8,429 research outputs found

    Examples of works to practice staccato technique in clarinet instrument

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    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

    Building body identities - exploring the world of female bodybuilders

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    This thesis explores how female bodybuilders seek to develop and maintain a viable sense of self despite being stigmatized by the gendered foundations of what Erving Goffman (1983) refers to as the 'interaction order'; the unavoidable presentational context in which identities are forged during the course of social life. Placed in the context of an overview of the historical treatment of women's bodies, and a concern with the development of bodybuilding as a specific form of body modification, the research draws upon a unique two year ethnographic study based in the South of England, complemented by interviews with twenty-six female bodybuilders, all of whom live in the U.K. By mapping these extraordinary women's lives, the research illuminates the pivotal spaces and essential lived experiences that make up the female bodybuilder. Whilst the women appear to be embarking on an 'empowering' radical body project for themselves, the consequences of their activity remains culturally ambivalent. This research exposes the 'Janus-faced' nature of female bodybuilding, exploring the ways in which the women negotiate, accommodate and resist pressures to engage in more orthodox and feminine activities and appearances

    Towards a more just refuge regime: quotas, markets and a fair share

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    The international refugee regime is beset by two problems: Responsibility for refuge falls disproportionately on a few states and many owed refuge do not get it. In this work, I explore remedies to these problems. One is a quota distribution wherein states are distributed responsibilities via allotment. Another is a marketized quota system wherein states are free to buy and sell their allotments with others. I explore these in three parts. In Part 1, I develop the prime principles upon which a just regime is built and with which alternatives can be adjudicated. The first and most important principle – ‘Justice for Refugees’ – stipulates that a just regime provides refuge for all who have a basic interest in it. The second principle – ‘Justice for States’ – stipulates that a just distribution of refuge responsibilities among states is one that is capacity considerate. In Part 2, I take up several vexing questions regarding the distribution of refuge responsibilities among states in a collective effort. First, what is a state’s ‘fair share’? The answer requires the determination of some logic – some metric – with which a distribution is determined. I argue that one popular method in the political theory literature – a GDP-based distribution – is normatively unsatisfactory. In its place, I posit several alternative metrics that are more attuned with the principles of justice but absent in the political theory literature: GDP adjusted for Purchasing Power Parity and the Human Development Index. I offer an exploration of both these. Second, are states required to ‘take up the slack’ left by defaulting peers? Here, I argue that duties of help remain intact in cases of partial compliance among states in the refuge regime, but that political concerns may require that such duties be applied with caution. I submit that a market instrument offers one practical solution to this problem, as well as other advantages. In Part 3, I take aim at marketization and grapple with its many pitfalls: That marketization is commodifying, that it is corrupting, and that it offers little advantage in providing quality protection for refugees. In addition to these, I apply a framework of moral markets developed by Debra Satz. I argue that a refuge market may satisfy Justice Among States, but that it is violative of the refugees’ welfare interest in remaining free of degrading and discriminatory treatment

    Chinese Benteng Women’s Participation in Local Development Affairs in Indonesia: Appropriate means for struggle and a pathway to claim citizen’ right?

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    It had been more than two decades passing by aftermath the devastating Asia’s Financial Crisis in 1997, subsequently followed by Suharto’s step down from his presidential throne which he occupied for more than three decades. The financial turmoil turned to a political disaster furthermore has led to massive looting that severely impacted Indonesians of Chinese descendant, including unresolved mystery of the most atrocious sexual violation against women and covert killings of students and democracy activists in this country. Since then, precisely aftermath May 1998, which publicly known as “Reformasi”1, Indonesia underwent political reform that eventually corresponded positively to its macroeconomic growth. Twenty years later, in 2018, Indonesia captured worldwide attention because it has successfully hosted two internationally renowned events, namely the Asian Games 2018 – the most prestigious sport events in Asia – conducted in Jakarta and Palembang; and the IMF/World Bank Annual Meeting 2018 in Bali. Particularly in the IMF/World Bank Annual Meeting, this event has significantly elevated Indonesia’s credibility and international prestige in the global economic powerplay as one of the nations with promising growth and openness. However, the narrative about poverty and inequality, including increasing racial tension, religious conservatism, and sexual violation against women are superseded by friendly climate for foreign investment and eventually excessive glorification of the nation’s economic growth. By portraying the image of promising new economic power, as rhetorically promised by President Joko Widodo during his presidential terms, Indonesia has swept the growing inequality in this highly stratified society that historically compounded with religious and racial tension under the carpet of digital economy.Arte y Humanidade

