2020. 2. 26. 04:03ㆍ카테고리 없음
In this written work, I refer to bell hooks in my intersectional exploration of feminism. I also refer to Leena-Maija Rossi's ideas of gender pressure and stereotypical structures, in order for the research to have an intercultural effect.My research question 'Explorations and reflections on teaching, habits of thought and dialogue after a visit in Al Arroub 2017 as a feminist: Complex comparison between gender understandings and art pedagogy' guides the research throughout this work. To broaden my academic understanding towards a mindset of learning, I look into Jack Mezirow's theory of habits of thought. To study my pedagogical development, I review Paulo Freire's theory of dialogue.
Throughout this thesis, I study the effect of dialogue and gender stereotypes in social situations in art pedagogical context. This research is based on three auto narratives of situations where I have been in a role of either art pedagogue, pupil or student. In the first auto narrative, I am in a position of a student in a primary school in Kouvola, 2004.
The second auto narrative is from a time of my second university year in London in 2015.In the third piece of data in the form of an auto narrative, I was completing a teaching practice module in Palestine from the University of the Arts Helsinki's Master's Degree Programme in Dance Pedagogy. I reflect my pedagogical progress based on these three experiences, in order to understand the context of gender pressure in learning situations. I examine my own feelings, thoughts and learning. I reflect my pedagogical development on the theories, auto narratives and my personal blog post from 2017.
The research method for my analysis is phenomenology-hermeneutic approach. I am reflecting Leena Rouhiainen to maintain a connection between artist work and research method.I write about authority, use of language, feelings, jealousy, judgement, facilitating and listening. In this work, I examine my development in pedagogical practices and theoretical understanding. I have transformed personal experiences into a platform to learning.
Joshua Redman
In this written part of my thesis work I will trace how perception includes both political and existential aspects for me. I am interested in the wide spectrum of perception, and how this multiplicity is framed by different contexts and through conditioning. I like to think that perception is an action, it is something that we do, and from this stems the name for my artistic final work: Performing Perception. In this text, I try to find connections between my own experiences, theoretical writings and artistic practices.
In the first section Thinking outloud, I will open up my own experiences, existing choreographic practices and artistic references which are setting the frame for the artistic final work. I relate my thinking to practices by Deborah Hay, Boris Charmatz and Esther Salomon.I will also share my other perception related artistic works created during my MA studies in the Master's Degree Programme in Choreography. In the next section, I will open up to theory.
Coldplay
I will explore how perception can be seen both as a political and existential question. The political aspects I discuss alongside a text by George Lakoff, Mark Johnson and Erin Manning. The existential aspects I try to articulate together with Martin Heidegger and Edmund Husserl.In the last section Performing perception – the performance I go more into the details of the performance itself.As we were working with re-writing the perception, I will outline different practices and compositional tools that emerged from this process. Estonia and Finland have a unique relationship sharing economic interests, Finno-Ugrian roots and cultural connections of tens of years.
In this thesis I ask, how is this relationship portrayed in the cultural cooperation occurring between the nations today. My operational setting are arts organizations, and more specifically the theatre festival fields in both countries.I have conducted a mixed method desk research by gathering and analysing both qualitative and quantitative data from 15 Finnish and 13 Estonian theatre festivals.
The theory section presents the concepts of Cultural Policy and Cultural Diplomacy to offer a more governmental viewpoint, and Cultural Cooperation and Strategic Management, to present the organizational aims of the theatre festival field.The first chapter presents the introduction and background to the subject. The second chapter presents the theory and the third discusses on the research methods and design. The fourth chapter presents the analysis and findings of the desk research as well as the analysis of the cultural policies of Finland and Estonia. The fifth chapter presents conclusions derived from the findings and the sixth discusses the conducted study and further research.The Estonian and Finnish theatre festival pools have similarities but are different in their international actions, funding schemes and in the booking of their programme. The Estonian festivals are highly international in their booking, and the cultural policy of Estonia as well as the offered funding schemes support international actions.
The Finnish theatre festival field is more focused on domestic programming, which can also be reflected from their funding schemes. The Estonian festival pool books more, and more versatile Finnish programme compared to the Finnish festivals that do not focus on Estonian offering in general. The festival organizations between the two pools had not conducted cooperation, and other traces of a special connection between Finland and Estonia were also not found from the chosen sample. From the results, the performing arts groups have conducted the most cultural collaborationand would be an interesting target group for further research. This thesis examines the significance of dominant seventh chords to jazz pianist McCoy Tyner’s style during the 1960s.
As a member of the John Coltrane Quartet, Tyner was at the forefront in the emergence of modal jazz. Consequently, scholarly writings and pedagogic materials have looked at Tyner through the modal jazz paradigm, emphasizing scales and quartal harmonies. However, Tyner himself has brought up the use of dominant seventh chords as one of the characteristics of his style, as well as his expression being rooted in bebop.The source material for this analysis consists of audio recordings, audiovisual materials, books, scholarly articles and dissertations, magazine articles, and internet sources. The presented musical examples were chosen from the material transcribed by the author, including 29 complete and 34 partial transcriptions of McCoy Tyner’s solos, along with transcriptions of Tyner’s accompaniment and compositions. Melodic lines and chord voicings are analyzed in relationship to other similar examples from Tyner’s recorded output and connections between Tyner’s early style and his later recordings are brought out. In sections where they are most relevant, and in order to musically contextualize Tyner’s piano parts, the contributions of his fellow musicians have been notated.The findings show that McCoy Tyner’s style evolved throughout the 1960s with new elements added continuously. Tyner achieves a wide variety of sounds by placing dominant chords over a primary bass pitch and by combining scale-based melodic ideas with free movement of parallel dominant chords.
He frequently utilizes functional chord progressions to create movement and to resolve phrases in modal contexts. The independence between the left-hand harmonies and the right-hand melodies is a key factor in Tyner’s way of dealing with tension and release. The musical examples transcribed from the recordings of the John Coltrane Quartet shed new light on the definitions of modal jazz itself. This thesis aims to show factors that have formed the basis for what we today can term as the Swedish choir sound. Historical ideals are compared with more modern research in my quest to describe the origin of how a Swedish choir singer sounds.
By comparing how Swedish vowels affect over-tones in the singing voice in different ways, I will explain how this also affects the sound of a choir. In this way, I want to describe a sound that is not typical for a particular choir leader or choir, but a sound that spans the genre and generation boundaries within classical art music. The main parts of the dissertation are: Amateurs and professionals - a Swedish tradition, Swedish, the singing lan-guage and Early Swedish choir pedagogy. My concerts related to this thesis have been aimed to show the connection between not only language and the sound, but also repertoire and the sound. In this thesis I explain the linguistic and social phenomena that have laid the foundation for the fact that today there is a way of singing that has come to be something of a national symbol for the choir-singing nation of Sweden.