6,609 research outputs found
Examples of works to practice staccato technique in clarinet instrument
Klarnetin staccato tekniğini güçlendirme aşamaları eser çalışmalarıyla uygulanmıştır. Staccato
geçişlerini hızlandıracak ritim ve nüans çalışmalarına yer verilmiştir. Çalışmanın en önemli amacı
sadece staccato çalışması değil parmak-dilin eş zamanlı uyumunun hassasiyeti üzerinde de
durulmasıdır. Staccato çalışmalarını daha verimli hale getirmek için eser çalışmasının içinde etüt
çalışmasına da yer verilmiştir. Çalışmaların üzerinde titizlikle durulması staccato çalışmasının ilham
verici etkisi ile müzikal kimliğe yeni bir boyut kazandırmıştır. Sekiz özgün eser çalışmasının her
aşaması anlatılmıştır. Her aşamanın bir sonraki performans ve tekniği güçlendirmesi esas alınmıştır.
Bu çalışmada staccato tekniğinin hangi alanlarda kullanıldığı, nasıl sonuçlar elde edildiği bilgisine
yer verilmiştir. Notaların parmak ve dil uyumu ile nasıl şekilleneceği ve nasıl bir çalışma disiplini
içinde gerçekleşeceği planlanmıştır. Kamış-nota-diyafram-parmak-dil-nüans ve disiplin
kavramlarının staccato tekniğinde ayrılmaz bir bütün olduğu saptanmıştır. Araştırmada literatür
taraması yapılarak staccato ile ilgili çalışmalar taranmıştır. Tarama sonucunda klarnet tekniğin de
kullanılan staccato eser çalışmasının az olduğu tespit edilmiştir. Metot taramasında da etüt
çalışmasının daha çok olduğu saptanmıştır. Böylelikle klarnetin staccato tekniğini hızlandırma ve
güçlendirme çalışmaları sunulmuştur. Staccato etüt çalışmaları yapılırken, araya eser çalışmasının
girmesi beyni rahatlattığı ve istekliliği daha arttırdığı gözlemlenmiştir. Staccato çalışmasını yaparken
doğru bir kamış seçimi üzerinde de durulmuştur. Staccato tekniğini doğru çalışmak için doğru bir
kamışın dil hızını arttırdığı saptanmıştır. Doğru bir kamış seçimi kamıştan rahat ses çıkmasına
bağlıdır. Kamış, dil atma gücünü vermiyorsa daha doğru bir kamış seçiminin yapılması gerekliliği
vurgulanmıştır. Staccato çalışmalarında baştan sona bir eseri yorumlamak zor olabilir. Bu açıdan
çalışma, verilen müzikal nüanslara uymanın, dil atış performansını rahatlattığını ortaya koymuştur.
Gelecek nesillere edinilen bilgi ve birikimlerin aktarılması ve geliştirici olması teşvik edilmiştir.
Çıkacak eserlerin nasıl çözüleceği, staccato tekniğinin nasıl üstesinden gelinebileceği anlatılmıştır.
Staccato tekniğinin daha kısa sürede çözüme kavuşturulması amaç edinilmiştir. Parmakların
yerlerini öğrettiğimiz kadar belleğimize de çalışmaların kaydedilmesi önemlidir. Gösterilen azmin ve
sabrın sonucu olarak ortaya çıkan yapıt başarıyı daha da yukarı seviyelere çıkaracaktır
Educating Sub-Saharan Africa:Assessing Mobile Application Use in a Higher Learning Engineering Programme
In the institution where I teach, insufficient laboratory equipment for engineering education pushed students to learn via mobile phones or devices. Using mobile technologies to learn and practice is not the issue, but the more important question lies in finding out where and how they use mobile tools for learning. Through the lens of Kearney et al.’s (2012) pedagogical model, using authenticity, personalisation, and collaboration as constructs, this case study adopts a mixed-method approach to investigate the mobile learning activities of students and find out their experiences of what works and what does not work. Four questions are borne out of the over-arching research question, ‘How do students studying at a University in Nigeria perceive mobile learning in electrical and electronic engineering education?’ The first three questions are answered from qualitative, interview data analysed using thematic analysis. The fourth question investigates their collaborations on two mobile social networks using social network and message analysis. The study found how students’ mobile learning relates to the real-world practice of engineering and explained ways of adapting and overcoming the mobile tools’ limitations, and the nature of the collaborations that the students adopted, naturally, when they learn in mobile social networks. It found that mobile engineering learning can be possibly located in an offline mobile zone. It also demonstrates that investigating the effectiveness of mobile learning in the mobile social environment is possible by examining users’ interactions. The study shows how mobile learning personalisation that leads to impactful engineering learning can be achieved. The study shows how to manage most interface and technical challenges associated with mobile engineering learning and provides a new guide for educators on where and how mobile learning can be harnessed. And it revealed how engineering education can be successfully implemented through mobile tools
A Cross-cultural Comparative Study of Dark Triad and Five-Factor Personality Models in Relation to Prejudice and Aggression
