Orchestral Studies

The act of performing music may induce a specific state of mind, musicians potentially becoming immersed and detached from the rest of the world. May this be measured? Does this state of mind change based on repetition? In collaboration with Stavanger Symphony Orchestra (SSO), we developed protocols to investigate ongoing changes in the brain activation of a first violinist and a second violinist in real time during seven sequential, public concerts using functional near-infrared spectroscopy (fNIRS). Using wireless fNIRS systems (Brite MKII) from Artinis, we measured ongoing hemodynamic changes and projected the brain activation to the audience through the software OxySoft 3.5.15.2. We subsequently developed protocols for further analyses through the Matlab toolboxes Brainstorm and Homer2/Homer3. Our developed protocols demonstrate how one may use "functional dissection" to imply how the state of mind of musicians may alter while performing their art. We focused on a subset of cortical regions in the right hemisphere, but the current study demonstrates how fNIRS may be used to shed light on brain dynamics related to producing art in ecological and natural contexts on a general level, neither restricted to the use of musical instrument nor art form.

In the springtime of 1897, an odd event occurred in the Paris Catacombs that transformed the ossuary into a temporary concert hall. During the last week of March, several music professionals, educators, and journalists received cryptic and secret invitations to attend a “spiritual yet profane” performance that was to be held in the middle of the night. Brave concertgoers would soon find themselves within the Rotonde de Tibias: a cramped room situated deep within the ossuary, lined floor-to-ceiling with anonymous bones. Across from the audience was a full-sized orchestra comprising students and professors from the Conservatoire de Paris. Before the end of the evening, both the concertgoers and the skeletal remains of millions of Parisians would bear witness to a program containing the likes of Saint-Saëns’s Danse Macabre, Chopin’s “Funeral March,” and the final funerary movement of Beethoven’s “Eroica” symphony. This thesis investigates the concert in the Catacombs as a performative embodiment of numerous fascinations and fears quintessential to Parisian thought at the fin-de-siècle. In conversation with Katherine Ellis’s extensive work on the 19th-century French musical press, along with investigations into the historical and philosophical origins of the memento mori trope, I examine this concert as both an embrace of the physical embodiment of the medieval Danse macabre tradition, and a chthonic means of uniting and performing for two audiences: one living, and one dead.

El por qué y el para qué del arte como herramienta de inclusión…………………………..….…..7 Capítulo 1: Aproximación Metodológica. "Métodos e instrumentos que nos permitirán conocer la utilización de arte inclusivo como herramienta en el POIJ"………………………….…….……9 Capítulo 2: Marco teórico conceptual. "Conceptualización de la Discapacidad y su Evolución Histórica."……………………………………………………………………………………….…..….19 Capítulo 3: Marco Legal. ¿Qué protege los derechos de niñxs en situación de discapacidad?.

This thesis explores the role of Opera North as the publicly funded opera company for the north of England, addressing the ways in which the company embodies, mediates and fulfils an agenda for access, education and innovation. A broadly ethnographic approach is taken, through case studies of three productions and the work surrounding them: the commissioned ‘operetta’ Skin Deep by David Sawer and Armando Iannucci (2009), the commissioned ‘family opera’ Swanhunter by Jonathan Dove and Alasdair Middleton (2009 and 2015), and the ‘staged concert’ version of Wagner’s Ring cycle for Leeds Town Hall and touring concert venues (2011-14). The nature and origins of the access agenda are explored, including the legacy of Opera North’s parent company English National Opera, and the post-war imperative of John Maynard Keynes, and his Arts Council, to fund decentralised and geographically dispersed ‘high’ cultural forms. Recent political agendas are also pertinent, particularly the developing ai...

The purpose of this study was to investigate the factors influencing membership renewal intention of fitness center in state autonomous university. Data were randomly selected from member name listed of fitness center in the state autonomous university which was a membership of not less than three months. A total sample of 285 members responded for an overall response rate of 98.6%. The research instrument were questionnaires about quality of service and intention to renew membership. The research instrument was the service quality and membership renewal intention questionnaire. Hierarchical regression was used to analyze the influencing factors on membership renewal intention. The findings of the research shown the factors influencing membership renewal intention were the important attributes of service quality consisting of assurance, responsiveness and expected outcome of services, respectively. The findings are meaningful for fitness manager to maintain membership and could consider continuously improve these significant attributes of service quality. Results also suggest that to revise strategic planning through redesign of internal processes for service operation, developing a marketing strategy focusing on membership-centered, helping members develop realistic expectations, regularly reviewing and revising plan are important activities for state autonomous university's fitness center.

