Studio Performance Research Articles

Manajemen Seni Pertunjukan di Sanggar Sri Indera Bupala Kecamatan Bengkong Kota Batam

This research aims to know, describe and explain how Performing Arts Management in Sanggar Sri Indera Bupala, Bengkong District, Batam City. This type is qualitative research with a descriptive method. The research instruments are the researchers themselves and are assisted by supporting instruments such as stationery, cameras and voice recorders. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing the data are data reduction, data description and conclusion. The results of the study show that the steps in the management of Sanggar Sri Indera Bupala are planning, organizing, actuating, and controlling. The planning stage includes determining the name, objectives, policies, procedures, and work programs consisting of long-term work programs, short-term work programs, and incidental work programs. The level of organization in the Sri Indera Bupala studio is to give positions to several members of the management as a form of sense of responsibility for the members in the studio. At the mobilization stage at the Sri Indera Bupala studio, the studio leaders gave direct briefings to studio members and also provided motivation to studio members in the form of rules such as, if studio members are diligent and active in participating in training, they will have the opportunity to continue to participate in studio performances, both scheduled and unscheduled. As well as other mobilization is to carry out all activities and programs that have been planned and determined in advance. The supervision stage at the Sri Indera Bupala studio is the studio leader who directly supervises in coordination with the management and team involved both during the rehearsal process and during the performance.

From Wax Cylinder to Metal Disc: Transplanting Robert Lachmann’s “Oriental Music” Project from Berlin to Jerusalem on the Eve of World War II

Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 500 wax cylinder recordings held in the Berlin Phonogramm-Archiv. Between 1935 and 1938, Lachmann made 956 recordings on metal disc documenting musical traditions of different "Eastern" communities of Palestine. His writings from this period, however, relied predominantly on research carried over from his Berlin years. The most substantial, and the first to be completed, is his monograph Jewish Cantillation and Song in the Isle of Djerba (Gesänge der Juden auf der Insel Djerba) based on his fieldwork in Djerba in 1929. In this contribution, I argue that Lachmann's pioneering study of this Tunisian Jewish community provided the methodological blueprint for much of his work in Palestine. I focus on his series of 12 radio programs, entitled "Oriental Music," transmitted by the Palestine Broadcasting Service between November 1936 and April 1937. The programs, which feature different groups living in or around Jerusalem, were illustrated by live studio performances by local musicians and singers, simultaneously recorded onto metal disc. In successive lectures, Lachmann presents fundamental ideas about the nature and evolution of musical practices and systems that are explored more fully in his Djerba monograph. Thwarted by inadequate finances and lack of institutional support, Lachmann's work was cut short by his premature death in May 1939 and it fell to his former student, Edith Gerson-Kiwi, to pick up the threads of his project. His collecting activities, together with the comparative vision that informed them, laid the foundations for the work of subsequent generations of ethnomusicologists.

Analyzing the effect of user‐generated content on studio performance: A combined approach

AbstractThis research explores how user‐generated content (UGC) influences the performance of studios. Our dataset included both structured and unstructured UGC, analyzed through a hybrid of statistical techniques and machine learning algorithms. The findings revealed a positive relationship between UGC and both box office revenues and stock market performance. Additionally, classical machine learning methods demonstrated exceptional capabilities in accurately classifying the data. The insights from this study offer valuable marketing strategies for studio marketing managers and studio executives in leveraging social networks effectively.

Towards Sustainable Nigerian Architectural Education

Architectural education comes from a long tradition of technical and artistic apprenticeship which is evolving in Nigeria and around the world. The aim of this study is to examine the relationship between design education (what), learning styles (how) and personality types (who) in a bid to develop sustainable, inclusive teaching strategies for the 21st century and beyond. The quantitative study assessed the preferred learning styles and predisposition for the five genetic personality traits in students of Architecture at the University of Jos, and juxtaposed the findings against their performance in design studio. The study findings showed that Accommodators and Divergers who were the highest performers in design studio were also the more likely to exhibit openness and conscientiousness. Convergers were more willing to accept criticism from their mentors and peers, and Assimilators were more prone to neurosis displayed as fear of disappointment and anxiety when they performed lower than their contemporaries. The study findings encourage continued monitoring of evolving teaching and learning styles, as well as cognisance of students' distinctive personality types to guide educators in developing teaching modules and methods that will be enduring and effective for holistic architectural education.

