Dinleyici Profilinin Mesleki Ses Yorumculugunda Sahne Performansina Etkisi

Interaction of Musicians and Audience during Performances of Hindustani Classical Music, 2013

This paper presents observations from investigating audience experience of apractice-based research in live sound performance with electronics. In seekingto understand the communication flow and the engagement between performer andaudience in this particular performance context, we designed an experiment thatinvolved the following steps: (a) performing WOSAWIP at a new media festival,(b) conducting a qualitative research study with audience members and (c)analyzing

Voice Cartographies in Contemporary Theatrical Performance: an Economy of Actors’ Vocality on Buenos Aires’ Stages in the 1990s., 2000

The object of study in the present work is the actors’ vocality in contemporary performance. The object is approached through three main conceptual categories, which are strongly interrelated: voice production, reproduction and representation. The technologies of communication have a key role in relation to voice reproduction today, determining its production and representation. The purpose of voice training for actors is to optimise voice and text delivery on stage. Considering that it shapes the actors’ body to a particular kind or style of vocal performance, the role of ‘voice work’ as a mean of reproduction is emphasised in the context of this study. Methodologically, the actors’ vocality is considered in relation to theatrical production and training. Specific methodological tools were designed for this research. The case study was undertaken in Buenos Aires, between January 1998 and June 1999. There the theatrical circuit and the main professional roles in theatre practice are considered. In order to detect the main tendencies in voice training in Buenos Aires in the 1990s, forty seven theatre professionals and teachers were interviewed and specific research was undertaken in two leading theatre schools. The dynamics of production in theatrical performance are outlined from a social point of view, which leads to the consideration of a number of specific works, highly productive in relation to the actors’ voice and speech in performance. It was necessary to design new conceptual and methodological tools in order to approach the actors’ vocality as an object of systematic research. From the conceptual point of view, a new research field has been outlined. The method of diagnosis of the field in a particular socio-historical condition, may be used an effective tool to design future projects in theatre research, production and training.

Today, contemporary music emerges as an experimental phenomenon trapped in the laboratory environment rather than an element of skill. Modern music, where principles such as specialism and rationality are determinative, has become difficult to understand not only for performers who carry it on the stage but also for today's audience. One of the works done in recent years is Soundpainting, which is based on improvisation and allows everyone to do this stage art. Soundpainting is the multidisciplinary live composing sign language for Musicians, Dancers, Actors and Visual Artists. Presently the language comprises more than 1750 gestures that are signed by the Soundpainter to indicate the type of material desired of the performers. The Soundpainter (the composer) standing in front (usually) of the group communicates a series of signs using hand and body gestures indicating specific and/or aleatoric material to be performed by the group. The Soundpainter develops the responses of the performers, molding and shaping them into the composition. In this research, it is aimed to determine the perceptions of the audiences who are listeners in a Soundpainting performance and at the same time performers in Soundpainting performance. The specify of this perception is important in terms of determine the attitude of the listeners fort he first time involved in the Soundpainting performance as well as bringing solutions to the problem of music and alienation from a different point of view.

Revista CEFAC, 2015

Resumo:OBJETIVO:comparar o perfil vocal de atores de teatro profissionais e de atores em fase de formação acadêmica para verificar se existem diferenças entre o padrão de uso de voz.MÉTODOS :a amostra consistiu de 25 atores profissionais e de 25 atores em fase de formação acadêmica. O estudo foi realizado por meio do registro e análise de vozes dos participantes, utilizando-se a escala GRBASI (análise percepto-auditiva) e o software Dr. Speech (análise acústica). Com relação à análise acústica, foram analisadas as seguintes variáveis: frequência fundamental, Jitter, Shimmer e energia de ruído glótico. Aplicou-se um questionário para mensurar aspectos relacionados à autoimagem vocal.RESULTADOS:na análise perceptivo-auditiva, houve diferença estatisticamente significante entre grupos nas variáveis rugosidade (p=0,006) e tensão (p=0,02). A análise acústica não demonstrou diferenças entre os grupos. Quanto à autoimagem vocal, um item que se destacou em ambos os grupos foi desafinação.CO...

Journal of Business, Social and Technology (Bustechno)

Human beings are social beings, where each other needs an interaction and relationship which in this case is channeled by communication, both verbal and non verbal. One form of communication that is very important, especially that is often done in public spaces today including also in the world of music industry is a form of persuasive communication. Which in this case is a persuasive form of communication of the superstar live music event tembang pantura to attract the audience broadcast by local television Radar Cirebon. The method used in this research is qualitative descriptor method. Where researchers try to describe and analyze the data collected through literature studies, obervasi and interviews to singers in a live music event superstar tembang pantura broadcast by local television Radar Cirebon. Based on the results of literature studies, observations and interviews can be concluded: first, the persuasive communication of dangdut singer Tembang pantura in Supersetar event ...