ONCEIM is a collective free improvisation ensemble consisting of 30 musicians. Beyond free improvisation, the orchestra also performs new comprovisation works, commissioned from a variety of composers such as Eliane Radigue, Stephen O'Malley, John Tilbury, or Jean-Luc Guionnet. In this paper, we present a case study based on the 23 pieces commissioned by ONCEIM over a period of ten years, from 2012 to 2022. We first give an account of the different approaches encountered, illustrated by some examples of pieces. We then show how ONCEIM's musicians use re-notation strategies in the process of rehearsing such comprovisation pieces. Finally, we reflect on the role and use of electronics, as imagined by the composers with whom ONCEIM has collaborated, within a mostly acoustic setting.

The objectives of this research were to analyze the structural equation model of the decision making to use the service of the elderly care center among baby boomers and to propose the guidelines to use the service of the elderly care center.the sample of this study was 530 baby boomers aged 45-73 years old living in five provinces in lower northern region 1,namely Tak, Uttaradit, Phitsanulok, Phetchabun, and Sukhothai. Data were analyzed using descriptive statistics.the analytic results indicated that most of the respondents were female,52-58 years old, married persons, worked as government officials/ state enterprise employees/ state employees, graduated with a bachelor's degree, earned average monthly income of 20,001-40,000 baht and lived with their spouse and children/ grandchildren. the results of analyzing structural equation model indicated that service marketing mix factors had the highest level of a direct influence on attitudes (β= 0. 285, p<0. 001). When individual aspects were considered, an aspect with the highest level was process (β=0.954, p<0.001), followed by promotion (β=0.934, p<0.001) and place (β=0.888, p<0.001) , respectively. In addition, the attitude factors had a direct influence on the decision making to use the service (β=0.228, p<0.001). However, service quality had no direct influence on attitude the decision making to use the service. therefore, the findings of this study would be beneficial to provide useful information for those interested in operating the elderly care center to focus on service marketing mix factors, especially process. For example, the center should have standard working system and comprehensive background check and screening system, health profile record. In terms of promotion, discount and privileges should be offered for the clients via advertising channels. Information center should be organized to provide basic information about the elder care center. For place, availability of parking spaces should be enough to meet the demand. Environmental management should concern about pollution-free atmosphere. these elements shall build positive attitudes of the clients and stimulate their decision making to use the service of the elderly care center.

This research aims to test the relationship between Gender Diversity and Corporate Social Responsibility. Listed companies in the Stock Exchange of Thailand and CSR100. Between the years 2015-2016, a total of 198 companies. Measuring the efficiency of social responsibility the way CSR100 Is 4 levels (Basic, Engaged, Integrated, Innovate

The document provides an in-depth analysis of C. P. E. Bach's "March in D Major," using various techniques to dissect its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of syncopation, rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout and chord progressions of the piece. So called pitch scapes are used to gain more insights into the pitch structure of the piece. This detailed approach reveals the intricate compositional techniques Bach employed, characteristic of the early Classical period, and enhances the understanding of the piece's overall musical texture and form.

This research aimed to study the Model validation of the interactive learning environment model to enhance creative problem-solving thinking for computer education students. The Developmental Research Method Type II was applied in the second phase which involved the procedures for model validation, Internal validation, External validation. The findings are as follows: 1) Internal validation, to determine the internal validity of the various elements of the model by evaluation from mentor and Expert Review 2) External validation, to study the External validation by used the interactive learning environment model to enhance creative problem-solving thinking through the first phase to used with the target group in the nearby context to be confirm the quality of the model. The result revealed that: 1) The model have internal validation in aspects of Media on the network and the design of learning environments. 2) The model have external validation, which showed from the impact of the mo...