ВКЛАД РУССКОЙ ПЕДАГОГИЧЕСКОЙ ПЕВЧЕСКОЙ ШКОЛЫ В СТАНОВЛЕНИЕ ГО ШУЧЖЕНЬ — ЗВЕЗДЫ ОПЕРНОГО ОЛИМПА КИТАЯ

The article is devoted to the period when Guo Shuzhen (born 1928), an outstanding representative of the Chinese vocal school, studied at the Moscow Conservatory. The author defines the moments contributing to the formation of European vocal training branch in China, and describes the first teachers who emigrated from Russia in 1919 and became the founders of the first vocal schools in Shanghai and Harbin. The versatile activity of Guo Shuzhen, a chamber and opera singer raised by the Moscow Conservatory school, is briefly characterized. The main goal is to consider the stages of the formation of Guo Shuzhen’s creative personality in the context of the emerging pedagogical ties in China and the USSR and their subsequent intensive development. The materials of Guo Shujen’s personal file from the Archive of the Moscow State Tchaikovsky Conservatory presented new, unknown in China, information on the years of her studies. Especially significant is the conclusion of Professor E. Katulskaya in the pre-graduate period: “Guo Shuzhen has outstanding professional qualities and is a trained singer for successful work in the opera theatre, as well as for concert work”. For the first time the scale of Guo Shuzhen’s opera and concert practice during the years of her study is illuminated: from participation in opera studio performances to patron concerts all over the USSR, as well as participation in opera productions of different years, performing the roles of Tatiana, Cio-Cio-San and others. The article pays special attention to graduates of the Central Beijing Conservatory who passed through the brightly individual school created by Guo Shuzhen and considers the multifaceted activities of Guo Shuzhen in China.

Polyrhythm as a Bridge for Group Improvisation in Brazilian Jazz: An Analysis of the Performance of Trio Corrente

This research aims to analyze the establishment of a communicational basis from polyrhythmic occurrences in the performance of Trio Corrente, a Brazilian jazz group from São Paulo. The analysis presents re-readings of songs already known in Brazilian popular music, restructured and shaped through the incorporation of polyrhythmic elements. Research was carried out in three stages: (1) selection and transcription of excerpts from live and studio performances of the trio; (2) musical analysis of the transcribed works, in order to explore aspects related to the non-verbal interaction presented in the performances (3) structural analysis of language proposed by Jakobson (1960) and adapted by Vuust, Ostergaard and Roepstorff (2006) to analyze communication through the rhythm. It was found that polyrhythm plays a central role in the non-verbal interactions of the group. This research is expected to contribute to the development of rhythmic teaching and non-verbal interaction among musicians.
 
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Audiovisual gesture and spectromorphology: the Invalid Data W.E.S.T. project

ABSTRACT In this article, we detail a project that seeks to expand the ways in which the concepts of gesture and spectromorphology can be understood and applied in audiovisual projects. We argue that understanding spectromorphology in visual domains requires consideration of the wavelengths of light that give us an image. In this project, the complex interaction between clouds and solar radiation becomes the medium for understanding this concept of visual spectra. Invalid Data W.E.S.T. is a collaboration between media artist Grayson Cooke, audio engineer Ian Stevenson, and the experimental improvising group Wilcox, Encarnacao, Swanton Trio (W.E.S.T.), comprising three Australian composer-performers: Felicity Wilcox (piano), John Encarnacao (guitar), and Lloyd Swanton (bass). In this project, a multi-camera recording of W.E.S.T. in studio performance is combined with Cooke’s exploration of creative uses of satellite data. Satellite images of clouds rendered using infrared light are intercut with in-depth, multi-camera footage of W.E.S.T. captured during improvisation. The resulting audiovisual meditation draws parallels between spontaneous artistic processes, collaborative creation, and environmental phenomena. In this article, we explore how concepts of gesture and spectromorphology shaped the conception, production and post-production phases of the project, and how these concepts can be used to enhance the production of audiovisual work.

Design studio performance in complex spatial projects: lessons from The Netherlands

ABSTRACT The Netherlands has a strong design tradition in planning for the built environment. After a period of neglect, attention for the role of design studios has resurged, particularly for addressing complex spatial projects. These area-based projects have impacts that cut across local to regional scales, so setting up a design process that addresses these scales and engages a wide range of relevant parties proves helpful for formulating design briefs and identifying potential spatial outcomes. This paper discusses the role of the design studio in the Dutch practice, exploring to what extent it helps in identifying the integrated outcomes desired.

