This thesis is an account of my directorial process for the Spring 2023 production of Stephen Sondheim and James Lapine’s Into the Woods. I begin by illustrating how this show speaks to the contemporary political and social moment in the United States through a libretto and score that insists the only way to battle the giants brought on by the pursuit of individual goals is for a community to take responsibility for its errors and work together. I put Into the Woods in conversation with the cartoon series Over the Garden Wall to ground the show in an American context, discussing how our designers drew inspiration for the cartoon’s use of 19th Century American folk aesthetics and distorted images of monstrous figures to develop a unique approach to the world of the play. I then chronicle the audition and rehearsal process, including the incorporation of Michael Chekhov technique into character creation as well as the paths individual actors took to know and embody their characters. I offer an account of some of the unique problems we faced during tech week and how we, like the very characters in the story we were telling, came together to overcome the difficulties we faced. I conclude with an account of the performances and how I have taken the lessons from this process into the professional work I have undertaken since.

Transfigurations is a symphonic work in one movement for orchestra and live computer processing utilizing the graphical audio programming language Pure Data. The score and patch for this piece are accompanied by an essay describing the audio processing techniques and the compositional processes employed in this work. Programming methods discussed include strategies for data capture, patch structure, user interface, and processor management. All audio processing in the work is realized in realtime. These sounds are derived directly from the orchestra in performance, except for the last. The processes involved in Transfigurations include pitch and amplitude tracking, pitch-shifting, filtering, frequency and amplitude modulation, granular synthesis, delay, and convolution. The final sounds from the computer employ stochastic processes for synthesis which are derived from the germinal materials of the piece. The essay also discusses the aesthetic philosophy and formal structure of the work, principle themes and motives, and formative pitch materials, as well as the compositional processes in each section. The final discourse of the essay considers microphone and loudspeaker setups, patch preparation and leveling, and strategies for rehearsal and performance. / Music Composition / Accompanied by one .pdf file, Transfigurations for orchestra and live computer processing: Full score, and one .pd file.

This study examines the incorporation of kinesthetic pedagogy in secondary choral rehearsals and its impact on student engagement and learning. Three experienced high school choral teachers and their students from Northern California participated in the study. Each teacher conducted four consecutive rehearsal sessions, recording themselves instructing on two pieces of music using teacher-modeled and student-imitated kinesthetic gestures. Students completed daily surveys assessing their enjoyment and engagement levels, and teachers provided a final reflection on their usual kinesthetic practices. Video footage of twelve rehearsals and teachers’ final reflections were analyzed to identify patterns in kinesthetic usage, revealing that these teachers’ kinesthetic instruction was primarily centered on 1) Rhythmic Pulse/Accuracy, 2) Vowel Shape, and 3) Technical Knowledge. Teachers used almost twice as many kinesthetic prompts when rehearsing with student-imitated kinesthetics compared to kinesthetics modeled only by the teacher. Data from student surveys were analyzed to categorize reasons for enjoyment and identify alignment between students' perceptions of learning and kinesthetic practices. The incorporation of kinesthetic pedagogy in secondary choral rehearsals enhanced student engagement, enjoyment, and learning outcomes.