The objectives of the research study were: (1) to teach with learning technique using service learning and reflective writing of goodness via blog to enhance moral development in the Ethics course and (2) to develop moral of the students at Suan Dusit Rajabhat University. The sample consisted of 18 undergraduate students who registered in the Ethics course of the 2013 academic year. The research instruments were the questionnaire for moral reasoning and the questionnaire for attitude and ethical behavior. Data were analyzed using frequency, percentage, mean, standard deviation and Pearson’s Product Moment Correlation Coefficient. The results of the study were as follows : (1) teaching with learning technique using service learning and reflective writing of goodness via blog were increased moral of students in the Ethics course (2) development of moral reasoning increased 9.75 percentage and attitude and ethical behavior increased 12.29 percentage of students (3) the correlation betw...

This paper examines recent studies within a general project, aimed at writing down the lexicons of a Conductor's body signals. Three observational studies focusing, respectively, on the semantic area of intensity and on the modality of gaze, through annotation of several fragments of orchestra and choir conduction in concert and rehearsal, discovered a total of 100 signals of intensity in various modalities, out of which, 21 intensity gestures and 20 conducting items of gaze. Subsequent perception studies on a subset of these signals reveal slight differences in interpretation by music Experts, Non-Experts and Amateurs, but confirm their comprehensibility, probably due to their underlying semiotic devices, the same holding also in everyday life gestures and gaze.

aberto a todos os estudantes de pósgraduação ou investigadores que ainda não tenham obtido o grau de doutor. O Post-in-progress decorre em Aveiro, Portugal, entre os dias 21 e 23 de novembro de 2019 e tem como convidados os seguintes investigadores:

Following four annual C@merata evaluations at MediaEval, in which natural language phrases about music must be mapped to passages in MusicXML scores, we have developed a representation which captures the meaning of a text about music as a JSON feature structure. We have written a system to convert any text to this repres entation, comprising 23 stages of pre-processing, followed by application of the SpaCy statistical dependency parser. We have applied the system to the C@merata test queries with accurate results. Our approach can capture extremely detailed information, as well as general musical ideas.

Arts organisations rely on the willing participation of artists, managers and funding agencies. In recent years both private and public sponsors of the arts have required greater accountability and have insisted on structures that meet higher standards of corporate governance. This paper offers a case study of an orchestra during the time of governance change. Issues specific to symphony orchestral management are canvassed focusing on areas that led to the near collapse of the enterprise. Kenneth Burke's notion of logology is proposed with the claim that the threat of dissolution and the need to find a symbolic scapegoat was required for the musicians to let go of governance control, move beyond their impasse, and to enable them to consider new forms of ownership.

Liebe Leserinnen und Leser, sind Sie auch immer so fasziniert von Schwarzen Löchern? Dabei muss man den Blick gar nicht so weit ins All richten, um dieses Phänomen zu entdecken. Hätte man Schwarze Löcher nicht schon im Universum entdeckt, wäre man wahrscheinlich im Kulturbetrieb zuerst auf sie gestoßen, vor allem beim Erkennen des leadership-gap im deutschsprachigen Kulturbetrieb. Sicherlich gilt dies nicht für alle Kulturorganisationen. Aber für viele scheint das Thema Führung und Leadership noch immer keinen Sinn zu machen. Dies war für uns einer der Anstöße, diese Ausgabe des KM Magazins dem Thema "Führung und Organisation" zu widmen. Führung, Macht und Sinn sind wichtige Begriffe, wenn man sich mit der Entwicklung der eigenen Organisation beschäftigt und diese mit einem systemischen Blick betrachtet. Führung macht Sinn, nicht nur für die Organisation, sondern vor allem für die Mitarbeiterinnen und Mitarbeiter, die in ihren Tätigkeiten nach Sinn, Erfüllung, Orientierung und persönlichen Entwicklungsmöglichkeiten suchen. Oder, wie Peter F. Drucker über die grundlegende Funktion von Management und Führung sagen würde: "Menschen durch gemeinsame Werte, Ziele und Strukturen, durch Aus-und Weiterbildung in die Lage zu versetzen, eine gemeinsame Leistung zu vollbringen und auf Veränderungen zu reagieren." Gerade hier wird ein Dilemma der aktuellen Veröffentlichungen und Diskussionen in der Kulturmanagement-Literatur und-Praxis deutlich. Zu sehr konzentrierte man sich in den vergangenen Jahren auf die Optimierung der Produkterstellung und den künstlerischen Prozess-zu stark wurde damit die Aufmerksamkeit auf das äußere Umfeld einer Organisation (also den Blick nach Draußen) und die damit zusammenhängenden Beziehungen und Kommunikationsprozesse mit (potentiellen) Besuchern, Geldgebern oder politischen Entscheidern gelenkt. Zu wenig Beachtung erfuhr dagegen das Innere der Organisationen und damit auch das größte Potential einer Organisation: die eigenen Mitarbeiterinnen und Mitarbeiter. Sicher ist der Blick nach Innen und auf sich selbst der schwierigste, nichtsdestotrotz ist dieser Blick aber Voraussetzung dafür, sich auf äußere Veränderungen und neue Herausforderungen einzustellen, diese aktiv anzunehmen und sich positive Entwicklungsoptionen zu schaffen. Wie unerschöpflich und spannend dieses Thema ist, zeigt wieder einmal mehr der Umfang unserer heutigen KM Ausgabe. Wir bitten daher schon jetzt um Ihre Nachsicht, dabei hätten wir Ihnen noch so viel dazu zu sagen … www.kulturmanagement.net Nr. 37 • November 2009 •

