This study will consider the function of cinema in British society’s ongoing relationship with the 1980s. Its focus on a key period of recent British film history acknowledges popular culture’s flourishing identification with this decade, reflected through a number of media including literature, music and fashion. I argue that with seventeen films set in the 1980s and produced between 2005 and 2010, British cinema is at the centre of this retrospective, providing a unique perspective on our relationship with the era. But what are the determinants of this mediated reminiscence and what does it say about the function of cinema in rendering the past? I contend that a key aspect of this channelling of popular and personal memory is the role of the writer and director. Nearly all male and mostly middle-aged, the films’ creative agents present narratives that foreground young male protagonists and specifically masculine themes. These thematic concerns, including patriarchal absence and homosocial groups, whilst anchored in the concerns of their 1980s socio-political landscape also highlight a contemporary need for the films’ authors to connect to a personal past. Through reference to sociological, cinematic and political discourse, amongst others, this study will also consider the role of memory in these films. It will contend that the films present a complex perspective of the 1980s, highlighting an ambivalent relationship with the period that transcends nostalgia. The thematic structure of this work will allow a full analysis of the films’ relationship with key aspects of the 1980s incorporating a consideration of critically neglected texts that, I argue, demonstrate a strong mediated relationship with the 1980s. Additionally the study’s unique perspective on a specific period of the recent past and its mediation through film will ensure it has a key contribution to current thinking around the relationship between contemporary masculinity, British cinema and the 1980s.

<p> This paper analyzes the process of the developing collaborative creation in dance to adress issues in the modern food system. It begins with the examination of this history of Modern dance and collective theater and frames that history within the context of food system inequities.</p><p>

<p> This study seeks to establish the feasibility of <i>assai</i> as a moderating term in more cases than is typically assumed. Since evidence of concurrent competing definitions for the term <i>assai</i> exists from the mid- to late-18^th century, understanding and putting into practice a composer&rsquo;s indications according to his own understanding of the term becomes murky where the word <i>assai</i> is concerned during and beyond the time when the two definitions exist concurrently. Through investigation of musical scores, examining such features as ornamentation, the relative brilliance of the work, tonality, meter, and structure, the characteristics of a piece of music that are crucial to navigating the multivalent qualities of the word <i>assai</i> are identified and tested against the actual musical content of examples from works of J. S. Bach, Domenico Scarlatti, W. F. Bach, J. C. F. Bach, Johann Friedrich Agricola, C. P. E. Bach, W. A. Mozart, F. J. Haydn, Ludwig van Beethoven, Fr&eacute;d&eacute;ric Chopin, and Franz Liszt.</p><p>

In 1982, the Edmonton Fringe began as a low budget experimental theatre event,and quickly became an annual celebration of performance that was (and is) a truly popular festival. Today, the Edmonton Fringe attracts 500,000 spectators, 200 street performers, and 150 theatre groups from across the country and around the world. Between 1985 and 1991, Fringe festivals were established in Montreal, Toronto, Saskatoon, Winnipeg, Vancouver and Victoria. These 7 festivals constituted a 4 month theatre circuit for national and international travelling theatre and street performance troupes. All of these festivals continue to receive more applications from Fringe artist to produce, than they can possibly accommodate. Audience members are willing to stand in line for up to six hours to see a sell-out Fringe show. These events have stimulated a remarkable level of excitement and enthusiasm for theatre. Why ? How? These are the central questions that this work approaches from a number of different, and sometimes distinct perspectives. “Part One," Ordering Chaos. begins with a history of the Fringe that places the festivals in a larger context concerned with Canadian theatre, and in particular the historical relations, social and theatrical, between the alternative theatre movement and the Fringe, and between the Fringe and the postmodern. It includes a description and analysis of the Fringe Production model, Fringe performance, and excerpts from numerous interviews with Fringe producers, artists, and critics.“Part Two," The Fringe Phenomenon, observes these events from two different perspectives; one is concerned with festivity, the other with popular culture; both observe the Fringe as a socio-cultural event. Depending primarily on Victor Turner’s anthropology of performance and John Fiske’s observations on popular culture, I examine the festivals as cultural performances. Linda Hutcheon’s understanding of the Canadian postmodern provides a context for conclusionary remarks. / Graduate

