The purpose of this paper is to examine the female hormonal cycle throughout a woman's life and its effects on the singing voice. Dealing with vocal issues brought on by hormonal fluctuations can be extremely frustrating for the professional singer, as these issues can wreak havoc on performance and practice schedules. The best weapon of defense against its unpredictability is information. Unfortunately, data on the female hormonal cycle and its effects on the voice is not covered in most standard vocal pedagogy books. Information on the subject is often relegated to a small section of a chapter, and even then usually describes only the symptoms: edema, hoarseness, and loss of high notes and power. The question as to why these symptoms happen every month and during menopause, and whether there is anything that can be done to alleviate them, remains largely unanswered. A candid discourse on the subject of hormones and the female voice has begun, but now must brought into the open. It is a subject that needs to be broached in voice studios everywhere. Can the effects of hormonal fluctuations on the voice be managed? What treatments are there for the symptoms; are they safe; are they effective? How can we further the dissemination of information on this subject? This paper will attempt to answer these questions by compiling data from the studies and research of esteemed doctors and scientists on this subject into one document, making it easy for young students and interested voice teachers to access this important information. It is my goal with this monograph to help and inform my readers. The human larynx is directly influenced by lifelong cyclical hormonal fluctuations. A woman's monthly cycle, which lasts from puberty to menopause, causes changes in hormone concentrations. These changes can affect a woman's physical and emotional states, causing bloating, and temporary abnormalities in sleep, mood, concentration levels, and energy. These effects are also seen in the vocal tract, where edema, vocal fatigue, decreased range, and lowering of the fundamental frequency can occur. The monthly symptoms of hormonal change are called premenstrual syndrome, or PMS. Similarly, the symptoms manifested in the larynx are called premenstrual vocal syndrome, or PMVS. This paper is an examination and exploration of the effects of PMS and PMVS on the singing voice. To do so, it provides a brief overview of the steroid hormones: estrogen, progestogen, and androgen. These three hormones are responsible for the development and maturation of primary and secondary sexual characteristics. It is only through studying the specific functions of each of the steroid hormones that it is made clear why some women suffer so profoundly each month from PMS and PMVS. Additionally, this paper provides information regarding the benefits and drawbacks of oral contraceptives, or OCPs. OCPs contain synthetic hormones that mimic the body's own natural hormones, and they regulate the body's levels of estrogen and progesterone, which prevents ovulation. In addition to their contraceptive use, OCPs are used to treat endometriosis, acne, and irregular periods. By preventing the body's hormonal levels from fluctuating, OCPs have proven highly effective as a treatment of PMS and PMVS. Further, the changes to the voice during pregnancy will be examined. The increased hormonal concentrations associated with pregnancy act upon the reproductive organs, muscles, bone, cerebral cortex, and mucosa, as well as the larynx. This paper also explores what happens to the voice throughout the stages of menopause, the symptoms of which can range from moderate to quite severe. Treatment options are discussed, including both hormone replacement therapy and alternative methods. Lastly, this paper shares information gathered from a survey of singers regarding their own experiences with PMS and PMVS, OCPs, pregnancy, and menopause. / Music Performance

Examensföreställningen Armie Hammars längtan efter jodren spelades på Stockholms Konstnärliga Högskola, Studio 2, i mitten på maj 2024.  I min uppstts diskuterar jag om hur man kan göra ett rent praktiskt ljus spännande konstnärligt genom ett emotionellt ljus. Hur påverkar en lång fade med en färgade toning föreställningen samtidigt som ljuset hjälper till att höja förståelsen av texten? Vad färgvalen ger, en varm vit färg till en grön sjukligare färg. En monokrom färgsättning.

A reflection on how and why historical dress is used in the performing arts, methods for approaching historical dress and their opportunities and challenges, with regards to aspects such as historical fidelity and historical authenticity. Exploring the concept of "period costume" and its potential. Based on my graduation project, where I worked as a costume designer for Länsteatern på Gotlands production of Maratondansen (2024, original title They Shoot Horses, Don't They?), a narrative that takes place in 1935.

Revolving Scenarios is an arts-performing center located in San Juan, Puerto Rico, intended to hold different cultural / theatrical and social events. The project is presented as a sequence of acts or events that directs the observer through its different spaces. Revolving scenarios becomes a performing piece which tries to recreate a monumental and dramatic architectural spectacle in itself. It is a play performing in the landscape where the visitors / spectators become the leading actor. Due to the nature of the building's geometry and location (inspired by the site's curvilinear lines and the nautilus shell), the project continuously provides multiple opportunities for scenic tropes from the indoor / outdoors. Therefore, views revolve around the landscape, different theatre halls which continuously change and revolve around the theatrical spectacles. As humans, we constantly move and live among scenarios that continuously change, evolve and revolve around ordinary life. The performing arts center becomes a microcosm of the macrocosmic everyday performances occurring in Puerto Rico. The performing piece allows us to expand our vision, vision of the worldâ ¦our worldviews. The thesis allowed discovering poetic architectural views revolving around the theatre, the arts and culture which are constantly changing and evolving along time. / Master of Architecture

