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(1 - 13 of 13)
- Title
- AN INVESTIGATION OF THE EFFECTS OF SPEAKERS' VOCAL CHARACTERISTICS ON RATINGS OF CONFIDENCE AND PERSUASION.
- Creator
-
Montrey, John, Pryor, Albert, University of Central Florida
- Abstract / Description
-
This experiment furthered previous research on perceptions of speakers as a function of various vocal characteristics. A low relevance passage was recorded by male and female speakers, simulating voices of orotund, thin, thoaty, flat, breathy, as well as rate and pitch variations, so as to determine effects on persuasiveness and confidence. Main effects were found regarding gender across all vocal characteristics. While an orotund voice produced predominately positive effects of ratings of...
Show moreThis experiment furthered previous research on perceptions of speakers as a function of various vocal characteristics. A low relevance passage was recorded by male and female speakers, simulating voices of orotund, thin, thoaty, flat, breathy, as well as rate and pitch variations, so as to determine effects on persuasiveness and confidence. Main effects were found regarding gender across all vocal characteristics. While an orotund voice produced predominately positive effects of ratings of speakers' confidence and persuasiveness, a breathy effect elicited negative ratings. The male speaker was judged more harshly than the female speaker when the vocal characterization departed from the norm.
Show less - Date Issued
- 2005
- Identifier
- CFE0000902, ucf:46750
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0000902
- Title
- "THE GIRL IN 14G:" ANALYZING SOLUTIONS FOR VOCAL ISSUES THROUGH VOCAL PEDAGOGY.
- Creator
-
Pires-Fernandes, Catherine, Chicurel, Steven, University of Central Florida
- Abstract / Description
-
The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three...
Show moreThe intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer's responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting point for students and teachers to satisfy their own vocal curiosity and exploration.
Show less - Date Issued
- 2014
- Identifier
- CFH0004610, ucf:45320
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004610
- Title
- THE ROLE OF ANXIETY IN MENTAL TUMBLING BLOCKS.
- Creator
-
Thompson, Shannon, Jensen, Bernard, University of Central Florida
- Abstract / Description
-
Mental tumbling blocks are a problem in sports such as cheerleading where the athlete has an unexplained fear related to performing a skill that has been previously executed successfully. The current study compared participants with and without a mental tumbling block on self-report measures of anxiety and on vocal analysis data indicating if anxiety or fear is present. Participants were female cheerleaders who ranged in age from 10 to 16 years old. The Sport Anxiety Scale-2 (SAS-2; Smith,...
Show moreMental tumbling blocks are a problem in sports such as cheerleading where the athlete has an unexplained fear related to performing a skill that has been previously executed successfully. The current study compared participants with and without a mental tumbling block on self-report measures of anxiety and on vocal analysis data indicating if anxiety or fear is present. Participants were female cheerleaders who ranged in age from 10 to 16 years old. The Sport Anxiety Scale-2 (SAS-2; Smith, Smoll, Cumming & Grossbard, 2006) and the Cheerleading Fear Inventory (CFI; modified from Cartoni, Minganti, and Zelli, 2005) were used in addition to vocal analysis measures assessing pitch and intensity. These vocal analysis measures were taken under two conditions while the cheerleader was interviewed (1) about tumbling and (2) about school. Results indicated that athletes with a mental block reported higher somatic anxiety, concentration disruption, and overall anxiety on the SAS-2 than participants who did not have a mental tumbling block. Similarly, athletes with a mental tumbling block reported higher scores on the CFI than athletes without a mental tumbling block. In addition, athletes with a mental tumbling block showed higher pitch on the vocal analysis measure than athletes without a mental tumbling regardless of interview condition. Finally, several significant correlations emerged between scores on the SAS-2, the CFI, and the vocal analysis measures. These results are discussed in terms of the existing literature, and practical suggestions are offered that may help coaches understand how to effectively handle mental blocks at practice.
Show less - Date Issued
- 2013
- Identifier
- CFH0004451, ucf:45129
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004451
- Title
- EFFECTS OF INPUT MODALITY AND EXPERTISE ON WORKLOAD AND VIDEO GAME PERFORMANCE.
- Creator
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Kent, Travis, Sims, Valerie, University of Central Florida
- Abstract / Description
-
A recent trend in consumer and military electronics has been to allow operators the option to control the system via novel control methods. The most prevalent and available form of these methods is that of vocal control. Vocal control allows for the control of a system by speaking commands rather than manually inputting them. This has not only implications for increased productivity but also optimizing safety, and assisting the disabled population. Past research has examined the potential...
Show moreA recent trend in consumer and military electronics has been to allow operators the option to control the system via novel control methods. The most prevalent and available form of these methods is that of vocal control. Vocal control allows for the control of a system by speaking commands rather than manually inputting them. This has not only implications for increased productivity but also optimizing safety, and assisting the disabled population. Past research has examined the potential costs and benefits to this novel control scheme with varying results. The purpose of this study was to further examine the relationship between modality of input, operator workload, and expertise. The results obtained indicated that vocal control may not be ideal in all situations as a method of input as participants experienced significantly higher amounts of workload than those in the manual condition. Additionally, expertise may be more specific than previously thought as participants in the vocal condition performed nearly identical at the task regardless of gaming expertise. The implications of the findings for this study suggest that vocal control be further examined as an effective method of user input, especially with regards to expertise and training effects.
Show less - Date Issued
- 2011
- Identifier
- CFH0004122, ucf:44877
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004122
- Title
- ANTON CHEKHOV:THE CHARACTERIZATION AND INTERPRETATIONOF A HISTORICAL FIGURE FOR THE STAGE.
