The Choral Plot of Euripedes\u27 Helen

In ancient Greek culture, the chorus was a social and religious institution, a musical form, and a medium for the telling of stories, but also a situation, an event, an experience, about which there were stories to be told. As the tragedians transformed traditional choral performance into the acting­ out of mythical narratives, they drew on those stories, both directly and indirectly, as sources and models for dramatic action. My concern here is with the chorus as a subject of tragedy as well as feature of tragic form, and with the place of choral experience in the inner world of the tragic plot. Most theories of the tragic chorus go outside that world to find the chorus\u27 meaning: the chorus is identified with the playwright, whose views it supposedly voices; with an ideal audience (most influentially by Schlegel); or with the original fifth-century audience, whether as citizens of the polis (Vernant), ordinary observers of the rich and famous (Griffith), soldiers-in-training (Winkler), or regular participants in religious rituals (Henrichs). But the circumstances of being in a chorus, or of being an individual who interacts with a chorus, are also significant as elements within the fictional scenarios acted out on the tragic stage

CALL BROADCASTING AND AUTOMATED RECORDERS AS TOOLS FOR ANURAN SURVEYS IN A SUBARCTIC TUNDRA LANDSCAPE

Relatively little is known about population ecology of anurans in arctic and subarctic tundra regions, in part because it is difficult to survey anurans in these landscapes. Anuran survey protocols developed for temperate regions have limited applicability in arctic and subarctic tundra landscapes, which may lack roads and vehicle access, and experience variable and inclement weather during short anuran breeding seasons. To evaluate approaches to address some of the limitations of surveying anurans in tundra landscapes, we assessed the effectiveness of using breeding call broadcasts to increase detection of Boreal Chorus Frogs (Pseudacris maculata) and Wood Frogs (Lithobates sylvaticus) near Cape Churchill, Manitoba, Canada. We also evaluated how counts of anurans derived from automated audio recorders compared with those obtained simultaneously by observers. We detected on average 0.4 additional Wood Frogs per survey when we broadcasted calls (x = 0.82, SD = 1.38), an increase of > 40% compared to surveys without broadcasts (x = 1.24, SD = 1.51; Wilcoxon test; Z = 2.73, P = 0.006). In contrast, broadcasting Boreal Chorus Frog calls did not increase the number of chorus frog detections (Wilcoxon test; Z < 0.001, P > 0.90). Detections of Wood Frogs in a 100-m radius were lower via automated recorders (x = 0.60, SD = 0.87 SD) than by observers during simultaneous surveys (x = 0.96, SD = 1.27 Z = 2.07, P = 0.038), but those of Boreal Chorus Frogs were not different (x = 1.72, SD = 1.31;x = 1.44, SD = 1.5; Z = 1.55, P > 0.121). Our results suggest that broadcasting calls can increase detection of Wood Frogs, and that automated recorders are useful in detecting both Wood Frogs and Boreal Chorus Fogs in arctic and subarctic tundra landscapes

Training a Chorus in Ancient Greece

In this paper, I shall analyse the information we can extract fromancient Greek texts about the training of those citizens chosen tobecome members of a chorus during the Athenian festivals, as wellas the importance to become such. I shall offer a revision of the roleof the chorodidaskalos, the person in charge of their instruction,considered, in a certain way, a maestro di canto in the ancient world,in order to determine if we can delimit the professional groundswith which they used to work, from a technical point of view,especially when, in many cases, they had to deal with members notprofessionally educated for their chorus lines. This panorama willshow the importance that the practice of singing within a chorus,principally on an Athenian theatre, implied for those citizens whopartook their experience at each festival, and how things weredealt with from the Classical period until we find the phonaskos, aprofessional trainer of voice that appears in the Greek world fromthe Roman period onwards

Recruiting, teaching, and inspiring middle school male choral singers

This paper addresses the social stigmas behind boys singing in chorus, particularly at the middle school level. It outlines ways to change these stigmas and inspire boys to want to sing in chorus. Single-gender classes, teaching boys about their changing voices, and using approachable male role models are all discussed in detail

Make Love, Not War?: The Role of the Chorus in Kokoschka’s “Murderer Hope of Women”