<p> Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps members and their athletic trainers. The study included 12 semi-structured interviews in which Drum Corps International (DCI) members defined and analyzed the perception of trust held within this population in relation to athletic trainer interaction. Trustworthiness techniques of member checks, triangulation, external auditing, connoisseurship, and negative case analyses were used. The qualitative methods determined perception of trust through emergent themes and the effect of trust on the patient-clinician relationship. The study further identified factors that maintained or inhibited the aspect of trust between performer and athletic trainer. Accessibility, clinical competence, dependability, comfort, and having a plan of action were found to be the most prominent themes and promote success within this relationship. Overall, trust plays a role in determining patient rapport, compliance, and timely return-to-play through the patient-clinician relationship in the performing arts setting.</p><p>

La présente recherche repose sur le principe que la création théâtrale professionnelle est une partie intégrante de l'éducation théâtrale et qu'elle peut contribuer à la mission linguistique et culturelle de l'école de langue française en Ontario (Haentjens et Chagnon-Lampron, 2004; Théberge, 2006b, Théberge, 2007a). Il est donc profitable d'aborder la problématique art-éducation-culture du point de vue de des experts de la création théâtrale pour apprécier l'ampleur de leurs initiatives et prendre en compte leurs constats et leurs besoins. J'ai rencontré seize professionnels de théâtre impliqués dans la création de spectacles pour adolescents pendant l'automne 2006. Les deux spectacles étudiés, Libérés sur parole: la passion et Cette fille-là, ont été crées respectivement par le Théâtre du Trillium et le Théâtre la Catapulte, à Ottawa. Au niveau théorique, je me suis appuyée sur les concepts d'expérience, de représentation, d'identité et de culture ainsi que sur modèle systémique de créativite de Mihaly Csikszentmihalyi (1999). Au niveau méthodologique, j'ai adopté une approche inspirée de l'ethnométhodologie (Garfinkel, 1967, 2007) pour avoir accès aux liens qui unissent l'artiste et son environnement. J'ai d'abord étudié les représentations que les artistes se font de leur rôle dans l'éducation théâtrale et culturelle des adolescents. L'analyse a devoilé les concepts d'artiste conteur, formateur et passeur. Ensuite, je me suis concentrée sur les parcours des deux directeurs artistiques des compagnies participantes. Finalement l'observation des heures de répétition a fourni un portrait évolutif de l'expérience de création. La recherche apporte une reconnaissance et une valorisation de l'engagement des artistes envers les adolescents et la communauté. Elle souligne le besoin de formation à une culture théâtrale que les artistes identifient chez de nombreux adolescents et parfois chez les enseignants, ces derniers étant décrits comme des partenaires indispensables. La recherche contribue à connaître le travail des artistes qui pourrait être davantage intégré à l'éducation des adolescents.

To declaim publicly is an old dramatic practice that requires of its performer a mastery of communicative clarity and confidence, or at least the appearance of it. The orchestral performance tradition is in many ways analogous to this practice: it is long-standing and inseparably public, and it demands both emotive and technical mastery of its performers to effectively convey the sentiment of the works played. Likewise, the impression of confidence is imperative—there is little room for the timid performer on the orchestral stage. Nor is there forgiveness for the timid composer or for the composer who communicates ineffectively. In this respect, a composition whose musical ideas form a coherent, logical flow is valuable. Declamation's composition is thus in no small part concerned with the logical flow of ideas from one passage to the next—the carefully crafted organization of contrast and similarity that is at the heart of countless symphonic masterworks. To fill the void left by the preclusion of contrasting key areas fundamental to the opening movements of so many staples of tonal symphonic literature, Declamation comprises a fundamental conflict between other dramatically effective parameters: it presents a struggle between the chromatic and the quasi-diatonic, between the densely contrapuntal and the uniquely melodic, between the aggressive and the subdued. As in first movements of tonal symphonies, the narrative shape of Declamation is concerned with the mediation of these fundamental dichotomies. The formal shape that results from these dichotomies and their mediation is not a "sonata form," and to claim it as such would lessen the value of the term. However, the narrative shape of Declamation is one that attempts to recreate the dramatic allure, the inevitable yet captivating resolution of conflict that is the charm of the sonata-form movement, as evidenced by so many magnificent works of the symphonic genre. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2015. / June 16, 2015. / orchestra, symphonic / Includes bibliographical references. / Ladislav Kubík, Professor Directing Dissertation; Evan Allan Jones, University Representative; Clifton Callender, Committee Member; Mark Wingate, Committee Member.

