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This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre's substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre company and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all. Three central determinations emerge from the examination of Primus Theatre's practice. The theatre company truly was a pioneering venture in English Canada. Company members established an "as-if-permanent" ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Artistic Director Richard Fowler's personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage. The third determination arising from this study is that, while all aspects of Primus Theatre's creative practice can be linked to that of the Odin Theatre, this relationship can most accurately be described as an imprinting, rather than as an extension, of Odin Theatre practices. The conscious and unconscious permutation and advancement of the practice, driven by the technical and creative needs and interests of the young Canadian company and deeply affected by substantial financial hardships and creative set-backs, forced Primus to emerge as a unique theatrical entity developing from a particular and identifiable geneology. This study of the establishment of Primus Theatre also provides evidence that the substantial hardships faced by company members did not dissuade them from advancing their practice of continued exploration of form and expression. The study provides evidence not only of Primus Theatre's substantial body of creative work but also of its substantial pedagogical efforts. Subsequently, a new generation of theatre artists has been inspired by and trained in this alternative theatre-making model, and are making their own contributions to the continued redefinition of theatre in English Canada.

Teleoperation systems broaden human ability to perform a task in a real or virtual, local or remote environment. An emerging application of such systems is in dual-user teleoperation or haptic simulation systems in which two users collaboratively perform a task in a shared real or virtual environment. Examples of this application are in human haptic guidance for rehabilitation therapy and medical surgical training. In such collaborative systems, users interact with each other and a user's decision is affected by the other user's decisions. This interaction between users bring out the need for new control architecture design methods. In addition, the controller should maintain system stability and achieve desired performance under various operational conditions, including contact with a wide range of environments and being interfaced with two users displaying highly variable arm dynamics. To this purpose, a class of shared control architectures for human haptic guidance has been developed. The architectures feature a dominance factor that adjusts the supremacy of the trainer over the trainee in the execution of a task. To tackle the stability issue, a novel robust stability analysis framework for unconditional stability analysis of multi-user teleoperation/haptic systems has been proposed. In terms of performance these systems have been evaluated kinesthetically, referring to the dynamics felt by the users, or task-based, referring to the quantities that measure task efficiency and effort. For kinesthetic performance evaluation of dual-user systems as opposed to the single-user systems, there are two users interacting with the environment and with each other. In these systems it may be desirable for a user to not only feel the environment but also to sense the other user dynamics. Hence, some of the previously defined performance measures for single-user systems have been extended for dual-user systems. Furthermore, two novel performance measures for multilateral dual-user systems have been introduced. Finally, to assess the task-based performance of the proposed architectures, a user study has been conducted for trajectory following tasks on a developed dual-user haptic simulation testbed under various environmental conditions, such as different environment geometries, environment view points and environment dynamics. / Thesis (Ph.D, Electrical & Computer Engineering) -- Queen's University, 2010-11-22 18:38:05.142

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This dissertation is based on the study of over 340 performances of early music given by the Parisian Schola Cantorum and its sister association, the Chanteurs de Saint-Gervais, between 1894 and 1914. The first chapter explores performance trends for this repertoire in isolation. Chapter 2 is an attempt to root out personal reasons for the changes in Schola programming, and also provides a sketch of the community that was behind the institution. The next chapter considers how Schola programming may have been affected by changes to the institution's mandate, goals, and relationship to the Conservatoire and other Republican institutions. The circle widens in Chapter 4, with a discussion of the relevance of Bordes's revival to sacred music reform. In the final chapter, the Schola's revival is placed in the broader context of French fin-de-siecle politics and nationalism in particular. / This dissertation provides a new assessment of Charles Bordes and Vincent d'Indy's respective biographies and demonstrates that many of the right-wing programming tendencies at the Schola should be attributed to Bordes. The importance of personal networks is emphasized in most of the dissertation. In addition to providing information on an unprecedented number of Schola concert types, this dissertation identifies the importance of looking to revivals of seventeenth-century music after 1898. For this repertoire provided an analogue for Ferdinand Brunetiere's ideas of an ideal, seventeenth-century French. An important shift in concert type and repertoire after 1904 provides a new window on d'Indy biography and underscores the transformation of the French public's musical values around the same time. The Schola's role in the reform of sacred music has been over estimated. The papal motu proprio of 1903 only reiterated instructions on sacred music previously handed down by the Sacred Congregation of Rites in 1894 and it was probably not directed specifically at the Parisian Schola Cantorum. The Schola's concerts of early music became sites for the expression of cultural difference. Much like many concerts exclusively devoted to this repertoire---and unlike many events that combined early and contemporary music---the "Frenchness" expressed at these events was intended to remain beyond the grasp of the average French citizen.