In the summer of 1909, two one-acts by the twenty-three-year-old painter Oskar Kokoschka premiered in Vienna in an outdoor theatre built in the garden adjacent to the art museum as part of the second Kunstschau exhibit. The two Kunstschauen (of 1908 and 1909) were organized by Gustav Klimt and his friends in order “to expose the Viennese public to the most shocking and revolutionary forces in contemporary art,” and Kokoschka exhibited in both. The showing of Oskar Kokoschka’s art and his plays cemented his reputation as the most prominent enfant terrible of his day. These exhibitions helped ensure that, by the time he moved to Berlin in 1910, his works would become some of the key contributions to the seminal expressionist journal Der Sturm, gaining Kokoschka a place in the canon of European expressionism

Incorporating popular music and dance: A student-centered approach to middle school chorus

Middle school chorus in the United States is, from an adolescent perspective, primarily a means of socializing and making friends. Using Green’s (2008) notion of critical musicality, I designed a constructionist learning environment. Using critical participatory action research, conducted with my students rather than on them, we explored alternative pedagogical approaches to choral teaching and learning. We learned that collaborative learning fostered musical and social development in a heterarchical classroom environment that contributed to intersubjective understandings. It became possible for students to apply prior knowledge from outside of school to holistic, contextual, self-generated learning goals in the choral classroom. Incorporating popular music, technology and dance into the curriculum made learning relevant for these students. Choral educators may be able to implement student-centred curricula in choral settings more easily than is on occasion assumed.Accepted manuscrip

CHORUS Deliverable 3.3: Vision Document - Intermediate version

The goal of the CHORUS vision document is to create a high level vision on audio-visual search engines in order to give guidance to the future R&D work in this area (in line with the mandate of CHORUS as a Coordination Action). This current intermediate draft of the CHORUS vision document (D3.3) is based on the previous CHORUS vision documents D3.1 to D3.2 and on the results of the six CHORUS Think-Tank meetings held in March, September and November 2007 as well as in April, July and October 2008, and on the feedback from other CHORUS events. The outcome of the six Think-Thank meetings will not just be to the benefit of the participants which are stakeholders and experts from academia and industry – CHORUS, as a coordination action of the EC, will feed back the findings (see Summary) to the projects under its purview and, via its website, to the whole community working in the domain of AV content search. A few subjections of this deliverable are to be completed after the eights (and presumably last) Think-Tank meeting in spring 2009

A Tale of Two Tragedies: Catharsis of Hero and City in Milton’s Samson Agonistes and Shakespeare’s Coriolanus

In his prologue to Samson Agonistes, Milton champions the conventions of Greek tragedy over those followed by Elizabethan dramatists. Great tragedy, he contends, purges fear and pity out of audiences, facilitating a more sober, moral, rational life. Based on his argument and on the content of the poem, the most important difference between classical and Elizabethan tragedy is the Chorus. The Chorus represents a poetic, monolithic, communal voice that interacts dialectically with a strong, independent hero. The Elizabethans eschewed the unified Chorus in favor of realistic and comedic imitation of the various members of the British masses, which, according to Milton, dilutes the dialectical conflict of heroic independence with community morals and weakens the potential of tragedy to produce a cathartic synthesis in the audience. In order to further understand and test Milton’s conception of the Chorus, this dissertation compares Samson Agonistes with Shakespeare’s Coriolanus. Coriolanus was selected because many critics have contended that it is the closest Shakespearean tragedy comes to imitating the unified structure and aims of classical tragedy while still retaining many Elizabethan conventions. Coriolanus is a model of the Aristotelian tragic hero who is superior in virtue but falls because of an error. His aristocratic, military values are depicted in sharp contrast with the increasingly republican values of the Roman citizens. Those citizens are depicted in typical, Elizabethan fashion, making their conflict with Coriolanus an ideal contrast with the Chorus’s conflict with Samson. Further, there are many fascinating parallels between the experiences of Samson and Coriolanus and in the structure of both plays. This dissertation will argue that while Shakespeare’s more realistic and entertaining imitation of complex political interactions does produce tragic emotions, especially in the final confrontation between Coriolanus, Volumnia, and Virgilia, Coriolanus dies rejected by Romans, Volscians, and often by audiences. On the other hand, Milton’s tightly constructed dialectic between Samson and the Chorus, including the conflicts with Manoa and Dalila, tends to produce a more meditative experience and to mediate a clearer cathartic resolution. Samson dies celebrated by the Danite Chorus, and audiences, with some important exceptions, have accepted him as a hero

Noh Creation of Shakespeare

This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore