Master of Music, Theater, and Dance / Department of Music, Theatre, and Dance. / David Littrell / This report provides detailed analyses of several orchestral works. Current orchestras have striven to rejuvenate their programs by balancing canonical literature with newer or less familiar works; such a practice has become especially important in an age when audiences are dwindling and orchestras are disbanding. The works included in this report follow that balanced blueprint, including staples such as Haydn’s Symphony No. 103 in E-flat Major (the “Drumroll”) and Berlioz’s “Hungarian March” from The Damnation of Faust to new orchestrations of 20th century works, such as Bryce Craig’s arrangement of the toccata from Ravel’s Le Tombeau de Couperin, as well as works composed within the last six years, such as Casey Cangelosi’s Concerto for Marimba and Orchestra No. 2. Each work’s formal design is straightforward, and the technical skills required are not virtuosic. The chapters below explore each work from a historical, theoretical, and performance perspective.

Les militaires canadiens sont souvent confrontés à des situations stressantes et une partie de ceux-ci rapportent avoir des troubles du sommeil et faire des cauchemars. Depuis 2006, un traitement basé sur l’Imagery Rehearsal Therapy (IRT) nommé « groupe de traitement du sommeil » (GTS) est offert à la base de Valcartier pour traiter les troubles du sommeil et les cauchemars. Le GTS intégral inclut un volet psychoéducatif (une séance) et un volet traitement des cauchemars (deux séances). Les militaires aux prises avec un trouble du sommeil qui ne font pas de cauchemars sont dirigés vers le volet psychoéducatif du GTS donné seul (une séance). La présente étude a pour but d’évaluer l’efficacité du GTS auprès des militaires canadiens et poursuit quatre objectifs de recherche. Le premier est d’évaluer l’effet de la participation au GTS intégral sur le sommeil et les cauchemars. Le deuxième objectif est d’évaluer l’effet de la participation au volet psychoéducatif donné seul sur le sommeil. Le troisième objectif est d’évaluer l’effet de la participation au GTS intégral sur les symptômes associés à l’état de stress post-traumatique (ESPT), à l’anxiété et à la dépression. Enfin, le dernier objectif est d’évaluer l’effet de la participation au volet psychoéducatif donné seul sur les symptômes d’ESPT, d’anxiété et de dépression. L’échantillon de 37 militaires est réparti en quatre groupes. Deux groupes sont formés de participants liés au GTS intégral, soit un groupe expérimental (11 participants) et un groupe contrôle (trois participants), et deux groupes sont formés de participants liés à la psychoéducation donnée seule, soit un groupe expérimental (17 participants) et un groupe contrôle (six participants). Les groupes contrôle sont formés de participants sur la liste d’attente du GTS. Les mesures (prétest et post-test) incluent des agendas du sommeil (qualité du sommeil, nombre d’heures de sommeil, nombre et intensité des cauchemars) et trois questionnaires : PCL C (symptômes post-traumatiques), IDB-II (symptômes dépressifs) et IAB (symptômes d’anxiété). Les dossiers médicaux des participants ont aussi été consultés (données sociodémographiques et traitements psychothérapeutiques et pharmacologiques). Étant donné la taille limitée de l’échantillon, des tests non paramétriques (p. ex. test de Wilcoxon, etc.) ont été effectués afin de vérifier les changements entre le prétest et le post-test et pour comparer les groupes expérimentaux aux groupes contrôle. À la suite du GTS intégral, une amélioration significative de la qualité du sommeil et une diminution significative du nombre de cauchemars ont été rapportées, et ces améliorations sont significativement supérieures à ce qui est observé après le passage du temps. On observe aussi une augmentation significative du nombre d’heures de sommeil et une diminution significative de l’intensité des cauchemars à la suite du GTS intégral. Après la psychoéducation donnée seule, les résultats indiquent une augmentation significative du nombre d’heures de sommeil et une amélioration significative des symptômes dépressifs. Le GTS nécessite peu de temps et peu de ressources. Sachant que plusieurs militaires canadiens ont un problème de sommeil ou de cauchemars, les résultats de la présente étude indiquent que le GTS peut être une solution efficiente pour traiter les troubles du sommeil et les cauchemars.

