931), de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Nous lisons les nouvelles modalités de représentation comme une manière de contestation des modes de représentation du roman réaliste du 19e siècle. Afin de montrer les différentes façons dont ces romans reflètent les changements dans l’expérience, nous avons organisé les chapitres pour démontrer l’éloignement du réalisme et l’incursion progressive des technologies d’inscription. La technologie des médias apparaît, tout d’abord, représentée sous forme de thème ou de manière subtile dans les descriptions de la perception des personnages. Ensuite, la technologie apparaît de manière plus explicite, affectant les modalités de la représentation et la qualité même de l’écriture, en accentuant le virage méta-narratif par lequel le roman d’avant-garde dissout la diégèse du roman réaliste. Enfin, la préoccupation d’avant-garde pour les médias est dirigée vers le substrat matériel du roman, le livre imprimé, dont la disparition ouvre la possibilité à d’autres formes d’inspiration. Ainsi, par l’étude de l’avant-garde latino-américaine, nous réfléchissons aux effets de la technologie dans la formation de l’expérience, et aussi sur les relations entre l’expérience et les formes de représentation. / Ecos en la escritura (Echoes in Writing) explores how the Latin American avant-garde novels represent a type of modern experience. Drawing from the ideas of Walter Benjamin, we define “experience” as a way of making sense of a series of perceptions and bodily affections, on the one hand, and of a certain historical discourse and historicity, on the other. From the 19th century and first decades of the 20th, experience is radically transformed as a result of the emergence of new media and inscription technologies, such as the photography and the cinema, the phonograph, the typewriter, and the radio. In dialogue with the media theorists Friedrich Kittler and Katherine Hayles, and, in Latin American contexts, with the writings of Rubén Gallo and Flora Süssekind, we analyze a group of Latin American avant-garde novels to show the effects of inscription technology on the modalities of literary representation. The corpus includes the following novels: Los siete locos (1929) y Los lanzallamas (1931) by Roberto Arlt; Cubagua (1931) by Enrique Bernárdo Núñez; La casa de cartón (1928) by Martín Adán; Un año (1935) and Ayer (1935) by Juan Emar; Débora (1927) by Pablo Palacio; Museo de la novela de la Eterna (1925/1967) by Macedonio Fernández. We read the new modalities of representation as a contestation of the modes of representations embodied in the 19th century realist novel, still prevalent in the early 20th century. In our presentation of these novels’ representation of the profound shift in experience, we have organized the chapters to demonstrate the move away from the realism and the progressive incursions of inscription technologies. Media technologies first appear as a theme or in a more subtle descriptions of perceptions for the characters, and are later shown to affect the modalities of representation, the very quality of writing, and to inspire a meta-narrative turn that effectively dissolves the diegesis typical of the popular realist novel. Finally, the avant-garde concern for media turns to the novel’s material substratum, the printed book, whose disappearance allows for others forms of inspirations to appear. Throughout this research on the Latin American avant-garde we think about the effects of technology on the constitution and formation of experience, and about the relations between experience and forms of representation. / Ecos en la escritura tiene como objetivo explorar la representación de la experiencia en la novela de vanguardia latinoamericanas. A partir de las ideas de Walter Benjamin, definimos “experiencia” como una manera de dar sentido tanto a una serie de percepciones y afecciones corporales como al relato histórico de una cultura. Desde finales del siglo 19 y comienzos del 20, la experiencia se transforma radicalmente con el surgimiento de nuevos medios y tecnologías de inscripción, tales como fotografía y el cine, el fonógrafo, la máquina de escribir y la radio. Así, en diálogo con la teoría de los medios de Friedrich Kittler y Katherine Hayles, y, en un contexto latinoamericano, con los trabajos de Rubén Gallo y Flora Süssekind, analizamos un grupo de novelas vanguardistas para mostrar los efectos de las tecnologías de inscripción en las modalidades de representación. El corpus se delimita a las siguientes novelas: Los siete locos (1929) y Los lanzallamas (1931) , de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Leemos las nuevas modalidades de representación como una forma de contestación a los modos de representación de la novela realista del siglo 19, aún en vigencia en el siglo 20. Para mostrar las diferentes maneras en que estas novelas reflejan los cambios en la experiencia, hemos organizado los capítulos en función de demostrar el alejamiento del realismo y la progresiva incursión de las tecnologías de inscripción. La tecnología de medios aparece, en primer lugar, representada como tema o bien de manera sutil en descripciones de la percepción de los personajes. Luego, en segundo lugar, la tecnología aparece de manera más explícita, afectando las modalidades de representación y la cualidad misma de la escritura, acentuando el giro metanarrativo con el cual la novela de vanguardia disuelve la diégesis propia de la novela realista. Finalmente, la preocupación de la vanguardia por los medios se dirige al sustrato material de la novela, el libro impreso, cuya desaparición abre la posibilidad de otras formas de inspiración. Así, a través de un estudio sobre las vanguardias latinoamericanas podemos reflexionar sobre el efecto de la tecnología en la formación de la experiencia y también sobre la relación entre experiencia y formas de representación.

Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnelles. / This research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies.

Bočková, A.: Artificialism as a specific Czech inter-war style [Diploma thesis] Prague, 2016 - Charles University, Faculty of Education, Department of Art Education. 118 p. This diploma thesis has the character of comparative analysis, which deals with the Artificialism as specific Czech style in the period between two world wars. This work maps its position in the interwar art. It finds resource for a development of art and literary style similar to poetism or the Devetsil association. The poetism brings a new view of the world. The Artificialism is its visual equivalent that provides identification of the painter and poet, or poetry and image, or the topic of memories of memories. The thesis also presents the main and only two members of Artificialism - Styrsky and Toyen, and discusses their work, ideas, practices and theoretical works. I analyse the tensioned relationship between Artificialism and surrealism in the conclusion. The important finding is that artificialism is the original and most peculiar style of the interwar avant-garde, not only an intermediate step between Cubism and Surrealism, as it was presented in last years. On the base of theoretical part there was made the concept of practically proven didactic series, with reference to the Framework Education Programme and to the...

ENG Esotericism and Occultism in the Italian Literature of the Early Twentieth Century The purpose of this research is to bring contribution to the branch of academic studies dedicated to Western Esotericism with aim to clarify the relationship between this literary field and culture in general. Numerous studies were made in this area of research, specifically tackling the influence of Esotericism on modern and contemporary literature. The goal was to show, in particular, the contribution Italian authors had to establishing of esoteric directions in literature, throughout a limited time-span (last decades of the 19th until the early 20th century). The research, based mainly upon concrete examples and documented resources, portrays the attempt of many writers and entire cultural trends in Italy, during the period considered, to adopt an original approach to expressing themselves, one which will in turn help them to overcome the literary boundaries of that time. This direction found fruitful ground and rooted itself in the esoteric culture, the occult sciences, in the lyrical dimension of dreams and of the unconscious. This study shows the relationship between esotericism and Italian science and culture scene between "fin de siècle and avant-garde", with emphasis on the undeniable influence the...

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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.

The work focuses on the analysis of the poetics of Vladimir Nabokov's novel Invitation to a Beheading in terms of its cultural context. Specifically deals with its relation to the Soviet theatrical avant-garde, with mythopoetic symbolism and early avant-garde. We approach to the novel as a parody of the post-revolutionary avant-garde Soviet theater experiments. Special attention is paid to the fact that due to the theatralization of the text, i.e. assimilation of the novel space with the theatricals, diegesis of Invitation to a Beheading is divided into two equal opposing worlds, each of which represents particular poetics. World built around main character of Cincinnatus is comparable to symbolism, namely to the symbol and symbolistic perception of Andrei Bely. The central principle of this reality is semiotization of the world. The surrounding fictional world creates its opposite as it is shaped by the principle of desemiotization which - as a central aspect of formalistic-futuristic avant- garde - systematically dismantles hero's world. However neither of these worlds is winning. In the end it is the synthesis, which helps the hero get emancipated from the novel's world. The Invitation to a Beheading can therefore be interpreted as original artist's world manifesto which through presentation and...

1 Abstract The thesis "The image of a woman in the press at interwar Czechoslovakia" deals with the visual presentation of a woman who was an integral part of the First Republic press. The thesis attempts to provide an analysis of selected periodicals (magazines especially for women) in terms of the depiction of women. The thesis surveys the changes in society and lifestyle in this epoch of our history which complements the cultural-historical background of the time and familiarity with contemporary press. The thesis focuses primarily on issues of women's emancipation, which were at that time very current and projected also into all areas of the art. Emancipation influenced significantly the whole Czech artistic creation. We can find some evidence especially in the press, which also mediated the reflection of period. The thesis focuses only on the most important press at these times with regard to its scope. Eva revue was especially important for emancipatory efforts and is compared here with men's magazine Gentleman and avant-garde magazine ReD. The main part of the thesis focuses on the actual image of women, generally and in specific cases. The thesis deals with the image of a woman in selected sections of the interwar women's magazines - fashion, sport and motoring. The thesis compares some newspapers...

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.