Exercises on a Sand Surface could Significantly Improve Walking Ability of Elderly After 3-week Training: A Randomized Control Trial การออกกาํลงักายบนพื้นทรายพฒันาความสามารถด้านการเดินในผู้สูงอายุได้หลงัการฝึก 3 สัปดาห์: การวจัิยเชิงทดลองแบบสุ่มและมีกลุ ่มควบคุม Chonticha Kaewjoho (ชลธิชา แกว้จอหอ)* Dr.Thiwabhorn Thaweewannakij (ดร.ทิวาพร ทววีรรณกิจ)** Dr.Saowanee Nakmaroeng (ดร.เสาวนีย ์นาคมะเริง)** Dr.Lugkana Mato (ดร.ลกัขณา มาทอ)*** Dr.Sugalya Amatachaya (ดร.สุกลัยา อมตฉายา)**** ABSTRACT Current methods to promote level of independence and health status of elderly likely involve various types of exercises on a hard surface. Several studies have reported challenging effects of a sand surface, without clear evidence to support its benefit over a hard surface. This study compared effects of 6-week exercise training on hard and sand surfaces on walking ability in 30 community-dwelling elderly using a randomized control trial with doubleblinded design. The subjects (with an average ag...

Abstract
Jan Dismas Zelenka’s Masses: Fingerprinting the Fugal Technique
Vesela Boyadjieva


Scholarly exploration of Zelenka’s music primarily arose in modern musicology, gaining significant traction only in the latter half of the twentieth century. Utilizing established baroque research methods, particularly inspired by J. S. Bach’s legacy, the study has sought to comprehend Zelenka’s compositions within their historical context. This inquiry into Zelenka’s Masses not only sheds light on the challenges faced by a Catholic composer working in a Protestant environment but also provides insights into the musical development of both denominations in the province of Saxony.
Zelenka’s adherence to prevailing Catholic sacred music practices, such as early polyphonic techniques, distinguishes his work. His handling of the Latin Mass texts, with their intricate structure and linguistic nuances, showcases his compositional skill. Fugue, a hallmark of the Baroque era, is prominently featured in Zelenka’s compositions, presenting analytical challenges due to its complex thematic development. Zelenka’s incorporation of Italian Catholic influences into his fugues, often favoring double or simple fugues with heterogeneous themes, underscores his unique musical identity. His placement of fugues within Mass movements and his diverse approaches to setting texts to music further demonstrate his mastery of fugal technique. Zelenka’s innovative reinterpretation of contrapuntal techniques within the fugue presents new challenges for contemporary scholarship.

Keywords: Jan Dismas Zelenka, Johann Sebastian Bach, Pierluigi da Palestrina, Saxony, sacred music, Missa ordinaria, fugue, double fugue, fugal technique, ricercar, ricercar rhythm, dotted rhythm, stile antico, prolongatio, repercussio, imitation, mode, tonality, passus duriusculus, dissonant suspension chains.

In my work as a composition teacher at, among others, the Norwegian Academy of Music and later through my position as chairman of the Norwegian Composers' Association, there has gradually, in a natural way - given the diverse contexts in which I have worked - grown an awareness that a (successful ) organisation and a (successful) creative individual, seem to have many standard features in their internal "organisation". By comparing the individual's creative personae1, represented by the "faculties", or different abilities, which constitute its creativity - with that of the company, the organisation or why not the ensemble, one can find some essential prerequisites for an organisation, a team, an individual, must be able to succeed in his intentions.

A study of preterm less than 37 weeks in neonatal intensive care unit at Phra Nakhon Si Ayutthaya Hospital from 2004-2009 was conducted by using the developmental care program (DC) compared with the standard care program (SC). The data of complications in newborns such as RDS, PDA, ROP, IVH, duration of mechanical ventilation for more than 96 hours, and length of stay in hospital were collected. Infants in both groups were followed up for evaluation of neurodevelopment two years later. The results revealed no statistically signifi cant differences between the two groups in the rates of complications, duration of mechanical ventilation for more than 96 hours, length of stay in hospital, and number of 2-year-old children with abnormal brain development. It was interesting that the ratio of cerebral palsy (14.08% vs. 33.33%, p=0.05) and other disorders (0.00% vs. 9.52%, p=0.01) were statistically signifi cantly much lower for children in the DC group compared to the children in the SC group. The fi ndings presented here suggest benefi ts of the DC program in preterm less than 37 weeks in neonatal intensive care unit which decrease the ratio of children with cerebral palsy at 2 years old.

Paul Everett, 'Vivaldi at Work: the Autograph of the "Gloria" RV 589', Informazioni e studi vivaldiani, 17 (1996), 68-86.

An assessment and forensic analysis of the autograph manuscript of the more famous of Vivaldi's two settings of the Gloria, drawing conclusions about compositional method, borrowing and adaptation, and the likely date of the work's composition and first performance.

It is generally true that the more one studies a manuscript and the manuscripts of cognate provenance with which it belongs, the more information one gleans. The problem most of us face, however, is limited access to the documents themselves. Many complexities of a manuscript are simply not discernible from photographic reproductions; and even when one has the opportunity to examine sources in situ, the time that can be devoted to a single document is often insufficient for the task of analysing all its features that deserve to be taken into account. When time is short and when many documents demand attention, the researcher inevitably tends to take an approach not unlike trzbge as applied in medicine to the diagnosis of casualties. Priority might be given, for instance, to manuscripts that are under-researched, on the assumption that the features of better-known manuscripts have already been assessed fully by others. Or priority might be given to manuscripts that have compellingly peculiar features (extensive deletions, evidence of physical rearrangement, and so forth), as opposed to those that seem entirely regular in their structure or routinely notated. Of course, the trap (into which I have regularly fallen) is that one's tnbge can be flawed. The mistake is to presume that manuscripts which are well-known or which present their texts accurately do not have hidden depths. Such a manuscript-with numerous hidden depths-is the autograph of the Gloria in D, RV 389, preserved in the Biblioteca Nazionale Universitaria, Turin: fols 90-129 in Giordano 32. Few works by Vivaldi are as famous as this, and few Vivaldi autographs can have been studied as frequently as this one has been since the 193Os, both in the preparation of modern editions and in the course of other kinds of research-not least on the relationship between the final movement, Cum Sancto Spirits, and its model by Giovanni Maria Ruggieri, a case of borrowing of which knowledge has existed for some time. But this is a particularly deceptive document that must have deceived many who have examined it. Its text, taken at face value, creates an illusion: the source seems like an autograph fair copy when it is not.' Vivaldi's notation here is neat and carefully laid out, almost always accurate, and less abbreviated, with a generously figured basso part, than in many other sources. In fact, it is so accurate and complete that very little intervention is required when an edition is prepared-a rare phenomenon so far as Vivaldi's multi-movement compositions are concerned. Sample pages are shown in Plates 1 and 2.

The articles and videos in this issue of Musimédiane are the result of a team effort by Labex GREAM* members Pierre Michel, Nathalie Hérold, Camille Lienhard and Ingrid Pustijanac (University of Pavia-Cremona, Italy) to prepare Les Espaces acoustiques for a concert given by the student orchestra of the Zürcher Hochschule der Künste (ZHdK) at the Tonhalle in Zurich on 22 April 2016, conducted by Pierre-André Valade.  In addition to the three articles featured, this issue presents a unique collection of documents:
 Videos of the rehearsals on 20 and 21 April 2016 in Zurich
 Video interviews with the conductor and some of the musicians
 Photos of personal scores annotated by the conductor
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This article has two objectives: to embolden and enable more organizations to perform Berlioz’s complete dramatic symphony Roméo et Juliette, particularly in the United States; and to report on a spellbinding performance with dancing, by the Cathedral Choral Society and Atlanta Ballet in Washington D.C. at the Washington National Cathedral.

