Th. Etat--Musicologie--Paris 4, 1999. / Bibliogr. p. 821-839. Index.

Thesis (Ph.D.)-Universiteit van Amsterdam, 2006. / Includes bibliographical references and index.

Exemplified by fire crews, SWAT teams, and emergency surgical units, critical teams are a subset of action teams whose work is marked by finality, pressure, and potentially fatal outcomes (Ishak & Ballard, 2012). Using communicative and temporal lenses, this study investigates how organizations prime and prepare their embedded critical teams to deal with improvisation. This study explicates how organizations both encourage and discourage improvisation for their embedded critical teams. Throughout the training process, organizations implement a structured yet flexible “roadmap”-type approach to critical team work, an approach that is encapsulated through three training goals. The first goal is to make events routine to members. The second goal is to help members deal with non-routine events. The third goal is to help members understand how to differentiate between what is routine and non-routine. The grounded theory analysis in this study also surfaced three tools that are used within the parameters of the roadmap approach: experience, communicative decision making, and sensemaking. Using Dewey’s (1939, 1958) theory of experience, I introduce a middle-range adapted theory of critical team experience. In this theory, experience and sensemaking are synthesized through communicative decision making to produce decisions, actions, and outcomes in time-limited, specialized, stressful environments. Critical teams have unique temporal patterns that must be considered in any study of their work. Partially based on the nested phase model (Ishak & Ballard, 2012), I also identify three phases of critical team process as critical-interactive, meaning that they are specific to action/critical teams, and they are engaged in by critical teams for the expressed purpose of interaction. These phases are simulation, adaptation, and debriefing. These tools and phases are then placed in the Critical-Action-Response Training Outcomes Grid (CARTOG) to create nine interactions that are useful in implementing a structured yet flexible approach to improvisation in the work of critical teams. Data collection consisted of field observations, semi-structured interviews, and impromptu interviews at work sites. In total, I engaged in 55 hours of field observations at 10 sites. I conducted 31 semi-structured interviews with members of wildland and urban fire crews; emergency medical teams; and tactical teams, including SWAT teams and a bomb squad. I also offer practical implications and future directions for research on the temporal and communicative aspects of critical teams, their parent organizations, and considerations of improvisation in their work. / text

This research project aims to: - Examine how my musical identity as Music-maker can be fused with those of contributing improvising musicians, throughout the collaborative process. - Form creative methodologies/strategies to sufficiently accommodate the improvisatory approaches of others around my own work. - Develop appropriate communication methods, including original notational systems; and explore ways in which technology can be harnessed, to help fulfil the above objectives. This research intends to explore the extent to which improvisation may be incorporated into compositions, by means of practical experiment and investigation. The written commentary will accompany a portfolio of audio recordings and scores. Key works demonstrating various approaches and techniques employed will be examined in detail. An appendix disc of supplementary audio recordings and videos will also be provided to show piecedevelopment and the evolution of my music-making practice. My point of origin straddles that of a professional guitarist experienced in an array of improvised music(s), including: rock, jazz, fusion and contemporary improvisation, and that of a composer interested in collaborative projects which take advantage of the eclectic experience and skill sets of the musicians taking part.

During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisational vocabulary, as it pertains to trumpet performance practice. This study presents six annotated transcriptions from each artist focusing on elements of jazz vocabulary and solo construction.The study reveals vocabulary and solo construction preferences within the Sidewinder Syndrome. Results indicated the three most common harmonic generalization elements were digital patterns, change-running, and the bar-line shift. Complex harmonic generalization elements included bebop scale, 3-b9 movement, linear chromaticism, and tri-tone substitution / altered dominant. Vocal inflections derived from gospel music and urban blues were the half-valve, grace note, alternate fingerings, note bending, and fall. Bebop influenced articulation included upbeat-to-downbeat articulation and ghost note. Bebop influenced ornamentation included the two-sixteenth note ornament and the turn. Results suggest solo construction relied heavily upon the sequencing of rhythmic and melodic motives. Space was utilized for clarity, new concepts, and octave displacement. Developmental concepts included running eighth and sixteenth note lines. This study provides an opportunity for students of improvisation to isolate and study jazz vocabulary and solo construction of the Sidewinder Syndrome. / School of Music

This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.

