While evidence of the exceedingly important role of technology in organizational life is commonplace, academics have not fully captured the influence of Information and Communication Technology (ICT) on crisis response. A substantive body of knowledge on technology and crisis response already exists and keeps developing. Extensive research is on track to highlight how technology helps to prepare to crisis response and develop service recovery plans. However, some aspects of crisis response remain unknown. Among all the facets of crisis response that have been under investigation for some years, improvisation still challenges academics as a core component of crisis response. In spite of numerous insights on improvisation as a cognitive process and an organizational phenomenon, the question of how improvisers do interact together while improvising remains partly unanswered. As a result, literature falls short of details on whether crisis responders can rely on technology to interact when they have to improvise collectively. This dissertation therefore brings into focus ICT support to organizational improvisation in crisis response in two steps: We first address this question from a general standpoint by reviewing literature. We then propose an in depth and contextualized analysis of the use of a restricted set of technologies – emails, faxes, the Internet, phones - during the organizational crisis provoked by the 2003 French heat wave. Our findings offer a nuanced view of ICT support to organizational improvisation in crisis response. Our theoretical investigation suggests that ICTs, in a large sense, allow crisis responders to improvise collectively. It reports ICT properties - graphical representation, modularity, calculation, many-to-many communication, data centralization and virtuality – that promote the settling of appropriate conditions for interaction during organizational improvisation in crisis response. In the empirical work, we provide a more integrative picture of ICT support to organizational improvisation in crisis response by retrospectively observing crisis responders’ interactions during the 2003 French heat wave. Our empirical findings suggest that improvisation enables crisis responders to cope with organizational emptiness that burdens crisis response. However, crisis responders’ participation in organizational improvisation depends on their communicative genres. During the 2003 French heat wave crisis, administrative actors who had developed what we call a “dispassionate” communicative genre in relation to their email use, barely participated in organizational improvisation. Conversely, improvisers mainly communicated in what we call a “fervent” communicative genre. Therefore, our findings reveal that the ICT support to organizational improvisation in crisis response is mediated by the communication practices and strategies that groups of crisis responders develop around ICT tools.

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

This thesis is an analytical study of various cadenzas written for the first movement of Mozart’s Piano Concerto No.20 in D minor, K.466. As one of the six of his own concertos for which Mozart did not provide an original cadenza, the D minor concerto poses an important challenge to the performer: should she compose or improvise her own cadenza, or should she select one written by someone else? Many composer/pianists active during the nineteenth and twentieth centuries penned cadenzas to this concerto for their own use, and this thesis explores those by August Eberhard Müller, Emanuel Aloys Förster, Ludwig van Beethoven, Johann Nepomuk Hummel, Charles-Valentin Alkan, Clara Schumann, Johannes Brahms, Ferruccio Busoni, Bedrich Smetana and Paul Badura-Skoda. In addition to these written-out cadenzas, it also discusses improvised cadenzas in the recordings by Robert Levin and Chick Corea. Each composer/pianist’s unique compositional style is illuminated through the study of each cadenza, and consideration of these styles allows multiple views on a single concerto. A discussion of the meaning and history of cadenzas precedes the analytical study, and in conclusion, the author contributes her own cadenza.

