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This article reports on part of an ethnographic research project undertaken over a period of 20 months in Leeds, UK, with a youth spoken word (YSW) poetry organisation. The research focused on the fluid practices in which the youth engage that span spoken, written, visual, gestural, digital, musical and spatial modes, and across times and places. Given its inherent fluidities, YSW is a particularly interesting practice for studying semiosis. Among other aspects, the research focused on the trajectories of poems written and performed by youth and the semiotic transformations they undergo across time and space. The article explores how resemiotisation sheds light on the complexities of the transformations that one particular poem undergoes as it travels. It focuses on a poem titled 'To Him', written and performed by a 17-year old poet. The main arguments put forward are that: (1) translanguaging is a more comprehensive term than others for describing how the poet engages her communicative repertoire; (2) resemiotisation is both a lens for conceptualising translanguaging, and an indispensable analytical process in the case of the data studied for understanding the complexities of the poet's meaning-making practices. Looking beyond our own discipline and making use of musical annotation, we contend that focusing solely on spoken and written language would be insufficient to gauge the complexity of the meaning-making process undertaken by the young poet. [ABSTRACT FROM AUTHOR]

This paper gives an account of the establishment of the Muckross Music Collection project in 1980 and of the author’s participation as a collector for the initiative from 1983 to 1990. The paper discusses methodologies and approaches adopted by the organizers for the collecting and the cataloguing of the materials. The account of the processes and encounters involved in fieldwork provides insights into motivations, expectations and results. The large number of musicians in a small area around Listowel in North Kerry revealed a rich ground for the collection of music. Likewise, repertoire varied according to individual and district. Narratives accompanying the tunes abounded. Players understood the importance and prestige of the project and that their music, largely unrecorded previously, would be preserved for the future. Sometimes the collector missed an opportunity due to a musician’s death. The paper indicates the value of this collection for future research projects on the history and ethnography of Irish traditional music in the twentieth century. [ABSTRACT FROM PUBLISHER]

This work focuses on the topic of melodic characterization and similarity in a specific musical repertoire: a cappella flamenco singing, more specifically indeblaandmartinetestyles. We propose the combination of manual and automatic description. First, we use a state-of-the-art automatic transcription method to account for general melodic similarity from music recordings. Second, we define a specific set of representative mid-level melodic features, which are manually labelled by flamenco experts. Both approaches are then contrasted and combined into a global similarity measure. This similarity measure is assessed by inspecting the clusters obtained through phylogenetic algorithms and by relating similarity to categorization in terms of style. Finally, we discuss the advantage of combining automatic and expert annotations as well as the need to include repertoire-specific descriptions for meaningful melodic characterization in traditional music collections. [ABSTRACT FROM PUBLISHER]

This note provides a brief introduction toAdvance, a project currently being tracked and documented by a research team from the Royal Central School of Speech and Drama. I am joined by Dr Katharine Low and Dr Sarah Grochala who bring their separate expertise and interest in documenting practices from applied theatre, playwriting and performance to our collaboration with industry partners Tonic Theatre. Funded by the Paul Hamlyn Foundation,Advanceis working with (and for) 11 leading theatre companies across England, facilitating reflection and knowledge exchange on the means to achieve greater gender equality in the theatre industry’s workforces and repertoires. A full report on Tonic’s work throughAdvancewill be published later in the year. What follows is not, therefore, an assessment but a pause in the process of critical documentation, a reflection on the terms by which questions on the present project, and projects undertaken within the recent past, might be seen to interact. It hopes to link to earlier key moments, to raise queries and to take notes from colleagues, who are cordially invited to respond to meGilli.Bush-Bailey@cssd.ac.ukrather than to Tonic Theatre or the participating companies. For a list of these companies seehttp://www.tonictheatre.co.uk/our-work/initiatives/advance.php. [ABSTRACT FROM AUTHOR]

Departing from a brief evocation of the late Kazuo Ohno's dancing in Just Visiting this Planet (Peter Sempel's cult film from the early 90s), and taking a closer look at Ohno's “Workshop Words,” this essay offers a series of brief poetic meditations on the dancing body in butoh through the “un-seeing eyes” of the feet, as a tribute to the co-founder of Japanese modern dance who passed away last year. When Ohno admonished the dancers at the beginning of a workshop: “Don't look with your eyes, don't look!”, he was suggesting that we focus our awareness, and attention to the world, on the entirety of the core of body and soul as sensory receptor organs. This method, not unlike Antonin Artaud's struggle with the hierarchical organization (organism) of the theatre and the human body, deconstructs conventional perception and looking out. It shifts attention to the necessity of “looking” with the underside of the foot, transforming feet into eyes or into receptors which, like animal or insect reflexes, react to a boundless universe, the tactile senses replacing the need to see as we imagine the sky underneath the toes. It also suggests, as a metaphysical principle, a downward, dissolving direction. The meditations further explore the “Artaud Method” – recently introduced by dancers who trained with Ohno and Hironobu Oikawa, offering introspective insights into a perceptual, cosmological and metaphysical performance morphology – and Biyo Kikuchi's dance From Listening, adding cross-references to the beginnings of Hijikata's Ankoku Butoh and the paradoxes of “un-dancing” (trance performance, psychedelic vitalism and animalism, the foot stamping choreomania of marginalized folk traditions such as Salentine tarantism, Min Tanaka’ ascetic pedagogy and the demanding theatrical technique taught by Tadashi Suzuki whose interest lies in the articulations of animal energy with rigorous emphasis on feet and ground [ABSTRACT FROM PUBLISHER]