Scholars and artists collaborating for social change: the ‘In the Shadows of Ferguson’ multi-media project

The ‘In the Shadows of Ferguson’ (ItSoF) multi-media project tells a story about how institutionalised racist housing and urban policies have shaped spatial patterns and opportunities for social and economic mobility for Black Americans in the St. Louis metropolitan area. This collaboration between an urban planning professor and a filmmaker sought to create an empirically-based narrative about the policies, laws, and practices that formed St. Louis into a racially divided landscape in order to spur dialogue on how to reverse this pattern. ItSoF combines social science research, art, and media and was performed as a one-hour studio performance and an immersive and interactive multi-media exhibit. The project is intended to educate a broad audience, including students, scholars, policymakers, and the public in order to provoke reflection, evoke empathy, and mobilise the audience towards social action and policy change. What we learned from working on this project was that the key to having a successful collaboration between groups that have different skills sets and disciplinary cultures was to continuously evaluate the work, recalibrate and communicate expectations often, have shared values and goals, and be adaptable with expectations when the project evolves.

Electronic word-of-mouth effects on studio performance leveraging attention-based model

While existing studies have established the relationship between electronic word-of-mouth (eWOM) and studio performance, limited research has been conducted to demonstrate how the attention-based model applies to the motion picture industry. In this study, examining a review corpus of seven Hollywood studios, we proved that deep learning with the attention mechanism has the best accuracy in both eWOM and stock price movement. We present both a hierarchical two-layer attention network and hierarchical convoluted attention network (HCAN), which quantify the importance of crucial eWOM features in capturing valuable information from audience members’ reviews. Further, comparing the two case studies, we determined that the HCAN model is superior to both machine learning and attention-based models. Our work helps to highlight the business value of the attention-based model and has implications for studio business decisions.

Mind the T-Square: Mindfulness-Based Stress Reduction for Design Students and Its Modes of Action on Studio Performance and Critique Anxiety

Mind the T-Square: Mindfulness-Based Stress Reduction for Design Students and Its Modes of Action on Studio Performance and Critique Anxiety

The Design Studio beyond Donald Schön´s Traditional Approach

Architecture education was not theorized on until Donald Schön’s contributions in the 1980s. Since then, his pedagogical ideas have dominated professional training. However, the model has come under severe criticism in the last decade, especially for presenting the student as a passive observer instead of as an active learner. This study delves into styles of learning as a way to understand the individual traits that influence learning in our students. It also presents an action research that leads to a didactic where students transit autonomously through the design process. These didactics, that include the body (kinesthetics), directed at students who prefer active and sensory styles of learning, have been a good doorway into the concepts and language that make up an architect. Additionally, the trend that showed difficulties in the design studio performance of the active group has been reversed.

The ontology of rock music: Recordings, performances and the synthetic view

This paper discusses the state-of-the-art dispute over the ontological question of rock music: what is the work of art, or the central work-kind, of rock music, if any? And, is the work of rock music ontologically distinct from the work of classical music, which is the only musical tradition whose ontology is vastly studied? First, I distinguish between two levels of inquiry in musical ontology: the fundamental level and the higher-order level, in which comparative ontology - the project in which someone engages by considering that there is ontological variety among works of distinct musical traditions - falls. After addressing two general questions about rock music, I turn to Theodore Gracyk?s ontological account of rock music, according to which the primary focus of critical attention in rock music are recordings, or recorded tracks. This view has the consequence that ?recordings? is a fundamental concept of philosophy of music, necessary for us to understand rock music. Stephen Davies objected that Gracyk?s account fails to assign appropriate value to a valuable practice with which rock audiences are committed, live performance, and argued that the works of rock music are of the ontological kind for studio performance. Finally, Andrew Kania synthetized both views: rock recorded tracks are at the centre of rock as an art form, thus being the rock works.

Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s.

Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s.