The purpose of this study was to determine whether certain non-musical components of a performance affect evaluator's performance quality ratings. Specifically, if there is an age at which point the presence of a music stand (i.e. an implied use of the score), the performers attractiveness, attire, stage behaviour and perceived level of accomplishment impacts performance ratings. Fourteen cellists were videotaped performing by memory, and then a second time with their music on a music stand, synchronizing their motions with the audio feedback from their first performance. The cellists and their performances were evaluated by 1024 individuals with no formal training in music ranging in age from six to fifty-five years old. Each evaluator was assigned to one of six groups: Visual only, Audio only, Memorized, Dubbed, Random 1, or Random 2. Results revealed that the presence or absence of a music stand had no impact on performance ratings. Performer attractiveness affected performance ratings for both sexes, although contrary to previous findings, being attractive was not advantageous. Dress had an inverse effect on ratings of female performers and poor stage behaviour affected ratings of both sexes. Although evaluators were unable to predict a performer's proficiency based solely on gesture, proficiency gestures made by musicians during performances affected ratings. Evaluators in the audiovisual conditions gave performers who appeared less accomplished significantly lower ratings than those in the audio only condition. Evaluators aged 13 were more critical than younger evaluators with their musical ratings and their ratings were also affected by the visual aspects of a performance. These results suggest that older non-musician evaluators use visual aspects to help their evaluations of subjective musical elements because they have a hard time hearing differences.

ABSTRACT. Howard, Christine, M.S., December 2013 Health & Human Performance Descriptive Study on the Academic and Employment Expectations of Graduate Assistant Athletic Trainers Chairperson: Dr. Valerie Moody Introduction: It is common for newly certified athletic trainers to acquire a graduate assistantship as a certified athletic trainer. This graduate assistantship is a unique role in the profession where they juggle the demands of the job as a certified athletic trainer with the demands of attending graduate school full-time. There are few studies on this specific population of athletic trainers. Objective: To describe the academic and employment expectations of graduate assistant certified athletic trainers, Design: A descriptive study that used an electronic survey to explore the expectations of graduate assistant athletic trainers. Methods: National Athletic Trainers Association (NATA) sent a broadcast email to 302 certified-student members inviting them to participate in the study. Two reminder emails were also sent during the collection period. Eighty graduate assistant athletic trainers completed the survey in its entirety for a response rate of 26.5%. Intervention: Expectations of Graduate Assistant Certified Athletic Trainers Survey (EGAATCS) was developed using SurveyMonkey software. The survey consists of 7 demographic questions and 36 questions pertaining to specific job requirements (employment expectations) and academics (academic expectations), as well as two open-ended optional questions asking about the rewards and challenges of the position. Analysis: Quantitative data was analyzed using Microsoft Excel. Qualitative data analysis used a grounded theory approach that utilized open, axial, and selective coding procedures. Results: Graduate assistant certified athletic trainers focus more on their job and employment responsibilities than they do on their academic responsibilities. Conclusion: Graduate assistant certified athletic trainers are expected to attend graduate school full time while working (essentially) a full time job. Balance and time management pose to be the biggest challenges they face, while the most gratifying aspect was found in their socialization and clinical experiences. Keywords: clinical experience, education, athletic training, role strain