The art of theatre has been classified and critiqued as being a mimetic art which is different from architecture. The mimetic arts, such as the performing arts, occur in performance spaces concealed in the physical architecture of a theater building. This fixed location of the theatre has led to the elements of the theatre to be hidden and contained within the box of the architecture. These elements could be referred to as the "troupes of theatre" in the tradition of a group of thespians being considered a troupe. The performing arts have been traditionally confined as temporary entertainment whose lasting value is situated by virtue of existing only while being on stage within the building. Architecture, on the other hand, holds tectonic value by being present as a real, physical addition to the built environment and the world, yet it also performs as a mimetic art. This creates disconnect and discrimination against theatre, as a mimetic art, which is evident through the neglect and concealment of these troupes of theatre within architecture. This is present in contemporary architecture by the location of the portions of theatre's performances spaces being hidden and concealed within. There is a disconnect between the physical theater and the physical architecture of the building that houses it. The question then arises, could these parts of the theatre, the troupes of theatre, participate in the design of the whole building? In this thesis, the troupes of theatre are celebrated and brought into the same light as the rest of the building that normally confines them to be revealed to the world. Those troupes of the theatre that typically are contained within the box of architecture, are expressed to influence the form of the building. This thesis project seeks to reveal these troupes of theatre that are typically hidden. The troupes that are usually concealed are revealed; the stage rigging, the repetition of the level changes of the seating within a proscenium theater, the curvature of the upper levels of seating, the form of the fly space for stage rigging, the form of the house of the theatre, and the support spaces necessarily for a theatre to properly operate. They become visual design features of the building, and directly influence the architecture by being incorporated into the design. Highlighting these troupes of the theatre allow them to provide didactic information to the public through the architecture. The public is allowed to experience these troupes of the theater, regardless if they are fortunate enough to see a performance or not. Typically, contemporary theatre invites the public into the theatre to have a dialogue within and on the stage of the theatre, within the architecture. But through the troupes of theatre being directly incorporated into the design of the architecture, they invite all to participate. Contemporary theatre acts a public space in its urban framework. It invites and welcomes people of all backgrounds to move throughout, congregate, and experience the troupes of theatre in the city. This theatre encourages and welcomes the public to gather and utilize a previously, uninviting and restricted site along the waterfront in Old Town Alexandria, Virginia. This dialogue and direct connection between the theatre and architecture allows for endless variations in the design of a physical theater with interpretation left open intentionally to unrestricted creativity. Rather than, the design of a theatre as a simple, concealing container for the mimetic arts to create and display this dialogue only on the stage and behind closed walls, it is through expressing the troupes of the theater mimetically and tectonically that clearly identifies the typology of the building to the public and encourages all to be included. / Master of Architecture / This thesis explores the design a proscenium style theatre with all of its necessary support spaces. The proscenium theatre requires dressing rooms, rehearsal rooms, storage, lobby, box office, event space, conference rooms, meeting rooms, a scene shop, crew rooms, offices, and many other support spaces in order for the theatre to perform properly. Typically, many of these support spaces and the actual theatre, where performances occur on stage and the audiences gathers, are hidden or concealed within the architecture of the building. The typology of the building is unknown to the public because of these support spaces are hidden in the shadows. This thesis seeks to celebrate all aspects of the theatre and have them directly influence the design of theatre building, itself. There is more of a connection between the theatre and its support spaces and the architecture of the building. The architecture takes influence from these elements of the theatre. The word “troupes” is used as a pun in reference to a group of thespians, called a troupe, to refer to the elements of the theatre that make a theatre. These troupes of theatre are clearly expressed and celebrated throughout the design of architecture for all, regardless of financial situation, to view these troupes of theatre and gain an understanding of how a theatre actually performs. The design of the physical theatre then because mimetic, imitates, learns, and celebrates, the troupes clearly and outwardly to all. This clearly identifies the typology of the building and is inclusive to all.

No description available.

Approved for public release, distribution is unlimited / Once the military helicopter pilot deploys aboard a naval vessel he leaves behind all training platforms, short of the actual aircraft, that present enough fidelity for him to maintain the highest levels of readiness. To that end, this thesis takes a preliminary step in creating a trainer that places the pilot in an immersive and familiar environment to exercise myriad piloting tasks as faithfully and as rigorously as in actual flight. The focus of this thesis it to assess the viability of an chromakeyed augmented virtual environment (ChrAVE) trainer embedded into a helicopter for use in maintaining certain perishable skills. Specifically this thesis will address the task of helicopter low-level land navigation. The ChrAVE was developed to substantiate the viability of having embedded trainers in helicopters. The ChrAVE is comprised of commercial off the shelf (COTS) equipment on a transportable cart. In determining whether a system such as the ChrAVE is viable as a laboratory for continued training in virtual environment, the opinion of actual pilots that were tasked with realistic workloads was used. Additionally, empirical data was collected and evaluated according to the subject pool's thresholds for acceptable low-level navigation performance. / Captain, United States Marine Corps

No description available.