Talking Drama, Teaching Writing

Talking Drama, Teaching Writing

Backup Singers, Celebrity Culture, and Civil Rights: Racializing Space and Spatializing Race in <em>20 Feet from Stardom</em>

This essay explores Morgan Neville's 2013 documentary 20 Feet from Stardom, which, despite the filmmaker's honorable intentions, reproduces the asymmetrical power relations that it sets out to challenge. The film spotlights previously marginalized members of rock music ensembles; namely, backup singers such as Merry Clayton, Lisa Fischer, and Darlene Love, whose overlapping careers span a roughly sixty-year period (1950s–2010s). But in attempting to resituate these and other vocalists as figures of nearly peerless artistry and historical consequence, demonstrating in the process how racist ideologies were staged for millions of music fans over the past half-century, 20 Feet from Stardom frequently asks these women to take a backseat to the more famous men who tell their stories. Talking-head interviews featuring rock stars such as Mick Jagger and Bruce Springsteen are woven into the film's narrative, their voices overlaying archival television footage and newly recorded studio performances in which backup vocalists are allowed to take center stage, if only momentarily. The "front/back" rhetoric of racial oppression and separation specific to postwar America is thus presented to concertgoers as a "natural" way of spatializing race—of spatially distributing people of different ethnicities whose connection to the civil rights movement has perhaps been obscured by their professional commitments.

An investigation of design studio performance in relation to creativity, spatial ability, and visual cognitive style

Design is a complex, multifaceted problem-solving activity involving various cognitive abilities. Creativity and spatial ability are considered critical in design process and outcomes, and visual cognitive style represents the potential of artistic and scientific creativity; however, little empirical research exists on their relationships and roles in design studio performance. This paper is an investigation of how one's creativity, spatial ability, and visual cognitive styles relate to design studio performance, measured by grade. Identifying students' cognitive abilities and their relation to design studio performance is important for the development of meaningful pedagogy and the holistic understanding of student capacities. Fifty-nine freshman architecture and interior design majors' creativity, spatial ability, and visual cognitive style were measured using the Torrance Tests of Creative Thinking, Mental Rotation Test, Paper Folding Test, the Architectural Spatial Ability Test, and the Object-Spatial Imagery Questionnaire, and compared with one another and with final grades in their design studio course. The effect of gender and academic major was investigated through a two-way ANOVA. The analysis revealed no correlations between studio course grade and the observed scores; but a positive correlation existed between general spatial abilities and visual cognitive styles. It also revealed males' outperformance in general spatial ability tasks and tendency of spatial visualizers. The results show that design studio performance cannot be measured and predicted directly by creativity, spatial ability, and visual cognitive style. The results highlight the necessity to develop measurement criteria of domain-specific creativity and spatial ability, and the importance of holistic understanding of student capacities and the nurturing process in education.

It's Been Beautiful: Soul! and Black Power Television

It's Been Beautiful: and Power Television by Gayle Wald (with photographs by Chester Higgins). Durham, N.C.: Duke University Press, 288 pp, ISBN-10: 0822358379, reviewed by Todd Steven Burroughs.This book examines the right story to tell-one of, in author Gayle Wald's words, fragile alliance of liberal and radical interests, both public and private-and, thankfully, arrives at the right place (p. 39). Soul! (1968-1973), a nationally distributed public television program that could loosely be described as the radical sister of the more commercial Soul Train, fired the imagination and reflected the multi-faceted sensibilities of its community of viewers. Using largely untapped wells of research about the early days of American public television vis-a-vis America, Wald relates a nuanced story of how the condescension of white American public television officials seeking to provide an outlet for the angry community in the late 1960s, led to a (largely) Black-controlled showcase of the Arts Movement on (largely) aesthetic terms. It is the restrained approach, however, of choosing as this book's scholarship basis intellectual sources outside the soul of Black/African folks that makes this book strangely appealing and more than a little irritating.Soul! (episodes of which can be found online) was first a product of insurrection. Reacting to that outpouring of anger and violence, white funders, somewhat accidentally, allowed a producer, Ellis Haizlip, to have his way. WNET-Channel 13 (now known as Thirteen), then and now the New York-based flagship station of the PBS collective, wanted a companion show to Black Journal, its newsmagazine. initial and white idea of a Black Tonight Show developed under Haizlip into a Arts salon that was cooler than the The Flip Wilson Show and Don Cornelius' large Afro. Wald wisely includes as much of Haizlip's life story into this book as she can fit. (Mr. Soul, a documentary film on Haizlip's life and work done by his niece Melissa Haizlip, is struggling to get funding.) letters of support Soul! received are well used in Wald's book. They show the involvement of the community instead of just describing the appreciation of an audience.It's Been Beautiful builds somewhat on Devorah Heitner's Black Power TV, a pioneering 2013 intellectual narrative on the early days of East Coast public affairs television, and does so with great intellectual gusto. Wald, a professor of English and American Studies at George Washington University, rightly uses the New York-based Soul!-a program that would feature, for example, Nikki Giovanni interviewing James Baldwin or a studio performance of Last Poets, or Earth, Wind and Fire-to find key TV text of the era or as a cultural project joined by common cause to 1960s and 1970s political struggles (p. 4).The show's arc matches its era: Martin Luther King, Jr. was killed two weeks before the grant to create the show was submitted and it was cancelled because PBS's funders, facing the onslaught of the Nixon era and the fading of the Power movement, wanted to create programming that would have Blacks and whites interacting (p. 63).Hence, the author discusses Soul! as a program, along with its performers and producers-are worth the price of the book alone. Wald does not shy away from explaining American culture in all its glory and anger. But she does not seem to want to dig into the African, non-Western roots of what she is seeing and describing. …

