Lost in translation: Making sense of dance through words

The aim of this paper is to enter into the debate about meaning and movement and challenge the idea of dance as linguistic communication. Without words, and even with words according to some linguistic theorists, it\u27s not possible to make sense unless we come to an agreement about a set of shared concepts. This is difficult in dance, an art form that has been silent, but undergoing evolutionary change for a large part of its history. I take the point of view that performance movement is even more arbitrary than text as a form of signification. We can read words prescriptively. We agree what a word means and what concepts a word might refer to. But even then in the combination of words we can interpret meaning differently. Even words can be confusing. We are forced at times in conversation in our first or \u27natural\u27 language to ask: What do you mean? So how can dance be read - when there is little semantic agreement about what a gesture, or a dance step might mean? Maybe we can\u27t read dance. Perhaps what we read, and the only thing we can read, are the words, embedded, attached, contained, and generally surrounding the movement because we are verbal creatures. We can read words easily, after gaining an education, but reading nonverbal communication is fraught with difficulties and misunderstandings

Aspectos técnicos interpretativos em obras de Heitor Villa-Lobos selecionadas do repertório de música de câmara com flauta

Orientadora : Profª. Drª. Zélia ChuekeDissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 15/04/2013Inclui referências : f. 104-109Resumo: O objetivo principal deste trabalho é o estudo do emprego da flauta na música de câmara para sopros de Heitor Villa-Lobos, a partir de três obras significativas de fases distintas: Choros nº2 (1924) para flauta e clarinete, Bachianas Brasileiras nº 6 (1938) para flauta e fagote e Assobio a Jato (1950) para flauta e violoncelo. A pesquisa visita Villa-Lobos em seu contexto histórico, evidenciando os períodos em que as obras abordadas foram compostas. Concomitantemente ao estudo analítico, a abordagem interpretativa da parte da flauta segue os embasamentos teóricos, adquiridos por meio deste estudo, apoiado pelas sugestões e comentários de importantes intérpretes e da minha experiência pessoal como intérprete do repertório de Villa-Lobos. A análise enfatiza tanto a sugestão de respiração e articulação como a relação entre a escrita de Villa-Lobos (grande intervalos) e a abordagem técnica (dedilhado). A intenção inicial é a de partilhar, com outros intérpretes e estudiosos no campo da performance musical, um material de suporte visando a construção de uma interpretação e da performance. Palavras chave: flauta; música de câmara; Heitor Villa-Lobos, análise musical.Abstract: The main objective of this work is to study the use of the flute in the Villa-Lobos' chamber music based on three representative works of distinct phases, as follows: the Choros nº2 (1924) for flute and clarinet, the Bachianas Brasileiras no 6 (1938) for flute and bassoon and the Assobio a Jato (1950) for flute and violoncello. The research visits Villa-Lobos in his historical background and points out the periods in which these works have been composed. Simultaneously to the analytical study, the interpretative execution of the flutist's part follows the theoretical foundations achieved through this study, supported by suggestions and commentaries by a number of famous interpreters and through my personal experience as a Villa- Lobos ?s interpreter. The analyze emphasis the breathing and articulation suggestions, and relations between the Villa-Lobos's writing (wide leaps) with technical approach (fingering). The intention of this paper is to share with other artists and scholars in the field of musical performance, material whose information can support and help in building the interpretation and the performance. Keywords: flute, chamber music; Heitor Villa-Lobos, musical analysis