In this treatise, I have transcribed into musical notation seven poems and their accompaniments on flute (collectively referred to as the Jane Poems) written by poet Jessica Hand and flutist/composer Jeana Melilli. Poetry is often set to music, but it is unusual for music to be written as accompaniment to spoken poetry without altering the recitation of the poem itself, so these pieces do not fit easily into any existing genre and are therefore well positioned to begin defining a new genre. As the poet and composer are currently the primary performers of these works, the flute parts have heretofore been written only as annotations in the traditionally-written poetry (see the facsimiles included in section two of this document), and neither part has ever been written in musical and/or rhythmic notation. The transcriptions, which comprise the second section of this treatise, will provide a format in which the text and music can appear together in print publications, and will allow other performers to learn these works without ever having heard them. Each chapter of section two contains an original transcription, preceded by a performance guide, the poem as originally written by Jessica Hand, and a facsimile of Jeana Melilli's original manuscript with her own annotations indicating her accompaniments. The performance guide includes background information on the corresponding poem and flute part, and other relevant details to ensure that performers have a sufficient understanding of the work. The first section of this treatise provides the background and analysis necessary to understand the transcriptions that follow. It begins with a history of the relationship between poetry and music, from Greek lyric poetry through Sprechstimme to rap. Biographical information gives the reader a contextual framework in which to place these pieces. The analysis section examines Hand's semi-autobiographical poems, which are written in free verse, but are not ametrical, from a musical perspective. She uses poetic feet in various combinations to create rhythmic patterns, and her rhythmically-consistent delivery of these patterns creates mixed meters which can be transcribed in musical notation and further analyzed to determine how the uses of mixed meters evoke different emotional responses in the listener. It also examines Melilli's accompaniments, which are written in three primary styles, and the ways in which they impact, highlight, or alter the meaning of the text. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / February 18, 2015. / Flute, New Music, Poetry, Transcriptions / Includes bibliographical references. / Eva Amsler, Professor Co-Directing Treatise; Jeffrey Keesecker, Professor Co-Directing Treatise; Jane Piper Clendinning, University Representative; Deborah Bish, Committee Member.