The HPT Model Applied to a Yoga Studio's Performance

This case study describes how the human performance technology model has been applied to enhance the performance of a small yoga studio—Salty Dog Yoga & Surf of Carolina Beach, North Carolina. An analysis of Salty Dog's organizational performance revealed several ongoing challenges, including issues with sales, strategic planning, and division of labor. An environmental analysis found that Carolina Beach's market is strong enough to support a full-time local yoga studio, while an organizational analysis uncovered multiple issues with strategic vision, resource deployment, and training policies.

Conference Report: “Performance Studies Network Second International Conference”

[1] In April 2013, performers, historians, ethnomusicologists, composers, cognitive scientists, empirical musicologists, psychologists, philosophers, anthropologists, educators, neuroscientists, studio engineers, and even music theorists converged in Cambridge, England for the Studies Network Second International Conference organized by the AHRC Research Centre for the Musical as Creative Practice (CMPCP). As Centre Director and conference organizer John Rink explained in his opening remarks, this conference was intended to spark further conversations and collaboration across and between disciplines. Unlike joint national conferences, which in spite of their unifying intentions tend to run in parallel, this was a rare and exceptional merging of diverse approaches, the mingling of which opened out into a fascinating range of topics, revealed and challenged often unquestioned assumptions that undergirded disciplinary frameworks, and shed light on conceptual obstacles that many of us still struggle to overcome. success of this conference stemmed not only from its size and intimacy but also from the focus and theme of the conference: performers, performances, and their creativity.[2] study of is not necessarily new to music theorists or musicologists, but giving voice to the creative contributions of performers, creating an open dialogue among scholars and performers, and above all else gazing or listening beyond the score or text as the foundation of music theorizing is something scholars in North America, in particular, are still reluctant to fully embrace. primary impediment to this new line of questioning is, sad to say, the concept of the musical work as a fixed, entity and/or a direct representation of compositional intent. In spite of such scholarship in the last two decades by, among others, Lydia Goehr (1992), Nicholas Cook (1998), and Richard Taruskin (1995), the burgeoning field of music cognition, the increased intersections between musicology and anthropology, and more recently Music Theory Online 18, No. 1 dedicated to analyzing performance, performers and performances remain held back, or perhaps hold themselves back, by the overwhelming and uncritical adherence to some notion of Werktreue.[3] Consider, for instance, the presentation by Amy Blier-Carruthers-What is the performer's place in the process and product of recording?-which explored classical performers' anxiety and apprehension toward studio recordings. Blier-Carruthers's ethnography revealed how performance was perceived as a kind of ideal, one that studio performances inherently failed to live up to. Yet at the same time, these performers felt the obligation to present a perfect performance, that is, one that remains faithful to the score since recordings provide a different lens through which critics might examine and highlight any flaws or mistakes more emphatically. These competing aesthetics, the naturalness of concert performances, and the desire for textual fidelity are ultimately two sides of the same coin in performers' pursuit of musical truth or purity. Both of these views, however, sought to conceal the means of production, the effort and creative voice of the performer, as well as the artificial adjustments made by producers and engineers. Consequently classical musicians were reluctant to interact collaboratively with producers and engineers in the same way that non-classical musicians were, as demonstrated by Simon Zagorski-Thomas's subsequent presentation, Performance in the studio. Blier-Carruthers's ongoing work in the recording studio at the Royal College of Music seeks to encourage performers to accept the studio as a collaborative space, to embrace the creative and interpretive possibilities of a recording studio, and to overcome performers' almost servile sense of self.(1)[4] In her paper, The classical performer's conception of self, Mary Hunter examined the implications of this self-awareness. …