Cette recherche a pour but de comprendre comment certains danseurs-créateurs peuvent se distinguer par rapport aux pratiques dominantes de la danse contemporaine. Pour en rendre compte, j'analyse la pratique artistique de trois danseurs-créateurs: Andrew de Lotbinière Harwood, Lin Snelling et Pamela Newell. J'ai observé leurs processus de création et leurs spectacles au cours de l'automne-hiver 2006-2007 à Montréal. Les cinq créations analysées dans cette étude se nourrissent de la performance, de l'interdisciplinarité, de la collaboration, et surtout de l'improvisation en danse. Cette thèse présente un examen de pratiques soutenu par un certain nombre de livres et d'articles dans le domaine des arts, du théâtre et de la danse. Toutefois, les sociologies du corps et plus spécifiquement l'appareillage conceptuel de Pierre Bourdieu m'offrent des voies afin de scruter sous cet angle les pratiques des trois danseurs-créateurs, angle qui vient enrichir mon expérience et ma formation en art en tant qu'artiste et enseignante. Afin d'atteindre mon objectif de recherche. je m'inspire d'une approche ethnographique comme méthodologie, et de l'étude de cas comme démarche. Les données ont été essentiellement collectées à travers des observations, des entretiens, des enregistrements vidéo et divers documents tels des programmes de spectacle, des coupures de presse, ainsi que des articles et des ouvrages spécialisés en danse contemporaine. Pour l'analyse et l'interprétation des données, je m'inspire des principes de Paillé (1994), qui propose une théorisation ancrée construite, entre autres, par le biais de la comparaison entre la théorisation en construction et la réalité empirique. Une analyse thématique et son interprétation ont été accomplies en gardant un contact permanent entre les données brutes et le cadre théorique. Dans les pratiques des trois danseurs-créateurs analysées, l'improvisation sur scène proche des techniques somatiques a une importance fondamentale et résulte de certains aspects récurrents telles que la réduction de la valorisation des mouvements virtuoses et la recherche d'un rôle plus actif pour le spectateur. En outre, les aspects de collaboration rencontrés dans des créations offrent une alternative face au binôme chorégraphe-interprète, valorisant de cette façon le danseur en tant que créateur, capital symbolique primordial dans le champ de la danse. L'interdisciplinarité offre également des voies de création pour un renouvellement de la notion de chorégraphie, non seulement comme art de composition du mouvement, mais aussi comme art qui intègre d'autres éléments et langages. Ces caractéristiques suggèrent l'évolution, le dynamisme et les modifications en ce qui concerne l'habitus du danseur au sein de la danse contemporaine. Face aux pratiques dominantes qui privilégient un rapport instrumental du corps, les pratiques analysées des trois études de cas proposent des échanges, perceptions et gestions des créations renouvelées ainsi que de nouvelles sociabilités en danse contemporaine qui résultent en un rapport au corps plus réceptif, interactif et participatif. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Danse contemporaine, Pratiques dominantes en danse, Processus de création, Danseur-créateur, Improvisation, Champ, Capital, Habitus.

The purpose of the current study was to explore the relation between a culture specific theory of resiliency (TRIOS: Time, Rhythm, Improvisation, Oratory & Spirituality) and sexual health outcomes (Sexual Risk History, HIV Testing & Attitudes and Beliefs, Partner Information & Condom Self-Efficacy) among Black women. Participants were 124 Black women recruited from a larger sexual health intervention study. TRIOS was hypothesized to be correlated with outcomes and predict unique variance in outcomes beyond measures of Self-Esteem & Racial Identity. Time, Improvisation and Spirituality were hypothesized to uniquely predict limited sexual risk history, healthy HIV testing attitudes and beliefs, fewer risk indicators among sex partners, & higher condom self efficacy. The psychometric structure of TRIOS within the sample was examined. Tests included a Correlation Matrix, two sets of four Hierarchical Regressions and an Exploratory Factor Analysis. Correlations were found between TRIOS components and Sexual Risk History and Condom Self-Efficacy. Time and Improvisation uniquely predicted declines in Risky Sexual History. Rhythm uniquely predicted declines in Condom Self-Efficacy. Effects of Oratory were mixed. Methodological limitations and implications for interventions and future research were discussed.

Purpose To study how improvisation allows a crisis manager to answer the crisis when it has occurred, and how the improvisational act and the environment are linked. Methodology/ApproachFirst, we led research on the concepts of crisis, crisis management and improvisation. We were able to distinguish two major characteristics of the crisis situation – uncertainty and time pressure – as well as two moments in crisis response – containment and recovery. In parallel, we studied improvisation. The improvisation act intervenes when one realizes the environment conditions, reduces the gap between thinking the action and executing the action, and increases the speed of his actual action. Also, we identified that improvisation was expressed through the use of creativity, bricolage and intuition. At last, some authors developed levels of improvisation whether based on creativity levels or on the distance between the way one acts and the procedures, the normal ways to act. From this literature review, we were able to highlight two research propositions: Proposition 1: As soon as a situation enters a crisis phase, improvisation is used. Proposition 2: The way and the extent to improvise depend on the extent of time-pressure and uncertainty.Our belief in a mainly subjective conception of reality and of our knowledge and the fact we could use enough existing knowledge to enunciate propositions led us to have a semi-inductive research approach and a qualitative strategy. Our data were collected by using recorded semi-structured interviews. Our sample was constituted of managers specialized in the management of a crisis – surgeons and high mountain rescuers. Findings Our data analysis allowed us to confirm the research propositions. Crisis managers improvise when responding to a crisis by being creative, aware and adaptable to the environment conditions, and by having quick decision-making processes. Their improvisation levels are dependent on the situation uncertainty/novelty levels. In fact, we could identify a “mirror effect”: the level of improvisation increases as uncertainty increases. Limitations Some points are factors of the limitation of this research. These limitations are essentially linked to a reduced transdisciplinary approach. The topic of this research deserves a larger sample of interviewees in order to improve the relevance of our findings and their capacity to be generalized. Originality/Value The value of this study comes from the relevance of the investigated fields – fields with recurrent crisis management – and from the experience of their interviewed members. This research was also led with philosophical considerations materialized by a transdisciplinary approach. Indeed, we interviewed persons from fields outside business management.