2021

The present study aims to research and compare the process of the development of stage skills in music and theater college students and vocal-performance skills in future actors to identify the most effective model of vocational training of musical actors which appears to be upto- date and in demand due to the development of the sphere of culture and entertainment, as well as increased competition among musical theatres and musical actors. The object under study is the process of the development of stage skills in students of musical and theater and acting colleges in the context of professional requirements for musical actors. The study compares the processes of professional realization and the development of stage skills in future musical theater actors and the training of actors in vocal performance to prepare them for creative work in the genre of musicals. The scientific novelty of the study lies in the identification of the specific characteristics of vocational training of future musical theatre actors, the identification of the specific characteristics of stage skills development in future musical actors, and the formulation of major professional requirements for training future actors for work in musical performances. The practical significance of the work is due to the fact that the study results can be used by teachers to improve the vocational training of musical actors, as well as by theater managers and producers in the selection of artists to participate in musicals.

Performers and listeners (or audience) communicate with each other in music performances. Many researchers that investigated musical communication focused on communication only via musical sound. Further, in many live performances (especially popular music performance) it has been observed empirically that various kinds of inter-performer, performer-listener, or inter-listener communication occur. This has been examined in previous studies, but only for specific channels. However, it is important to clarify the frequency of usage and importance of communication channels, in order to illustrate the whole process of communication in music performance. Therefore, the purpose of this study is to explore communication channels extensively. To this end, an investigation was conducted on various performers and listeners based on a communication process model. The results suggested that performers often interact with each other using mainly gaze and breathing channels, not only musical sound, and secondly body movement and facial expression. In addition, transmitted signals and received signals indicated a similar tendency. In performer-listener interaction, transmitted signals and received signals indicated a different pattern. Facial expression and body movement were highly rated, and language was important only as a received signal. It was implied that inter-audience communication rarely occurred, and, even if it exists, a listener only receives signals from other audience, but does not consciously send these signals. This study represents a first step of a broader research that will contribute to the presentation of an overview of communication in music performance.

This is a seminal essay that has gone through different phases of evolution. Its focal argument pleads for Language not as TWO (grammar and speech), but as THREE as found in Roman languages: langue, parole and langage. The performative aspect of language is embodied in Parole, while the embeddedness of such interactive performance is rooted in 'langage' - the sensory expanse of 'culture'. The essay examines the work of Ferninand de Saussure in a new, intercultural performative light. As such, it has journeyed from Indology ("Natya - the Desi Yajna, 1989, Indologica Taurinesia, Vol.XV-XVI, p.187-205) to Cultural Anthropology (in: Etnofoor, 1996, 9/2, p.78-86, University of Amsterdam, "Anthropology as Performance") to the Design for Performance Studies there, 2001, applied to Music and Theatre Studies, to a published version in "The Power of Performance, Actors, Audiences and Observers of Cultural Performances in India", 2007, eds Heidrun Brückner, Elisabeth Schömbucher, Phillip B. Zarrilli, p. 197-209, Delhi: Manohar. The "Faculty of the Voice" offers an interactive Flash model at www.paramparai.eu/faculty, realised by Thomas Voorter, MA. Its ongoing development is the collaborative research into the Performing Arts: with the International Choreographic Arts Centre, in Amsterdam, 2014, see Conference presentation below: www.academia.edu/11079954, and the Draft 'VOICE a Matrix for analysing the "success factor" in Performance' ,2019 www.youtube.com/watch?v=HZhSlDHng_w

İstanbul Ticaret Üniversitesi dergisi, 2021

Samime Derya Artüz, sırasıyla İşletme lisans ve İnsan Kaynakları Yönetimi Yüksek Lisans programlarından mezun olmuştur. İstanbul Ticaret Üniversitesi İşletme Doktora programı öğrencisidir. Özel sektörde çalışmaya devam etmekte ve alanında araştırmalar yayınlamaktadır. Osman Bayraktar, İnsan Kaynakları alanında yüksek lisans ve doktora dereceleri, Yönetim ve Strateji alanında doçent unvanını almıştır. İstanbul Ticaret Üniversitesi'nde öğretim üyesidir. 2014 yılından bu yana İnsan Kaynakları Yöneticiliği Yüksek Lisans Program Başkanı sorumluluğunu yürütmektedir.