espanolLa lejania y la falta de lutieres en el archipielago canario eran dos inconvenientes que afectaban directamente a la capilla de musica de la Catedral. La solicitud y la compra de instrumentos musicales y cuerdas asi como su envio a Gran Canaria dependia de la implicacion y gestiones de los agentes del Cabildo en Madrid, Cadiz y Sevilla. En este trabajo se exponen los tramites, condiciones y pagos que hacia la citada institucion, especialmente a traves de su representante en Cadiz. Se aporta documentacion en la que se refrendan todos estos pedidos y gestiones, procedente del Archivo de la Catedral de Canaria (ACC). EnglishThe specific situation of the Canary Islands particularly affected the Music Chapel of the Cathedral. The request and purchase of musical instruments so as its delivery to Gran Canaria depended on the involvement and management of Agents from the Cabildo in Madrid, Cadiz and Seville. This piece of work exposes the process, conditions and payments that the men...

The evolution of animated movement at the Disney studio during the 1930s is pivotal to the formalization of believable and authentic movement parameters. During this era, a core team of animators began to experiment with animated movement. As reported by Frank Thomas and Ollie Johnston in The Illusion of Life: Disney Animation (1981), Walt Disney pushed the animators to develop their skills and create a more physically believable animated world. Gradually, a terminology, or language of animated movement evolved, which became known as the Principles of Animation (Johnston & Thomas, 1981). As these precepts are widely known and can be referenced in The Illusion of Life: Disney Animation, I will briefly paraphrase them here and apply them in context throughout this chapter.

This study examined the distribution of wealth and associations between wealth and trends in relative health inequalities after adjusting for other socioeconomic position indicators among Thai among Thai adults aged 50 and over. We obtained data from the Survey of The Older Persons in Thailand 2017. Two health outcomes, Self-rated health (SRH) and limitation of at least one activity daily living (ADL), were used as dependent variables. Binary logistic regression was conducted to examine the relationships with wealth index, education, place of resident including demographic. Health inequality was estimated using the Relative Index of Inequality (RII). This study found that wealth index, which derived from data of the survey of older person, could be used to provide measures of socioeconomic inequality among Thai older persons and monitoring aging policies when income data was difficult to analyze and consumption expenditure data were not available. The inequality of health status was evident among various wealth groups. The richest tercile of the wealth index was much healthier than the poorest group, and this difference increased with age. Our results also suggested that education was protective factors for health outcome. However, living in rural or urban area were no statistic significant in this study.

As a response to the rising interest in Mexico in all the analytical tools developed by Rudolf Laban and his collaborators, the authors are beginning a series of translations into Spanish of those texts that they consider are fundamental for the understanding of Laban's legacy and have not yet been translated. 1 They are doing this because, in their decades-long teaching experience, they have detected a growing need for having texts and teaching materials available that are adapted to the cultural specificity of the Mexican performing arts scene in general terms and give special attention to the uniqueness of Mexican traditional, popular and urban dance. The authors are advocates of taking a choreological approach when analyzing and documenting any dance event because, according to Valerie Preston-Dunlop and Ana Sanchez-Colberg, this perspective offers an inclusive way of understanding the complexities of "dance as an embodied performative art" (3). A choreological analysis provides insight into the ways the strands of the dance medium-the performer, the movement, the space and the sound-are used and interact in a dance piece. More specifically, with regard to the movement strand, its structural components are examined one by one: "the dancer's body and his coordination, the actions of his body, the spatial forms of his movement, the dynamics, rhythm and timing of it, and the relationships between the various parts of his person and between one performer and another" (70); and each structural component may be analyzed and documented using one or several different analytical tools (Kinetography Laban/Labanotation, Motif Writing, Effort, Effort-Shape, Choreutics or ChuMMs) (Huberman 2013). 1 So far, the only Laban-related books that have been translated into Spanish are Rudolf Laban's

Di Matteo Ploner (1770-1845) poco sappiamo oltre i dati biografici riportati nelle pagine precedenti: dove e con chi, per esempio, avesse appreso l'arte di combinare i suoni, come trascorresse i suoi giorni musicali a Castelrotto prima (dal 1800 al 1830) e a Bressanone poi.