    Songs without borders: complex interpretative song worlds and the audiences that inhabit them

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    The genre of music commonly referred to as art song often elicits emotionally charged responses in accounts of audience experiences. However, scholarship has largely neglected the object of inquiry where these responses and experiences materialise: the live art song event. The principal research task in this study is to investigate audience experience of live art song events in the UK. The audiences and events at the centre of this inquiry coalesce around the work of the art song promoter Oxford Lieder. Using a mixed method approach (questionnaire, diary methods and guided interviews), statistical and thematic analysis, and Interpretative Phenomenological Analysis, is applied to a dataset that utilises 82 individual participants’ experiences of live art song events, including regular attendees and those experiencing live art song for the first time. To frame the findings of this inquiry, this study establishes the concept of complex interpretative song worlds: defined as a collection of interactions that audience members draw upon to construct their experience of live art song events, through a dynamic and multi-faceted interplay with the system of possibilities afforded by live art song environments. In this study, complex interpretative song world theorising takes place across three levels of audiencing: (1) Interactions with the live art song domain (the norms, behaviours, and conventions of live art song environments) are gathered under three themes. Collecting activity sees a desire for participants to scrutinise song objects, embrace familiar artists and repertoire, and adopt a connoisseur-like approach to knowledge acquisition. Connecting activity reveals a prized sense of close psycho-social resonance, which takes place between songs, performers, spaces and everyday experiences. Venerating activity foregrounds a view of songs as inviolable objects, where perceived changes to songs are deemed heretical by some, examined through the (re)introduction of sung English translations into the live art song corpus. (2) Interactions with live art song objects (the lexical and musical features that make up songs) reveal the ways audience members process words and music, and prioritise either, or both features during live art song events. The presentation of these materials in ways that blur senses (sights and sounds), and time (before, during, and after performances), are shown to be as additive to audience member conceptualisations of the nature of lexical-musical relationships as they are disruptive. (3) Interactions with live art song actors (performers, producers, and audiences) reveal processes of role formation at work, where vocal acts, non-vocal acts, and fixed and non-fixed traits complicate the way audience members derive impressions of performers. Art song’s hybridity as a genre, which is not a dramatic form, yet ‘not not’ a dramatic form, reveals the imbricated way audience members construct identities of performers: as professional musicians; as human beings; and as inhabitants of roles defined textually through a song’s poetic content. This interdisciplinary study draws predominantly on three overlapping areas of scholarship, and makes new contributions to knowledge in all three. For musicology, this inquiry develops deeper understandings of live art song objects to complement the hegemony of hermeneutic, musico-analytical and historiographical research that typifies much of the existing art song literature. For audience studies, these findings provide new audiencing insights, by examining an art form not yet analysed by empirical audience research methods, and one that simultaneously combines both words and music as a mode of expression. For translation theory, this inquiry responds to calls within the existing literature for more research to understand the reception of translation in music. This study also generates dividends outside of the academy, providing new insights for performers and promoters of art song to inform approaches to programming, presentation, production, marketing and audience development

    Development of Evidence Based Factors to Enhance Safety Behaviour in Oil and Gas Industry in the Niger Delta Region of Nigeria

