Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 541-542).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 250-256).

Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2005. / Typescript. Includes bibliographical references (leaves 366-389). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

Thesis (M.A.)--University of Hawaii at Manoa, 2002. / Includes bibliographical references (leaves 174-185). Also available on microfiche.

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Sound tape reels consist of performances on April 14, 2000 at the Center for Research and Computing in the Arts at the University of California, San Diego. "This dissertation is concerned with the role of the performer in new Western Art Music, specifically in relation to choosing repertoire and formulating these ideas into the public concert setting."--P. vii.

abstract: ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved. / Dissertation/Thesis / Hearing In Color Video / M.F.A. Dance 2010

<p> While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.</p><p>

abstract: This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture. / Dissertation/Thesis / CD Track 6. Duo Ye / CD Track 4. Autumn Moon over the Calm Lake / CD Track 5. Flute and Drum at Sunset / CD Track 3. Dance of Spring / CD Track 2. Sunflower / CD Track 1. Liu-Yang River / D.M.A. Music 2012

xii, 133 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Symphony orchestras operate with complex internal structures and dynamics. The connection between a symphony orchestra's organizational culture and artistic programming is undocumented in current performing arts management scholarship. This thesis hypothesizes that symphonies can enhance audience development when utilizing all members ofthe organization in making artistic programming decisions - including the staff, board, and the musicians. This research presents an in-depth case study which investigates the organizational culture and programming decision-making processes of the Eugene Symphony in Eugene, OR. The analysis demonstrates how the symphony's organizational culture affects artistic programming and subsequent audience development. This study illustrates how inherent tension within performing arts institutions can be mitigated through strong management strategies and techniques. The final chapter discusses implications and recommendations for future symphony orchestra leaders. / Committee in Charge: Dr. Patricia M. Dewey, Chair; Dr. Douglas Emerson Blandy; Dr. Harry Edward Price

ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information. / This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Op&eacute;ra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson's <italic>Mime.</italic> Preparations for the rehearsals, including translations, obtaining recordings of the original score, and the developments and revelations that emerged from the cast's exploration of the characters, are addressed and assessed. This research provides insight into the original nature of this Romantic ballet and reflects upon oral coaching versus restaging from a script, use and disuse of music, and interpretations and archetypes discussed in the review of literature. / Committee in charge: Shannon Mockli, Chairperson; Marian Smith, Member; Jenifer Craig, Member; Walter Kennedy, Member