The piano repertoire preparation of three undergraduate students at three different academic levels - the first, fifth and eighth semesters - was followed during an academic semester. A phenomenological approach was used to collect data in three stages: an introductory interview, observations of the repertoire under preparation and a final observation of the student's recall about his/her study process. In these steps, four complementary research techniques were employed: a semi-structured interview, observation of video recordings of repertoire performances, an unstructured interview about the repertoire under preparation and a recall-stimulated interview in which the student reflected on audio and video recordings of his/her performance. Data were analysed from an Aristotelian perspective with the concepts of theoretical knowledge (theoria), productive knowledge (poiesis and/or techne) and practical knowledge (praxis). During the piano repertoire preparation, the students were found to use strategies that differed in purpose and nature. In terms of purpose, strategies aimed to survey and self-regulate the quality of their piano practice. In terms of nature, strategies could be classified as creative (poiesis) or learned actions (praxis) within Aristotelian philosophy. The study of these three cases showed that students' actions were related to previous experiences including academic history. On the other hand, some activities emerged independently of academic background and seemed to reflect individual predispositions for solving the problems faced during repertoire preparation. [ABSTRACT FROM AUTHOR]

From early May to the end of July 1925 the violin virtuoso, Fritz Kreisler, toured Australia and New Zealand giving recitals in major cities to overwhelming audience and critical acclaim. Demand for tickets was so strong that an additional fifteen concerts were added to the tour even while it was underway. This article provides the first comprehensive account of Kreisler's Australasian tour detailing the repertoire performed and considers evidence for the impact of this repertoire and of Kreisler himself on local performance scenes. The role of the media in shaping Kreisler's reception is explored, focusing on pervasive quasi-religious imagery that painted Kreisler as a cultural 'knight in shining armour' for the Antipodes. [ABSTRACT FROM AUTHOR]

Complementing existing literatures on agency, I suggest a fuller engagement with the work of Judith Butler to emphasize the embodied practices of performative repertoires as a critical source of judgment and invention. Putting Butler into conversation with James Scott's concepts of public and hidden transcripts, this essay helps explain how subjects productively negotiate the discursive circuitries of their domination to make life more livable. To contextualize the argument, I analyze the actions of Debbie Mayne, a maleto- female transsexual, who prompted her own arrests to resist legal interpellations discordant with her own sense of self. [ABSTRACT FROM AUTHOR]

In this paper, the notion of ‘doing boy’ through performance is explored. The point is made that singing is a potential gender performance but the treble voice of the 8‐year‐old to 14‐year‐old boy is a biologically determined as well as socially constructed feature of young masculinity. A complication is the degree to which the boy's treble voice is traditionally associated with sacred music. Recent attempts at widening participation in singing by cathedrals are evaluated for their potential to increase male participation in the arts through more eclectic forms of repertoire and the sharing of musical expertise. The under‐representation of males is seen as a problem in the study and boys' choices not to sing during the 8–14 years because of uncertainty about the gendering of the high voice is presented as the major issue. Different sexualities can attach to vocal performance by young males, and these are explored. The changed voice of the ‘boy band’ is associated with explicit performances of heterosexuality in the tradition of hegemonic masculinity. The unchanged treble voice, through its strong association with sacred music, can represent innocence, but such innocence may be related to other forms of masculinity than the hegemonic type. This makes for continued ambivalence over whether boys' singing is a ‘hard’ or ‘soft’ form of masculinity. [ABSTRACT FROM AUTHOR]

Looks at impulses in director Michael Blakemore's work, self effacement and self fashioning. Directing work of Blakemore; Approach to directing; Analysis of Blakemore's works; Impact of Blakemore on the modern English language repertoire.

Talks about the historical role of performances as vessels in the transmission of the contemporary repertoire.

The article discusses the reform of theater in eighteenth-century Germany to illustrate the link between cultural policy and the welfare state. According to Charles Tilly, repertoire is one that designates an inventory from which collective individuals or agents may draw the possibilities of joint action. Information on the historical production of repertoires and welfare logic is presented. In the mid-17th century, territorial princes once again took up the administrative regulatory techniques of the police, inherited from the imperial chancelleries and applied them to a wide array of social problems.

Comments on the European music business. Regulation of royalty collection; Trend to local repertoire; Stance of music producers and publishers.

Compares the theater scene of Great Britain with other countries. Differences in theater attendance among European countries; Diversity and innovativeness in repertoire between countries; Variation in policy toward theater across countries.

This is a study of opera as a performing arts organization. The concept of market is used to explain the selection of repertoire. The box office—an expression of client-centeredness— acts to constrain repertory selections, and affects the content and style of opera production in the United States. [ABSTRACT FROM AUTHOR]