This study investigated the effects of score study on novice conductors’ nonverbal and verbal conducting behaviors. Presented with a brief musical excerpt of which they had no prior knowledge, undergraduate conducting students (N = 11) conducted and rehearsed a live brass quartet. After an initial conducting session, participants in the experimental group (n = 6) received two individual 30-minute score study tutorials, while the control group (n = 5) received no assistance. All participants returned one week after the first conducting session to conduct and rehearse the ensemble for a second time. Brass quartet members and three experienced conductors, all whom were blind to the experimental condition, evaluated participants’ conducting in terms of eye contact, facial expression, effective gesture, ability to lead toward a musically accurate performance, knowledge of the score, and pacing. Significant differences were found between the score study and control conditions. The brass quartet members’ ratings for eye contact and knowledge of the score were higher for the participants who studied the score. I found no significant differences between conditions in the ratings given by experienced conductors. At the conclusion of the second rehearsal, brass quartet members accurately identified five of the six conductors who had received score study assistance and four of the five conductors who had not. Experienced conductors were asked to identify the order of the two videos of each conductor. They accurately identified the order of five of the six score study conductors’ videos. Identifications of participants’ videos in the control group were mostly inaccurate and reflected much disagreement among the experienced conductors. In reviews of the participants’ written and verbal responses about their experience and the comments provided by brass quartet members and experienced conductors, I noted three characteristics that distinguished those who engaged in score study from those who had not: (1) more meaningful, instrument-specific eye contact; (2) greater confidence and comfort; and (3) more effective gestures and other nonverbal behaviors in rehearsal, all of which seemed to result from a more clearly defined interpretation of the music. / text

This study was designed to determine if long term training of mental imagery skills is more beneficial to an athlete than immediate imagery rehearsal practiced only prior to an event. Subjects were thirty male high school baseball athletes who were randomly assigned to one of three treatment conditions: (1) long term imagery training and practice; (2) immediate imagery practice only; and (3) control. An accuracy relay-throwing test was performed with pre-test, mid-test, and post-test performance trials. Results of the study revealed no statistically significant differences over the three test periods for any of the treatment conditions. Thus, long term imagery combined with immediate imagery practice, immediate imagery practice and control groups performed equally well on the baseball throwing task.

Really, Really, by Paul Downs Colaizzo, is loosely based on the 2006 Duke University sexual assault scandal resulting from what proved to be a false accusation of rape made against three members of the men’s lacrosse team. After individually reading the play, Jorge Burmudez and I both arrived at differing opinions of who was the true victim, in turn inspiring this thesis, which is an exploration of two separate productions of the play demonstrating contrasting perspectives/outlooks regarding sex crimes within sports organizations in the university setting. It will describe our process from conceptualization to a post-mortem talking about particular challenges we faced along with feedback from both casts and audience members who saw the shows. Included will also be my experience with pre-production, auditions/casting, rehearsal journals and post-production documentation of my individual directorial processes. In the end, we are researching where the blame lies in the crime detailed in this play.

This thesis is an endeavor to accurately document and define my actor coaching process as a director through Robert Harling's Steel Magnolias. The following chapters contain a record of the development of my actor coaching process in this production, including character & actor analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of the process and resulting performance.

A presente pesquisa examina um processo próprio de metodologia de ensaio teatral denominada Teatro Playground. Nesta os atores são colocados em um ambiente de criação (Playground), construído para instaurar o estado de jogo e através deste encontrar as relações e sintonias necessárias à performance. A partir do estudo de exemplos práticos de utilização destes procedimentos na direção de espetáculos e condução de grupos de trabalho, são abordadas questões relativas ao treinamento de atores e diretores de teatro. O objetivo principal desta tese é verificar a reverberação de uma abordagem prática de técnicas relacionadas ao jogo, principalmente sob a ótica de Phillipe Gaulier, Luke Dixon, Anne Bogart e Jacques Lecoq. Examinar os fundamentos de relação que permitirão este jogo, baseados principalmente em Meyerhold, Barba, Grotowski, Stanislávski e Vakhtangov. E perceber até que ponto um grupo de trabalho organizado sob certas premissas lúdicas e psicofísicas pode suavizar rupturas encontradas no decorrer de um processo de ensaio, principalmente quando o espetáculo precisa encontrar uma forma definitiva e a improvisação ceder lugar às marcações de cena. / The present research looks upon an original methodology for rehearsal process called Theatre Playground. In it the actors are put in a creative environment (Playground), built in order to establish a playfulness state and through it find the relationships and right tune needed to the performance. From the study of practical examples, specific procedures on directing shows and conducting theatre groups are taken as possibilities for training theatre actors and directors. The main aim for this thesis is verify the resonance of a practical approach on techniques related to theatre games, mainly according to the vision of Phillippe Gaulier, Luke Dixon, Anne Bogart and Jacques Lecoq. Also getting deep on the foundations that will allow this game to happen, based mainly on Meyerhold, Barba, Grotowski, Stanislávski and Vakhtangov. And perceiving on which level a group of theatre work, organized under specific ludic and psychophysics premises, can soften the ruptures found in a rehearsal process, specially when the show needs to find the fixed forms and the impro has to give place to the final movements on stage

Made available in DSpace on 2016-03-15T19:45:12Z (GMT). No. of bitstreams: 1 Camilla Cafuoco Moreno.pdf: 775493 bytes, checksum: 3de01e168a771cc6e5f0d327a6d48bdb (MD5) Previous issue date: 2011-02-16 / This paper is about an existent dialogue between texts with a distinct nature, meaning, it is a study about the dialogism in literature and mural painting. For that, is used as a analysis corpus, a chapter that is a part of the book El laberinto de la soledad, by Octavio Paz, title De la independencia a la revolucion, in which, the author brings up a reflection about the constitution of the identity formation and ideological of the Mexicans in the XIX century. As a imagery analysis corpus are in two murals of Diego Rivera title The marriage of the artistic expression of the north and south of the continent e la lluvia. The theoretical foundation used to develop this paper comprises authors that discuss the dialogical relations in art and also politics issues and imagery, such as Bakthin, Ferrara, Kristeva, Barros among others, in the matter of dialogical issues and intertextual; Gomes Filho, Dondis, Arnheim, Manguel and others in order to support the imagery analysis and to clarify politics issues and the rehearsals Krauze, Fuentes, Vasconcellos, among others. / O presente trabalho desenvolve o diálogo existente entre textos de naturezas distintas, ou seja, estuda o dialogismo existente na literatura e na pintura mural. Para tanto, utiliza-se, como corpus de análise, um capítulo que compõe o livro El laberinto de la soledad, de Octavio Paz, intitulado "De la independencia a la revolución", em que o autor propõe uma reflexão sobre a constituição da formação identitária e ideológica do ser mexicano do século XX. Como corpus de análise imagética estão presentes dois murais de Diego Rivera, intitulados The marriage of the artistic expression of the North and South of the continent e La lluvia. A base teórica utilizada para o desenvolvimento do trabalho compreende autores que discutem questões políticas, identitárias e ensaísticas, tais como Krauze, Fuentes e Vasconcellos, e autores que discutem a questão dialógica e intertextual, como Bakthin, Ferrara, Kristeva e Barros. Para embasar a análise imagética, recorreu-se às considerações de Gomes Filho, Dondis, Arnhei e, Manguel.

Behavioral Parent Training refers to a broad range of instructional programs that teach parents and other caregivers ways to build and change behavioral repertoires of children. Most, if not all, such programs employ Behavioral Skills Training (modeling, prompting, role-play practice and feedback) to teach parenting skills. However, specific ways to use prompting during role plays have not been described in the behavioral parent training literature. The present study compared two methods of conducting role plays during parent training. A between group, pretest/posttest design was used to evaluate and compare the effect of using one versus two trainers on the role-play performance of parents and other caregivers involved in the child dependency system. Although both groups' posttest scores improved, there was no statistically significant difference between the one and two trainer groups. It was determined that foster and adoptive parents performed better on posttest measures than did biological parents and relative caregivers, regardless of group assignment.

A sonification is a nonverbal speech act and might sound like “wa-UM-eii”, or “wooosh!” The purpose of this study was to investigate a choreographer’s use of sonification in dance instructions, to see if there are different types of sonifications and if the use of these might differ with a change in context. Video material capturing the rehearsals of a noted dance company was analyzed using a cognitive ethnography-based approach. Nine different types of sonifications were identified and described according to purpose, and a context-based analysis showed that certain kinds of sonifications occurred more frequently in some contexts than others. The results suggest that sonification used in dance instruction can serve multiple different purposes – the three main purposes described here are these: to communicate the quality of a movement, to facilitate communication between choreographer and dancers, and to coordinate the dancers as a group.