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| 2. |
- Edgerton, Michael
(författare)
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Pitch profile of the Glottal Whistle
- 2013
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Ingår i: Malaysian Journal of Science. - 0126-7906. ; 32:1, s. 78-85
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Tidskriftsartikel (refereegranskat)abstract
- This paper presents a previously unreported method of laryngeal vocal sound production that is capable of producing pitches even higher than the whistle register (M3). Colloquially known as the glottal whistle (here referred to as M4), this method has a wider range than M3 and features frequent instances of biphonation, which is of interest for those involved with contemporary and improvised music. Pitch profile analyses of M4 have found the majority of fundamental frequency (f0) activity to be between 1 and 3 kHz, while the most frequently seen range was between 1000 to 1,500 Hz. Remarkably, multiple singers were able to produce f0 higher than the highest tone on the piano.
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| 3. |
- Hult, Francis, et al.
(författare)
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Discursive approaches to policy
- 2017. - 3
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Ingår i: Discourse and Education. - 9783319022444 ; , s. 111-121
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Bokkapitel (refereegranskat)
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| 4. |
- Nielsen, Daria S., 1983-, et al.
(författare)
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The (Ir)replaceable Master Director – Considering the Case of the Odin Teatret
- 2020
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Ingår i: Zarządzanie w Kulturze. - 1896-8201 .- 2084-3976. ; 21:2, s. 123-134
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Tidskriftsartikel (refereegranskat)abstract
- In 2019, a call for a new director for Nordisk Teaterlaboratorium – Odin Teatret was published. This, however, did not mean that the artistic leader of the group theatre Odin Teatret, Eugenio Barba, was to be replaced completely – there is a distinction between the laboratory and the theatre. In this article, we explore the problem of the passing on legacy and tradition from one generation to another in group theatres such as Odin Teatret. We ask: (1) How would it have been possible to continue after such a visionary director retired? (2) Would the next step be continuation or something new? In search for the answers we discuss the history, method, and dramaturgy of Odin Teatret and Barba, as well as the process of generational change in the laboratory, using documents which assess the situation of the organization and analyzing Barba’s theoretical writings. We consider them in terms of transformational leadership theory. In conclusion, we deliberate on possible scenarios of the generational change in group theatres that could provide a balance between keeping the tradition and implementing the new vision.
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| 5. |
- Skjoldager-Nielsen, Kim, 1971-, et al.
(författare)
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Para-Anthropo(s)cene Aesthetics Between Despair and Beauty : A Matter of Response-Ability
- 2020
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Ingår i: Nordic Theatre Studies. - : Det Kgl. Bibliotek/Royal Danish Library. - 0904-6380 .- 2002-3898. ; 32:1, s. 44-65
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Tidskriftsartikel (refereegranskat)abstract
- The Anthropocene is gaining recognition as an epoch in Earth’s history in which mankind is changing the environment and the biosphere (Steffen et.al. 2011). Hotel Pro Forma’s visual opera NeoArctic (2016) and Yggdrasil Dance’s dance meditation Siku Aapoq/ Melting Ice (2015) explore how to aesthetically shape the ecological impact on human existence. The article discusses the performances’ impact on potential responses to the climate crisis.In NeoArctic, human activities have caused “overflow feedback”: a constant flow of digital vistas of pollution, raging weather, temperature rises alternate with the planet’s eternal processes, while underscored by ambience and operatic electro-pop. The images are front-projected onto the stage backdrop to create a literal overflow of the steadfast choir-performers, in which they almost disappear or become ghostly shadows, implying their imminent demise or insignificance on a planetary scale.Siku Aapoq engages with Greenland’s melting icecap: two dancers, Norwegian and Inuit, interact with a fabric understood as the melting ice, while enveloped in evocative lights, the crackling of glaciers, Inuit chants, ambience, and jazz. The Norwegian and the Inuit take turns enacting the ice, suggesting the interconnectedness with nature of both cultures.Both performances seem to invite acceptance of inevitable disaster. Yet, human prevalence is implied in the stagings by convergence of past and future in the present, which suggests that the future is still undecided, and survival depends on an ability to respond to the materiality of the environment that we are already entangled in through a profound sense of beauty.Theoretically, the analyses mainly draw on agential realism (Karen Barad) in order to outline a “para-Anthropo(s)cene aesthetics” that may reach beyond the human and engage spectators in realizing their ethical entanglement and the call for climate action. Considering intentions and reception, and the dystopian nature of the performances, the responses to climate change that the aesthetics may instigate are discussed.
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