When examining socially malevolent outcomes in the form of prejudice and aggression, previous research on the Dark Triad and five-factor personality models has failed to consider potential cross-cultural differences. A deeper understanding of cross-cultural variations is necessary because these factors represent important social problems and risks. Prior investigation has so far only established preliminary relationships between the Dark Triad and the Big Five model and these outlined associations influence prejudice and aggression. Accordingly, this thesis consisted of two phases. The first examined interrelationships between Dark Triad traits (psychopathy, narcissism, and Machiavellianism) and Big Five personality dimensions (extraversion, neuroticism, agreeableness, openness, conscientiousness) in UK and Russian samples. The second used the results from the initial phase to inform the baseline of a predictive model, which was extended. Both phases used cross-sectional designs, correlation-based methods of analysis (e.g., confirmatory factor analysis, structural equation modelling with mediation, path analysis and invariance analysis), and large samples, comprising a range of backgrounds and ages. The analysis identified the strongest and weakest relationships between personality traits and prejudice and aggression. This research made an original contribution to existing literature by identifying novel relationships
Full Issue: Journal on Empowering Teaching Excellence, Volume 6, Issue 1, Spring 2022
The full-length 2022 Special Issue (Volume 5, Issue 3) of the Journal on Empowering Teaching Excellence
Access the online Pressbooks version (with downloadable EPUB format) here.
The Spring 2022 issue begins with research that explores the perceptions of pre-service teachers relative to learning mathematics and science, with suggestions for how findings can impact curriculum and further research. The focus on pre-service teachers continues with research into their sense of self-efficacy with instructional technologies and whether specific techniques increase comfort level with technologies. Next, researchers explore the products that Generation Z students value most in their learning of a second language, including practical language application and engagement with the language culture and its native speakers. Then, college-level educators share a process for implementing problem-based learning (PBL) in higher education, exploring four main ideas of PBL and the role of the educator in its implementation
Interactive Sonic Environments: Sonic artwork via gameplay experience
The purpose of this study is to investigate the use of video-game technology in the design and implementation of interactive sonic centric artworks, the purpose of which is to create and contribute to the discourse and understanding of its effectiveness in electro-acoustic composition highlighting the creative process. Key research questions include: How can the language of electro-acoustic music be placed in a new framework derived from videogame aesthetics and technology? What new creative processes need to be considered when using this medium? Moreover, what aspects of 'play' should be considered when designing the systems? The findings of this study assert that composers and sonic art practitioners need little or no coding knowledge to create exciting applications and the myriad of options available to the composer when using video-game technology is limited only by imagination. Through a cyclic process of planning, building, testing and playing these applications the project revealed advantages and unique sonic opportunities in comparison to other sonic art installations. A portfolio of selected original compositions, both fixed and open are presented by the author to complement this study. The commentary serves to place the work in context with other practitioners in the field and to provide compositional approaches that have been taken
Gendered spaces in contemporary Irish poetry
The thrust of this thesis is summarized by the following questions: How does contemporary Irish poetry migrate from traditional conceptions of identity drawn on by the cultural nationalism of the Irish Literary Revival, and what effects does this have on understanding gendered and national identity formation? Chapters are on the following: Seamus Heaney, Tom Paulin, Paul Muldoon, MedbhMcGuckian, Eavan Boland and Sara Berkeley. These poets are chosen for discussion since their work most effectively engages with the relationship between woman and nation, the representation of gendered national identity, and the importance of feminist and post-colonial theorization. Focusing on poetry worth and South of the border from the last fifteen years, the thesis asks how a younger generation of poets provide a response to nationality which is significantly different from their predecessors. The thesis is composed of three parts: the first understand how the male poets depart from conventional conceptions of the nation with reference to post-colonial theorization; the second explores how feminist theorization informs readings of how the female poets respond to the nation; the final part investigates migration in the poetry and problematizes this in terms of post-nationalism. Discussing the issue of deterritorialization in Irish poetry, the thesis notice how as the poets attempt to take flight from the mythologies of nationhood, they undermine the monoliths of gendered and national identity inscribed within Irish political discourse, which is typified at a representative level by the figure of Mother Ireland or Cathleen Ni Houlihan. Investigating the ways in which gender and nation, and the body and space are reinscribed by the poets, the thesis argues that their poetry challenges authentic conceptions of Irish identity and the nation-state, so as to loosen the legacy of a colonial and nationalist inheritance
The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research.