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    The Nigeria’s economy has benefited enormously from its oil and gas sector. However, despite the economic impact accrued to the nation from the sector, there are still safety and health concerns among its employees. Unsafe behaviour mainly influenced by poor safety culture escalates the risk of injuries and accidents at workplaces and requires proper management. This study aimed to evaluate safety behaviour and its impact on safety performance among Nigeria oil and gas workers. To achieve this aim, both quantitative and qualitative research methods were adopted. Validated questionnaires used in studies 1 and 2 were distributed via JISC Survey (Bristol online survey) platform and self-administration. For the first study, 462 frontline employees participated in the survey. Structural equation modelling was perform using the data set and, the out from the analysis found safety management practices had a significant relationship with both safety participation (p 0.109). Quantitative survey was undertaken to achieve the second study objectives. At the end of the survey, 1004 frontline workers drawn from 14 oil and gas companies took part in the survey. Data were analysed by performing structural equation modelling and findings revealed that management commitment, safety communication, safety motivation, and employee involvement were found to have a significant relationship (p = <0.005) to both safety compliance and safety participation, except for only safety training and safety participation where no relationship was established. A qualitative face to face interview was conducted among twelve different employees (both management and frontline employees) drawn from the industries. Thematic analysis of the qualitative data based on the interview reveal gaps around the different elements of safety culture in the industry and how it impacts safety performance of employees. Based on the paucity of data within the study area, the work has advanced up to date data around the impact of safety culture on workers behaviour in oil and gas industry in Nigeria. In addition, the study is considered timely and relevant. Based on internet research, it has covered the research gap within the region and advanced tangible recommendation around the establishment of safety leading indicators for employee’s safety performance in Nigeria oil and gas industry. The study concludes that timely strengthening of workplace safety culture and visible management approach to safety is important for occupational safety improvement in the industry. In addition to this, there is the need for policy realignment to aid in the promotion of safety culture and adherence to safety standards within the industry as practiced in other countries

    Image-Based Rendering Of Real Environments For Virtual Reality

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    Recent Hong Kong cinema and the generic role of film noir in relation to the politics of identity and difference

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    This thesis identifies a connection in Hong Kong cinema with classical Hollywood film noir and examines what it will call a 'reinvestment' in film noir in recent films. It will show that this reinvestment is a discursive strategy that both engages the spectator-subject in the cinematic practice and disengages him or her from the hegemony of the discourse by decentring the narrative. The thesis argues that a cinematic practice has occurred in the recent reinvestment of film noir in Hong Kong, which restages the intertextual relay of the historical genre that gives rise to an expectation of ideas about social instability. The noir vision that is seen as related to the fixed categories of film narratives, characterizations and visual styles is reassessed in the course of the thesis using Derridian theory. The focus of analysis is the way in which the constitution of meanings is dependent on generic characteristics that are different. Key to the phenomenon is a film strategy that destabilizes, differs and defers the interpretation of crises-personal, social, political and/or cultural-by soliciting self-conscious re-reading of suffering, evil, fate, chance and fortune. It will be argued that such a strategy evokes the genre expectation as the film invokes a network of ideas regarding a world perceived by the audience in association with the noirish moods of claustrophobia, paranoia, despair and nihilism. The noir vision is thus mutated and transformed when the film device differs and defers the conception of the crises as tragic in nature by exposing the workings of the genre amalgamation and the ideological function of the cinematic discourse. Thus, noirishness becomes both an affect and an agent that contrives a self-reflexive re-reading of the tragic vision and of the conventional comprehension of reality within the discursive practice. The film strategy, as an agent that problematizes the film form and narrative, gives rise to what I call a politics of difference, which may also be understood as the Lyotardian 'language game' or a practice of 'pastiche' in Jameson's terminology. Under the influence of the film strategy, the spectator is enabled to negotiate his or her understanding of recent Hong Kong cinema diegetically and extra-diegetically by traversing different positions of cinematic identification. When the practice of genre amalgamation adopts the visual impact of the noirish film form, the film turns itself into a playing field of 'fatal' misrecognition or a site of question. Through cinematic identification and alienation from the identification, the spectator-subject is enabled to experience the misrecognition as the film slowly foregrounds the way in which the viewer's presence is implicated in the narrative. This thesis demonstrates that certain contemporary Hong Kong films introduce this selfconscious mode of explication and interpretation, which solicits the spectator to negotiate his or her subject-position in the course of viewing. The notions of identity and subjectivity under scrutiny will thus be reread. With reference to The Private Eye Blue, Swordsman II, City a/Glass and Happy Together, the thesis shall explore the ways in which the Hong Kong films enable and facilitate a negotiation of cultural identity
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