This dissertation is a study of the Deaf hip hop movement in the United States. It examines the trajectories of major figures in the development of this movement who have been brought together by way of their expression of music from a Deaf view of the world -- one that builds on the foundation of hip hop to create a new style based on Deaf aesthetics that expand notions of music to other sensory realms of the body. While this view is informed both by an experience of deafness as well as Deaf culture (a linguistic minority that uses sign language as its primary form of communication), music in Deaf culture is, and has been, in constant dialogue with the larger society in which the Deaf live, one that emphasizes the use of aural elements in expressions of music. Through the formation of the dip hop movement, dip hop artists strengthen a sense of Deafhood and address challenges presented by mainstream constructions of music that have affected the development of music in Deaf culture. Often realized as a cultural product of the hearing, music has not always been recognized or accepted in the Deaf community. After all, with cultural products like headphones with which to listen to music and concepts like "tone deaf," mainstream constructions of music emphasize aural elements that are not valued in the same way in the Deaf community. For those that are culturally Deaf, musical expression and reception is experienced and conceived through other realms of the body, which, in turn, create entirely different realizations of music based on a Deaf view of the world. Despite this, since Deaf culture exists within the context of a larger culture, hearing-centric constructions of music have permeated perceptions of music in Deaf culture, which limit what music is, and can be, for the Deaf based on hegemonic ideologies that ultimately delegitimize Deaf expressions of music and, by extension, Deaf culture. Yet through the work of dip hop artists, this research explores the ways in which the dip hop movement creates a space for artists to express music from a culturally Deaf perspective, breaks down stereotypes of deafness in society, and bridges divides between the hearing and Deaf community. In order to analyze the agency of the dip hop movement in the United States, and the ways artists negotiate a space in mainstream society for the recognition of music in Deaf culture, I employ post structuralist, deconstructionist, and Marxist theories that also function to open new spheres of discourse about music in Deaf culture. Through these and other theoretical perspectives, this work investigates the complex ways Deaf culture exists in society, examines the influence hegemonic productions of music have on Deaf culture, and explores the ways dip hop artists build on foundational elements and the culture of hip hop to create a new style of music that subverts mainstream ideologies of music while providing an outlet of expression for Deaf culture to be heard. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 7, 2015. / Deaf, dip hop, hearing-centrism, hip hop, linguistic minority, music / Includes bibliographical references. / Frank Gunderson, Professor Directing Dissertation; Michael Uzendoski, University Representative; Michael B. Bakan, Committee Member; Alice-Ann Darrow, Committee Member.

The purpose of this treatise is to introduce the music of the Soviet composer of Polish-Jewish origin, Mieczysław Weinberg (1919-1996) to a wide audience. Weinberg’s life took place during the very difficult period following World War I through the second world war. Not only did he feel the terrible consequences of the Nazi efforts to exterminate Jews, but he also experienced the terrors associated with being an artist in the Soviet Union under Stalin. Weinberg’s music reflects its historical context and the tragic events that impacted his own life and the lives of so many others. This is one reason his compositions are important and valuable. He also had a close friendship with Dmitry Shostakovich, and they inspired one another’s creative work in many ways. Weinberg’s music reflects a diversity of genres and styles. In addition to the large-scale works dedicated to the heavy themes of war, fascism, and death, he also wrote music for movies, cartoons, circuses, and children. Like Weinberg’s life, his music had a difficult fate, as it was obscured for many years. Fortunately, Weinberg’s music has gained increased attention in recent years, especially in Europe. There have been several festivals dedicated to his work held in Liverpool (UK), Rochester (USA), Bregenze (Switzerland), and Moscow (Russia). Recordings of his compositions have been released by large record labels, including “Olympia” (UK), and "Russkiy disk” (Russia). The Danel String Quartet, a Belgian group, recently made a complete recording of all seventeen quartets written by Weinberg. Several renowned conductors have contributed to the promotion of Weinberg’s music, including Thomas Sanderling, the co-initiator of the International Mieczysław Weinberg Society, and Thord Svedlund. This treatise provides information about the composer’s life, an overview of his work, and style analyses of his Concerto for Cello and Orchestra Op. 43 (1948) and his 24 Preludes for Solo Cello (1960). The Concerto and the Preludes are historically significant and musically engaging additions to the standard cello repertoire. The Concerto consists of four contrasting and highly expressive movements with different characters and moods—lyrical, dramatic, powerful, sorrowful, and triumphant. The diversity in the work, in its melodic features and dramatic qualities, make it accessible to a wide range of audiences. The 24 Preludes is a challenging work that features technical variety and extended techniques. In this collection we see Weinberg demonstrating his musical experience, knowledge, and creativity. Practice suggestions for the Concerto and the Preludes are provided at the end of their respective chapters. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 19, 2019. / Includes bibliographical references. / Gregory Sauer, Professor Directing Treatise; Charles E. Brewer, University Representative; Alexander Jiménez, Committee Member; Melanie Punter, Committee Member.