Th. Etat--Esthétique et pratique des arts--Lille 3, 2001. / Catalogue de l'oeuvre de R. Falcinelli p. 687-838. Bibliogr. et discogr. p. 839-853 et p. 985-1019. Index.

Thesis (M.A.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on Feb. 8, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Department of Music, University of Alberta. Includes bibliographical references and discography.

Referring to an employee as “the face” of an organization suggests that an individual worker’s actions may transmit information about the kind of organization they represent. Mascots in a baseball stadium make that metaphor material by wearing an organizationally prescribed mask and performing in the name of the organization (Keller & Richey, 2006; MacNeill, 2009). This study investigated how one baseball mascot, Spike of the Round Rock Express, embodied his team’s identity through the activation of organizational routines by analyzing video recordings, autoethnographic field notes, and stories (Heath & Luff, 2013). Recognizing the highly symbolic work of a mascot work has implications for the performer, audience members, and organizations who rely on mascots to enhance the stadium experience. Additionally, this research provides suggestions for future mascot performers on how they might come to “know your role and play it to the hilt” (Devantier & Turkington, 2006). Organizational routines combine three recursive dimensions: the ostensive, understandings an employee brings to his or her work, the performative, actions an employee takes while doing his or her work, and the artifactual, material objects an employee uses or creates in order to facilitate work tasks (Feldman & Pentland, 2003). This research begins with an exploration of how I developed occupational and organizational role expectations. In order to know my role, I had to learn Spike’s identity: what he must do, may do, and can do (Strauss, 1959; Enfield, 2011). I specifically recognize the ways I came to understand my role as someone who embodies the mission of the organization through the preparation of artifacts for performance and protection of the audience for whom I am performing. The performative dimension is explored by identifying instances when my performance challenged established understandings of Spike’s identity, specifically in instances where I was unprepared for a scenario or chose to protect one group’s interest over another’s. In these unanticipated moments, I often found myself turning other participants in the stadium event, like fans and coworkers, into co-performers and relied on their improvisational offerings to inform my ongoing performance (Eisenberg, 1990; Meyer, Frost, & Weick, 1998). / text

This dissertation offers a phenomenology of that mode of self-interpretation in which it becomes possible for an interpreter to intentionally participate in the production of moral norms to which the interpreter himself or herself feels bound. Part One draws on Richard Rorty's notion of the "ironist" in order to thematize the phenomenon I call "moral friction"; a condition in which an interpreter becomes explicitly aware of the historical and cultural contingencies of their own moral vocabularies, practices, and concerns and as a result find themselves incapable of feeling the normative weight implicit in these. Part Two draws on Heidegger's existential analytic of human being, Gadamer's development of Hermeneutic Phenomenology, and Hegel's notion of "sublation" in order to map how novel interpretations can irreversibly displace the coherence of older interpretations. I call this form of interpretation "moral phenomenology." Finally, in Part Three, I utilize a selective phenomenology of musical improvisation to plot the unique temporal orientation of self-interpretation that results from intentionally deploying this irreversible displacement of older interpretations that involve normative moral implications. I call the form of life that is marked by this hermeneutic mode the "improviser." The result is a description of a form of life in which it becomes possible to explicitly participate in the production of moral norms within a historical and culturally contingent context that nevertheless preserves standards of rational justification for normative moral judgment without the need for atemporal first principles. The availability of this mode of self-interpretation displaces the sharp distinction between non-normative descriptive phenomenology and normative moral reasoning by placing the latter within a non-teleological historical practice that engages in the production of interpretations which irreversibly displace older interpretations--a practice that is governed by the critical cultivation of contingent moral norms within the open investigation into the good life for human being.