This research addresses the current lack of opportunity within interdisciplinary arts practices for deep one-to-one relational encounters between creative practitioners operating in applied arts, performance, and workshop contexts with participant-subjects. This artistic problem is situated within the wider culture of pervasive social media, which continues to shape our interactions into forms that are characteristically faster, shorter, and more fragmented than ever before. Such dispersal of our attention is also accelerating our inability to deeply focus or relate for any real length of time. These modes of engaging within our technologically permeated, cosmopolitan and global society is escalating relational problems. Coupled with a constant bombardment of unrealistic visual images, mental health difficulties are also consequently rising, cultivating further issues such as identity ‘splitting’, (Lopez-Fernandez, 2019). In the context of the arts, this thesis proposes that such relational lack cannot be solved by one singular art form, one media modality, one existing engagement approach, or within a short participatory timeframe.
Key to the originality of my thesis is the deliberate embodiment of a maternal experience. Feminist Lise Haller-Ross’ proposes that there is a ‘mother shaped hole in the art world’ and that, ‘as with the essence of the doughnut – we don’t need another hole for the doughnut, we need a whole new recipe’ (conference address, 2015). Indeed, her assertion encapsulates a need for different types of artistic and relational ingredients to be found. I propose these can be discovered within particular forms of maternal love; nurture; caring, and through conceptual relational states of courtship; intercourse; gestation, and birth. Furthermore, my maternal emphasis builds on: feminist, artist, and psychotherapist Bracha Ettinger’s (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaa’s (2012) views on sensing and feeling; child psychoanalyst Donald Winnicott’s (1971) thoughts on transitional phenomena and perceptions of holding. Such psychotherapeutic and phenomenological theories are imbricated in-action within my multimodal arts processes. Additionally, by deliberately not privileging the ocular, I engage all my project participants senses and distil their multimodal data through an extended form of somatic and artistic Interpretive Phenomenological Analysis (IPA), (Smith, Flowers, and Larkin, 2009). IPA usefully focuses on the importance of the thematic and idiographic in terms of new knowledge generation, with an analytical focus on lived experience. Indeed, whilst the specifics of the participants in my minor and major projects are unique, my research activates and makes valid, findings that are collectively beneficial to the disciplines of applied and interdisciplinary arts; the field of practice-based research, and beyond.
My original contribution to new knowledge as argued by this thesis, comprises both this text exposition and my practice. This sees the final generation of a new multimodal arts Participatory Practice-Based Framework (PartPb). Through this framework, the researcher-practitioner is seen to adopt a maternal role to gently guide project participants through four phases of co-created multimodal artwork generation. The four participatory ‘Phases’ are: Phase 1: Courtship – Digital Dialogues; Phase 2: Intercourse – Performative Encounters; Phase 3: Gestation – Screen Narratives; Phase 4: Birth – Relational Artworks. The framework also contains six researcher-only ‘Stages’: Stage 1: Participant Selection; Stage 2: Checking Distilled Themes; Stage 3: Location and Object Planning; Stage 4: Noticing, Logging, Sourcing; Stage 5: Collaboration and Construction; Stage 6: Releasing, Gifting, Recruiting. This new PartPb framework, is realised within a series of five practice-based (Pb) artworks called, ‘Minor Projects 1-5’, (2015-16) and Final Major Project, ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), (2018). These projects are likewise shaped through action-research processes of iterative testing, as developed from Candy and Edmonds (2010) Practice-based Research (PbR) trajectory. In my new PartPb framework, Candy, and Edmonds’ PbR processes are originally combined with a form of Fritz and Laura Perl’s Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of ‘Feeling Architecture,’ which is procedurally proven to hold and carry both researcher and participants alike, safely, ethically, and creatively through all Phases and Stages of artefact generation. Specifically, my new multimodal PartPb framework offers new knowledge to the field of Practice-Based Research (PbR) and practitioners working in multimodal arts and applied performance contexts. Due to its participatory focus, I develop on the term Practice-Based Research, (Candy and Edmonds, 2010) to coin the term Participatory Practice-Based Research, (PartPbR).
The unique combination of multimodal arts and social-psychological methodologies underpinning my framework also has the potential to contribute to broader Arts, Well-Being, and Creative Health agendas, such as the UK government’s Social Prescribing and Arts and Health initiatives. My original framework offers future researchers’ opportunities to further develop, enhance and enrich individual and community well-being through its application to their own projects, and, in doing so, also starts to challenge unhelpful art binaries that still position community arts practices as somehow lesser to higher art disciplines
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