O presente estudo aborda o processo de criação do ator pelo viés da busca da organicidade das ações do ator em cena, organicidade esta ligada a uma ação real promovida pelo contato entre o ator e demais sujeitos e elementos da cena. Através de uma investigação empírica com grupos de atores, buscou-se pesquisar de que forma o Contato Improvisação pode contribuir para a prática do ator. Partindo da noção de contato como propulsor do impulso criador, buscou-se descortinar procedimentos que contribuem para o desenvolvimento de competências técnicas do ator levando à ascese de um comportamento orgânico em cena. Constituiu-se como material de análise o diário de campo da pesquisadora, os diários de campo dos atores, assim como registros em vídeo do processo, contendo atividades e depoimentos dos atores envolvidos. Para a concretização da pesquisa em questão também foi realizada revisão bibliográfica acerca do Contato Improvisação, incluindo materiais de Steve Paxton, criador desta dança. Como referenciais para a abordagem das peculiaridades do trabalho do ator, são utilizados os estudos de Jerzy Grotowski, de quem partem as principais terminologias que serviram como base para a pesquisa, Constantin Stanislavski e Augusto Boal, escolhidos por trazerem em seus estudos o contato como competência primordial à criação. Complementam a pesquisa teorias de Gaston Bachelard, José Gil, dentre outros estudos relevantes para a investigação em questão, como proposições da fenomenologia experimental. / This study investigates the actor's creative process through the point of view of the organicity of actor‟s actions. This organicity is linked to a real action caused by contact between the actor and other people and elements of the scene/stage. Through an empirical research with groups formed by actors, we sought to find how the Contact Improvisation can contribute to the actor‟s practice. Following the concept of contact as the creative impulse propellant, we sought to present procedures that contribute to the development of actor's technical skills that can induce the emergence of an organic behavior in the scene. Constituted as material for analysis: the researcher‟s field diary, field diaries of actors as well as video recordings of the proceedings, containing activities and testimonies of those involved. For the realization of this research, literature review was also performed in Contact Improvisation, including materials of Steve Paxton, the creator of this dance. As theoretical references to approach the peculiarities of the actor's work, we use studies of Jerzy Grotowski, who gives the main terminologies that served as the basis for research, Constantin Stanislavski and Augusto Boal, chosen because they present in their studies the contact as a primordial skill of creation. Theories of Gaston Bachelard, José Gil, and others relevant studies, as propositions of experimental phenomenology, complement the research.

Esta tese problematiza a emergência do ensino superior de dança no estado do Rio Grande do Sul, Brasil. Propõe-se a repensar algumas noções hegemônicas de dança por intermédio de seis experimentos com práticas performativas realizados entre 2012 e 2014, em contextos de ensino de dança. Discutem-se procedimentos que impliquem produção de conhecimento em dança a partir da pergunta: como práticas performativas em dança inscrevem no corpo a produção de conhecimento em dança? Apresenta-se o conceito de práticas perfomativas como aproximações entre dança e performance, cultivando uma apropriação corporal de ideias e gestos singulares para uma dança própria através da Improvisação e da Análise Laban/Bartenieff de movimento. Analisam-se os percursos de produção de si dos sujeitos participantes dos experimentos a partir das noções de improvisação, espaços de ação e inscrição de si e momento intenso. Tomam-se a Análise Laban/Bartenieff de Movimento (LMA/BF), os procedimentos de improvisação e a Educação Somática como mote de proposição dos experimentos, bem como base de análise dos dados produzidos. A pesquisa tem, ainda, como suporte teóricometodológico elementos dos Estudos da Performance - de onde decorre a Prática- Pesquisa -, dos Estudos da Presença e dos Estudos Foucaultianos. A tese defende a formação em dança no ensino superior como um transitar entre performar e aprender. / This dissertation discusses the emergence of the dance in graduate studies at universities in the state of Rio Grande do Sul, Brazil. It rethinks some hegemonic notions of dance by looking at how knowledge in dance is produced and inscribed in the body, and the implications of this understanding for graduate studies. Between 2012 and 2014, six sets of experiments were carried out in graduate courses. The experiments presented the concept of performative practices in dance, cultivating a Drawing on elements of Performance Studies- from which Practice Research derives -, Presence Studies, and Foucault Studies for theoretical and methodological support, the dissertation examines how the participants self-produced knowledge from improvisation notions, spaces of action and self-inscription, and intense instant. The data was analyzed using Laban/Bartenieff Movement Analysis (LMA/BF), improvisation procedures, and Somatic Education. The dissertation demonstrates the value of formative dance in graduate courses for transiting between per-forming and learning.