Most musicians and music-lovers would agree that music is a phenomenon that affects the spirit and nourishes the soul. Yet this aspect of music-making is rarely, if ever, discussed in the world of classical music. In his article Richard Gonski identifies some of the conditions that can give rise to a higher states of consciousness during orchestral concerts and rehearsals, and suggests some priorities for the modem day Symphony Orchestra.

To establish a systematic approach to human movement in all of its manifestations is a daunting task, one at which few thinkers have been successful. Such disparate fields as physical education, dance, theater, anthropology, biology, kinesiology, physical therapy, zoology, and psychology are all concerned with aspects of human movement; yet a vocabulary, notation, and body of theory that can be widely applied and adapted to satisfy the needs of all of these fields has not been available until recently. Even within any one of the fields mentioned above, approaches to movement have so changed over the years that theories that served well in one period became inapplicable as new developments occurred. I am thinking here particularly of the field of dance, where such visionaries as Pierre Beauchamp (1636-c. 1705), Jean-Georges Noverre (1727-1810), and Francois Delsarte (1811-1871) developed and articulated highly influential and brilliant solutions to the systematization of human movement, yet their work proved inapplicable to changing styles. As a dancer, teacher, and dance historian, I have long brooded over the lack of unity within even my own discipline. I can never be certain that the language I choose to use in class with my college students bears much resemblance to what they might have heard at home from their local dance teacher, or that those who come from a sports or theater background can translate their movement experiences into dance terms. At professional meetings, dancers and teachers from different national or stylistic backgrounds are often at a loss fully to comprehend one another's work. Can I then expect to speak the same language about my movement as do those who come from other fields, but with similar concerns? It was my role as a teacher that motivated me to seek some solutions to this problem. From earlier brief exposures to the work of Rudolf Laban, I suspected that the system

Movement occurs through a sequencing between action and pause, also known as phrasing. The movement phrase is a basic and ubiquitous form of behavioral organization, but the concept and phenomenon is relatively under-studied in the field of Dance/Movement Therapy. Several questions about the phrase are addressed in this literature-based study. They are: if the phrase is a form of organization that parallels the larger forms of organization in a person's life, could an intervention on the level of phrase have more global implications? More precisely, what was the relationship between phrasing and mental health? To research these questions this thesis begins by investigating sources of the phrase. The CNS provides the physiological substrate for phrase, and the psyche modifies it. How the psyche modifies the action corresponds to how it copes, or what coping mechanisms it utilizes. After this theoretical groundwork is laid, literature is reviewed that draws connections between phrase and character, phrase and diagnosis, and phrase and behavior in the clinical setting. As very little literature exists on phrasing, future directions for research and clinical work are introduced. The directions include locating the phrase on a developmental line, utilizing the pause between phrases, and mining the relational aspects of phrase. Principles for intervention that were consistent across all disciplines covered were: 1. The greater range of phrases at one's disposal, the greater ability one has to cope with her/his environment. This greater ability to cope is an aspect of mental health. 2. When intervening, the clinician must begin with the client's own natural phrasing.

Phenomenological remarks on the semiotics of conducting The following is about the "conductor's signs". But the question is whether there really is such a thing-whether the conductor makes signs at all. The most important sign is missing: the question mark. 1 In order to say anything reasonable about (1) the conductor as a "sign-maker", about (2) the signs being what he makes as a sign-maker, and about (3) the signs as eventually sharing in a sign language, we must first ask about the situation in which it takes place: What is the meaning of doing "this and that" with the hands? What kind of meaning is the meaningful full of? The study of the meaning of signs begins with the study of the meaning of making signs. A triangular sign shows a train, and is a sign in that place: a warning: "be careful!" It is not indicative mode, but imperative. The traffic policeman does the same thing, but now "does" means something else. The traffic cop is not a sign; he makes a sign. The sign belongs to the action, and therefore to the situation. If somebody suddenly says "meatballs", we understand less than a word of what he is saying, unless the situation, including the other words which are said in the situation, tells us what he is doing: (a) Is he a guest, ordering his dinner at the counter in the cafeteria? (b) Is he a waiter on the other side of the counter, instructing the staff (c) Is he a patient, the next day answering a doctor's question as to what he ate yesterday? Without a landscape, without a situation, without a syntax connecting the particular action to other actions-without all these, any utterance remains "something somebody suddenly says". In almost the same way, we must ask of the conductor's signs: What type of action is he performing, when he, in one situation or another, makes this or that sign? A conductor is obviously the leader of a collective undertaking. What kind of task is carried out by what kind of collective in this situation? What kind of leadership? With what powers? By what means? The beat/gesture is one of these means, and the one we will look at in the following. If the contributes something communicative by beating, can we then say that he makes use of a sign-system? What on the whole could the function of conductor's signing be? First: What kind of situation? Answer: An ensemble situation, requiring centralised coordination by one person. We will limit ourselves here to musical performances, i.e. to situations in which the music in a certain sense "exists" before we play it. It is written. The score prescribes how it is to be played, and thus describes how it sounds. When we play it, we say that we perform it. Thus several performances of the same piece of music can exist.