No / Purpose ¿ The purpose of this paper is to consider whether successful subsidised arts organisations are more likely to apply a relationship rather than transactional marketing approach to overcome the tendency of not-for-profit organisations generally, and subsidised arts organisations particularly, to use marketing for short-term, tactical purposes. Design/methodology/approach ¿ Research was undertaken to identify whether ¿successful¿ subsidised performing arts organisations were indeed more strategic in their focus, whether they had applied a relationship marketing approach and whether such an approach had been influential in the development of their ¿success¿. Preliminary research led to the production of a conceptual framework that identifies major partnerships and specific stakeholder types that need to be considered by a subsidised performing arts organisation if an effective relationship marketing approach is to be developed. This was used as the basis for subsequent research involving a multiple case study approach studying two ¿successful¿ theatres and one ¿unsuccessful¿ theatre in depth. The strengths of relationship between the various key stakeholder roles and artistic directors within the three theatres were analysed. Findings ¿ Although this research is limited to a case study analysis of three theatres, it does seem to provide evidence to suggest that building strong relationships with stakeholders other than end users can be advantageous to subsidised performing arts organisations. Practical implications ¿ It is likely that this approach could be successful for the subsidised arts generally and indeed for all those organisations in the not-for-profit sector where those who pay do not necessarily receive the service. Originality/value ¿ This article provides a discussion on successful subsidised arts organisations.

This thesis analyses how contemporary exhibition spaces have evolved to meet external pressures of technological and sociocultural changes by exploring the rich potential found in the parallels between theatrical performance and the act of display, with the purpose of understanding the ways in which exhibitions spaces are being designed to interact with the spectator in our present time. By examining four different case studies from contemporary exhibitions, this research demonstrates the performative nature of objects within them, proving that both the object and the environment in which it is situated are not neutral. By drawing clear parallels between the elements at play in exhibitions with concepts in theatrical performance, a more flexible classification of exhibition spaces is proposed, providing a different perspective to probe the meanings these spaces create and the importance of their role in society. / Master of Arts / Exhibition spaces are experiencing a moment of change. Rethinking contemporary classifications for exhibition spaces that are not based on style, but instead on the ways the space itself influences and encourages certain relationships between the displayed object and the spectator, acknowledges the special fluidity of these spaces and their atemporal quality as testimonies of human development. The classification of exhibition spaces used in this work was able to successfully apply Peter Brook's modern theatre theories because of the intrinsic similarities these disciplines have in common, strengthened by the historic intersections they have shared. By the time these lines are being written, exhibition spaces continue to evolve. Therefore, this thesis serves as an addition to the documentation of the progressive transformation of these spaces.

Master of Music / Department of Music, Theatre, and Dance / Amy Underwood / The following report is extended program notes that focus on the expression of love in various ways. These songs were presented on a graduate recital March 31, 2015 in All Faiths Chapel at Kansas State University. It is in partial fulfillment of the requirements for the Master of Music degree in vocal performance. The works included are by Bellini, Bernstein, Hahn, Koechlin, Obradors, Saint-Saëns, Schumann, and Sullivan. Below is a detailed description explaining the focus of the report. Many musicians discuss the musical elements including key signatures, time signatures, harmony, rhythm, and melody. They may also discuss the understanding of the music through the viewpoint of the vocal text. The musical elements and how the subject matter connects the two together is important to understand when giving a recital. It makes the music come alive for the audience and it is a true interpretation of how it should be performed. Love is a topic which many composers explore because of the natural emotion people feel about its perception. Different feelings and emotions conjured in the hearts and minds of humankind. Love is a personal feeling, and after studying the poetry and music, I assigned an adjective or verb to each song that describes a more specific facet of love’s emotional spectrum. These adjectives and their portrayal by various composers will comprise the focus of this paper.

In my exegesis, I will explore the different social, political, cultural and artistic themes, influences and methods that direct my art practice. I will dissect my current work, outlining these transformations and how they impact my work here at Massey, as well as how they will continue to inspire my art practice in the future.

published_or_final_version / Architecture / Master / Master of Architecture

Ko tā Ngata e whakapae nei, mā te tino mōhio ki ngā mōteatea, ki ngā kupu, ki ngā kōrero, ki ngā momo mōteatea a ngā tīpuna Māori, e whai wāhi ai te tangata ki te pā o te hinengaro Māori, mā reira anō e mōhiotia ai te Māori. Kua wānangatia ngā momo waiata a te Māori kia kitea ai te Māori ake o te whakaaro i roto i te mōteatea. Kua whakataua inā arohia ai ēnei āhuatanga kua mōhio me pēhea te manaaki i ngā kaupapa hei whai mā te Māori. Mr Ngata explored the use of a variety of traditional chants as a mechanism for exploring and understanding Māori philosophy and behaviour. He used case studies involving a community focus on knowledge and innovation to illustrate the influence of these chants on the development of kaupapa Māori. The findings will help Māori and non-Māori alike give better effect to development initiatives for Māori