No description available.

Na gestão da produção, existe a necessidade de adotar medidas que contribuam para solucionar os problemas existentes nos canteiros de obras e dar continuidade à execução das atividades. Entretanto, falhas na identificação dos pré-requisitos necessários para a realização das atividades podem dificultar o cumprimento dos planos. Mesmo que o fluxo de trabalho não seja interrompido, a execução de atividades sem condições adequadas pode ter um impacto negativo na eficiência, na qualidade e nas condições de trabalho. Esta situação é apontada na bibliográfica como uma nova categoria de perda, denominada de making-do, a qual está fortemente relacionada à ocorrência de improvisações pelas equipes de trabalho. O estudo das perdas por improvisação pode contribuir para melhor compreensão das falhas que ocorrem durante o processo de planejamento. Embora esta categoria de perda tenha sido discutida sob um enfoque teórico, inexiste na bibliografia trabalhos que tenham investigado a utilização deste conceito no controle da produção. Assim, o objetivo principal deste trabalho é propor um método de identificação de perdas por improvisação que gere informação para orientar a equipe de gestão da produção, particularmente no planejamento de médio prazo, no qual devem ser identificadas e removidas as restrições. Foram realizados dois estudos de caso em empresas que tinham processos de planejamento e controle da produção fortemente baseados no sistema Last Planner®. Em cada estudo, buscou-se identificar a ocorrência, assim como as causas e impactos desta categoria de perdas na gestão da produção. O desenvolvimento deste trabalho seguiu as seguintes etapas: (a) compreensão das barreiras existentes para a realização do planejamento de médio prazo; (b) observação direta de perdas por improvisação em canteiros de obras; (c) análise cruzada dos dados de perdas por improvisação e planejamento e controle da produção; e (d) proposição do método de identificação de perdas por improvisação em canteiros de obra. Os resultados deste trabalho indicaram que a maioria das improvisações é relacionada ao acesso e a mobilidade das equipes durante a execução das atividades, e a deficiências na montagem das instalações de proteção contra acidentes. Ainda, a redução de segurança e a perda de materiais destacamse como os impactos mais importantes destes tipos de perdas. Embora os resultados não sejam representativos para o setor da construção civil, espera-se que este estudo possa contribuir para que sejam identificadas oportunidades de melhorias para os sistemas de planejamento e controle da produção, gestão da segurança e gestão da qualidade, a partir da compreensão das improvisações que podem ocorrer nos canteiros de obras. / In production management, it is necessary to adopt measures that contribute for the solution of existing problems, in order to give continuity in the execution of activities. However, failures in identifying the necessary requirements for carrying out activities may result in the non-completion of plans. Even if the workflow is not interrupted, carrying out activities without adequate conditions may have a negative impact in efficiency, quality, and work conditions. This situation is pointed out in the literature as a new category of waste, named making-do, which is strongly related to the occurrence of improvisations by the workforce. The study of improvisation as a waste can contribute to understand the failures that occur in planning process. Although this category of waste has been discussed at a theoretical level, the application of this concept in production control has not been reported in the literature. The main objective of this research work is to propose a method of identifying improvisation as a waste, which produces information for guiding production management teams, particularly at look-ahead planning level, when constraints should be identified and removed. Two case studies have been carried out in companies that had a production planning and control process strongly based in the Last Planner® system. In each case study, making-do events were identified, as well their main causes and impacts in production management. The development of the research was divided in the following stages: (a) understanding of existing barriers to the look-ahead planning; (b) direct observation of improvisations in construction sites; (c) cross analysis of improvisations and production planning and control data; (d) proposal for a method to identify the improvisation on a construction site. The results indicated that most of the improvisations is related to access or mobility of the workforce during the execution of the activities, and inadequate installation of protections against accidents. Besides, safety and materials waste stands out as the most important impacts of these improvisations. Although the results are not representative of the construction sector, it is expected that this study will contribute for the identification of improvement opportunities for production planning and control, safety management, and quality management systems, based on understanding of improvisations that may happen in construction sites.