Conducting is a high-level form of expressive musical communication. The possibility of human-computer interaction through a conducting-based interface to a computer performance system has attracted many computer music researchers. This study explores conducting through interviews with conductors and musicians and also through accelerometers attached to conductors during rehearsals with a (human) orchestra and chamber music group. We found that "real" conducting gestures are much more subtle than "textbook" conducting gestures made in the lab, but we observed a very high correlation between the smoothed RMS amplitudes of conductors' wrist acceleration and the ensembles' audio.

was born in Caracas on December 7th of 1959. 1 His father, a French medical doctor, Jean-Jacques Desenne works for the Embassy of the United States of America in Caracas as well as for two private hospitals in the same city. His mother, Monica Hable, is a professional astrologer born in Wisconsin, and currently living in Boston. 2 Desenne spent his childhood in Caracas. As a child, he was exposed to diverse types of music at home. His father was a fan of Indian music and Ravi Shankar; he also liked composers of the Baroque period such as Johann Sebastian Bach and Georg Philipp Telemann. His mother valued the folk music of the United States, Bob Dylan, Woody Guthrie, and Joan Baez, being the most unforgettable to Desenne. Desenne recalls Dylan as the "eternal soundtrack" of their lives. 3 He also remembers that Venezuelan music or Latin music was not heard at home at all, with the exception of some Colombian music that was brought by his stepfather from that country. Although Desenne's parents were not directly linked to musical arts, musical genes run in his family on both sides. On his paternal side, his grandmother, a citizen of Lyon in France, was an accomplished pianist, although she was forbidden to pursue a 1 Unless otherwise indicated, all translations are the author's. 2 Paul Desenne, interview with the author on October 20, 2008. 3 Ibid. 2 career as a concert player because of her bourgeois background. 4 On the same side of the family, Desenne's uncle took a few years of piano lessons as a child, and even after six decades without practicing, he could play, to the surprise of his nephew, all sorts of incredible arpeggios, scales, and improvisations, as if he were a master player. On the other side of the family, the two grandparents of Desenne's mother were violin players, in Bohemia. One of them switched to the clarinet and made the perfect clarinet/violin Klezmer combination, a good one, considering their Jewish lineage. Furthermore, a great uncle of his mother, Andrew Grill, was a composer of polkas and dance music in the United States. When Desenne approached his teen years, he was influenced by American pop groups, which, more than their musical contribution, were a television phenomenon. He dreamt about the idea of forming a group similar to those he thought successful. That is when his first big step into music occurred. In association with some school friends at the Colegio Francia of Caracas, he founded, with some family help, his first music group, One Foot One Eye, in 1973. In this group, Desenne functioned as a conceptual leader and confessed that he was the "most demanding member of the group." 5 He was not the most technically prepared of all the members, but he wanted to go beyond the obvious and was pushing toward an innovative style. Desenne's musical training up to that point was limited. He had played only drums in the gaita 6 groups at school (a rather rhythmical training), and had taken some 4 Paul Desenne does not clarify in the interview why his grandmother's bourgeois background forbade her to pursue a career as a pianist; however, this author presumes that her family had different life expectations for her, and music as a career was not considered a dignifying option. 5 Paul Desenne, interview with the author on October 20, 2008. 6 Gaita is a Venezuelan musical genre that is performed at Christmas time.