Spartan Daily, November 20, 1996

Volume 107, Issue 59https://scholarworks.sjsu.edu/spartandaily/8915/thumbnail.jp

Dados abertos @ UA

Mestrado em Engenharia de Computadores e TelemáticaHoje em dia vivemos numa sociedade de informação. Qualquer pessoa ou entidade pode aceder, através de inúmeros meios de comunicação, a fontes de informação. Com a evolução tecnológica, a Internet transformou-se num dos principais meios de divulgação de conhecimento, permitindo o acesso a inúmeros recursos. Acompanhando este progresso surgiram novos termos e conceitos referentes à divulgação de informação, sendo o open data um dos principais. O conceito open data aplica-se a dados disponibilizados publicamente por organizações e instituições. Este movimento está cada vez mais presente em instituições governamentais, que publicam os seus conjuntos de dados e bases de dados em portais web. Os benefícios do cruzamento de dados e implementação de mashups, assegurando a criação de novo conhecimento, são bastante evidentes, tanto a nível social como a nível económico. A divulgação de dados através da Internet deverá obedecer a normas e padrões da indústria. Os serviços web assumem-se neste contexto como um método importante de transmissão de dados e informação devido, sobretudo, à sua vasta utilização por diversas aplicações e entidades. Paralelamente à divulgação de informação pública, existem fontes de informação cujo seu conteúdo é privado. Neste contexto o protocolo OAuth surge como uma solução tecnológica que permite a divulgação de informação privada após a devida autorização pelo detentor dos conteúdos. O objectivo desta dissertação passa por aplicar os conceitos acima referidos na Universidade de Aveiro. Numa primeira fase foi realizada uma triagem e categorização dos serviços web já existentes, assim como das fontes de informação com potencialidade para o desenvolvimento de um serviço. Após a implementação dos serviços identificados, foi desenvolvido um portal web agregador dos múltiplos serviços da Universidade de Aveiro, PT Inovação e SAPO. Por fim foi implementado um servidor OAuth com o intuito de providenciar um mecanismo de autorização para o acesso a serviços web cuja informação é considerada sensível ou privada.Nowadays we live in an information society. Every person or entity is able to access, through endless communication methods, to information sources. As technology evolved, Internet has become one of the most important ways of spreading knowledge, allowing access to several resources. As this progress continued, some new concepts about information sharing started to arise, being open data one of the most important. The open data concept refers to data made publicly available by organizations and institutions. This concept is gaining importance on governmental parties, which publish their datasets and databases in web portals. Crossing data and implementation of mashups, providing new knowledge, comes with great social and economic benefits. Spreading data through the Internet must follow industry standards and protocols. Webservices can be faced, in this context, as an important method of data and information transmission, essentially because of its high utilization. Simultaneously there are some information sources that carry sensitive and private data. In this context, OAuth protocol stands as a technologic solution to share private contents. The objective of this thesis is to implement the concepts described above in The University of Aveiro. On a first approach it was gathered information about existing webservices as well as potential information sources to create new webservices. After the implementation of the identified webservices, a web portal was developed to aggregate webservices from the University of Aveiro, PT Inovação and SAPO. Finally an OAuth server was developed in order to provide an authorization mechanism to access private data webservices

An annotated and glossed English translation of memory, memorisation and memorisers in Ancient Galilee by Marcel Jousse : a study of the origin, nature, analysis and recording of mnemonic rhythmo-stylistic texts.

Thesis (Ph.D.)-University of Natal, Durban, 2000.This study focuses on the work of Marcel Jousse, the 20th century French anthropologist, linguist, educationist and theologian who discovered and developed the Anthropology of Language, the study of human memory and expression, and their mutual transation. As central underpinning theory of the Anthropology of Language, Jousse identified the anthropology of Geste and Rhythm manifest in the Oral Style as gestual-visual/oral-aural mnemonic. In Memory, Memorisation and Memorisers in Ancient Galilee, the account of the transmission of the Besorah-Gospels in the intra-ethnic and extra-ethnic Galilean-Hellenic diaspora. Jousse demonstrates (I) the fidelity and accommodating fluidity of mnemonic Oral Style expression as support of human memory; (2) the role of the Metourgeman-Sunergos as interpreter-translator and scripter of the Besorah-Gospels; (3) the role of the Counting-necklaces constructed by Kepha-Peter and Shaoul-Paul as ordering and mnemonic support in the recounting the Deeds and Sayings of the Rabbi Ieshou"a of Galilee. In this thesis three kinds of translation are addressed. (I) It is about the translation of invisible and visceral memory into the visible and audible expression thereof in speech and movement for the purposes of learning, understanding and recording of the oral socio-cultural archive: Stylology manifest in rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (2) it is about the translation of speech and movement into writing of two kinds: the recording of dictated texts in writing, (Memory, Memorisation and Memorisers in Ancient Galilee) and the putting-into- writing of memorised formulaic recitation, viz. rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (3) it is about the translation of a specific and specialised technical texts from one (kind of) language to another: Memory, Memorisation and Memorisers in Ancient Galilee and Glossary of Joussea Concepts, Terms and Usage. The products of this study are: (I) a critical investigation and contextualised account of the perspective of Marcel Jousse on the operation of the invisible visceral metaphor called memory into the visible and audible expression thereof in speech and movement for the purposes of learning, understanding and recording of the oral socio-cultural archive in rhythmo-mnemonic expression (2) a proposed work-in-progress model for the presentation and analysis mnemonic Oral-style texts, viz. rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (3) an annotated translation of Dernieres Dictees Memory, Memorisation and Memorisers in Ancient Galilee; (4) a glossary of specialised technical terms to be used in the interpretation of the works of Marcel Jousse compiled from Jousse's texts already translated into English: Jousse developed a specialised and complex terminology to explain his view of the origin and operation of mnemonic human expression. The Glossary documents this terminology, and demonstrates the translation of the concepts, and their usage by Jousse. This study is presented in three parts: Part One: Translations on and at the oral-literate interface; Part Two: Memory, Memorisation and Memorisers in Ancient Galilee - an annotated translation; Part Three: Glossary of Joussean Concepts Terms and Usage