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

The purpose of this intrinsic case study was to show how Expert Team Theory can explain the application of goal orientated rehearsal strategies which were designed for this study for an ad hoc ensemble at the School of Music of the North-West University, Potchefstroom, South Africa. The case study was considered as the most suitable research method to investigate the ways in which goal-orientated rehearsal strategies influence dynamics during rehearsals of a new music ensemble, and the experiences by the members of their interaction, because this approach allowed me to investigate these strategies in a real world environment. This study was born out of an interest in rehearsal strategies and in different ways to structure music rehearsals. The characteristics of a new music ensemble determined the use of Expert Team Theory as the theoretical basis for the design of the goalorientated rehearsal strategies. These characteristics correspond well with that of an expert team as “a set of interdependent team members, each of whom possesses unique and expert-level knowledge, skills, and experience related to task performance, and who adapt, coordinate, and cooperate as a team, thereby producing sustainable and repeatable team functioning at superior or at least nearoptimal levels of performance” (Salas et al., 2006:439-440). Based on interviews with the participants and the observations of video recordings of the rehearsals, the results show that interpreting the data through the theoretical lens of Expert Team Theory enabled me to explain the rehearsal process as a dynamic confluence of experiences created through the interaction of the ensemble members who grew through increasing cooperation and coordination to resemble an expert team. Their sense of collectiveness and their trust coupled with strong leadership allowed the success of the strategy of prebrief-performance-debrief. The ensemble developed progressively clearer shared mental models and understandings of roles and responsibilities. A clear, valued and shared vision helped them to manage and optimize performance outcomes. The findings are also interrogated in terms of cooperative learning to further explain the web-like way in which different themes developed. This led to a discussion of the limitations of this study and suggestions for further research. / MA (Performance), North-West University, Potchefstroom Campus, 2015

The purpose of this intrinsic case study was to show how Expert Team Theory can explain the application of goal orientated rehearsal strategies which were designed for this study for an ad hoc ensemble at the School of Music of the North-West University, Potchefstroom, South Africa. The case study was considered as the most suitable research method to investigate the ways in which goal-orientated rehearsal strategies influence dynamics during rehearsals of a new music ensemble, and the experiences by the members of their interaction, because this approach allowed me to investigate these strategies in a real world environment. This study was born out of an interest in rehearsal strategies and in different ways to structure music rehearsals. The characteristics of a new music ensemble determined the use of Expert Team Theory as the theoretical basis for the design of the goalorientated rehearsal strategies. These characteristics correspond well with that of an expert team as “a set of interdependent team members, each of whom possesses unique and expert-level knowledge, skills, and experience related to task performance, and who adapt, coordinate, and cooperate as a team, thereby producing sustainable and repeatable team functioning at superior or at least nearoptimal levels of performance” (Salas et al., 2006:439-440). Based on interviews with the participants and the observations of video recordings of the rehearsals, the results show that interpreting the data through the theoretical lens of Expert Team Theory enabled me to explain the rehearsal process as a dynamic confluence of experiences created through the interaction of the ensemble members who grew through increasing cooperation and coordination to resemble an expert team. Their sense of collectiveness and their trust coupled with strong leadership allowed the success of the strategy of prebrief-performance-debrief. The ensemble developed progressively clearer shared mental models and understandings of roles and responsibilities. A clear, valued and shared vision helped them to manage and optimize performance outcomes. The findings are also interrogated in terms of cooperative learning to further explain the web-like way in which different themes developed. This led to a discussion of the limitations of this study and suggestions for further research. / MA (Performance), North-West University, Potchefstroom Campus, 2015