- Creator
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gALLANT, Alan, Seay, Donald, University of Central Florida
- Abstract / Description
-
ABSTRACT This thesis will explore the execution of the monograph role of "Anton Chekhov" in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the...
Show moreABSTRACT This thesis will explore the execution of the monograph role of "Anton Chekhov" in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the original script with endnotes and a structural analysis. Social and historical background of the character, Anton Chekhov, a real person, is presented. This background includes the history as it pertains to Anton Chekhov and the national mindset in pre-revolutionary Russia. This background is integral in not only the development of the character, but also of the script which supports the character. Much of what is contained in the script is from correspondences, anecdotes, and written material from and about Anton Chekhov. These materials will be used as interpretive tools in the development of the character, and includes clues to physical appearance and personality. The character analysis contained herein is, in part, a reflection of these historical and environmental concerns. In addition, external and internal portrayal and the means used to achieve them are discussed. These means include physical and vocal techniques for the stage in conjunction with the use of emotional recall, behaving "as if," and being emotionally and energetically present for the acting partner. Since this is a "one man show," the acting partner will take the form of the audience as other or confidante. This phenomenon, and its effect on the performance, is included in the written thesis. The acting approach in execution of the monograph will also be reflected in a journal, which will contain a record of the successes, challenges, choices and adjustments made in the rehearsal/performance process. Included among these will be the various adjustments made in order to achieve a higher level of spontaneity in movement and transition, and how this semi-improvisational approach aided in adjusting to each unique audience in performance. Analysis will be provided by members of the committee. Dr. Julia Listengarten and Mark Brotherton will submit performance analysis, while the committee chair, Dr. Donald Seay will also provide rehearsal reports. Script work on An Evening with Anton Chekhov will begin in October of 2005, with rehearsals commencing on February 6, 2006. Two performances will be given at the Black Box theatre on the campus of UCF on Monday, February 27, and Tuesday February 28, 2006.
Show less - Date Issued
- 2006
- Identifier
- CFE0000961, ucf:46722
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0000961
- Title
- RECONSTRUCTING THE VOCAL CAPABILITIES OF HOMO HEIDELBERGENSIS, A CLOSE HUMAN ANCESTOR.
- Creator
-
Stanley, Austin Blake, Starbuck, John, University of Central Florida
- Abstract / Description
-
The discovery of 5,500 Homo heidelbergensis fossil specimens at the Sima de los Huesos archaeological site in Spain has opened up the opportunity for research to be conducted on the vocal capabilities of this species. Previous research has revealed that the range of vowel sounds an individual can produce, known as the vowel space, is directly affected by the dimensions of the vocal tract. The vowel spaces of two hominins, Homo sapiens and Homo neanderthalensis, have been reconstructed through...
Show moreThe discovery of 5,500 Homo heidelbergensis fossil specimens at the Sima de los Huesos archaeological site in Spain has opened up the opportunity for research to be conducted on the vocal capabilities of this species. Previous research has revealed that the range of vowel sounds an individual can produce, known as the vowel space, is directly affected by the dimensions of the vocal tract. The vowel spaces of two hominins, Homo sapiens and Homo neanderthalensis, have been reconstructed through previous research. However, the vowel space of Homo heidelbergensis has not yet been reconstructed. In this research, I aim to explore how the dimensions of the Homo heidelbergensis vocal tract affect the vowel space of that species. This was pursued by measuring the craniospinal dimensions of five Homo heidelbergensis specimens through three dimensional imaging software. When measurements were unattainable due to limitations in the fossil record, regression equations were used to predict missing measurements. By doing so, the vowel space of this species was reconstructed, and crucial information into the vocal capabilities of this close human ancestor was revealed.
Show less - Date Issued
- 2018
- Identifier
- CFH2000312, ucf:45726
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH2000312
- Title
- DOES BEHAVIORAL TREATMENT FOR CHILDREN WITH SOCIAL ANXIETY DISORDER CHANGE VOCAL CHARACTERISTICS?.
- Creator
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Kroytor, Anya, Beidel, Deborah, University of Central Florida
- Abstract / Description
-
Children with Social Anxiety Disorder (SAD) characterized by persistent shyness and anxiety in social or performance situation, exhibit social skills deficits. These deficits include difficulty initiating conversations, maintaining eye contact, and taking turns when speaking, which in turn leads to impairments in their daily interactions and development of peer relationships (Greco, 2005; Miers, 2010). Although there are many subjective assessments for treatment outcomes for children with SAD...
Show moreChildren with Social Anxiety Disorder (SAD) characterized by persistent shyness and anxiety in social or performance situation, exhibit social skills deficits. These deficits include difficulty initiating conversations, maintaining eye contact, and taking turns when speaking, which in turn leads to impairments in their daily interactions and development of peer relationships (Greco, 2005; Miers, 2010). Although there are many subjective assessments for treatment outcomes for children with SAD, in order to become more thorough and effective when assessing treatment outcomes, more objective measures of actual behaviors are needed. This study uses digital vocal analysis to examine vocal parameters associated with anxiety such as pitch and volume in children with SAD pre and post treatment. Measuring vocal parameters during role-play behavioral assessment tasks allowed us to examine whether the software was capable of detecting differences in vocal characteristics that are consistent with the clinical presentation of the disorder. Children with SAD showed differences in vocal characteristics pre to post treatment, in regards to pitch, pitch variability, volume, and volume variability. There were significant changes in volume pre to post treatment, however the changes in pitch, pitch variability, and volume variability were not significant. These results suggest that post SET-C treatment, certain vocal characteristics, (one of the social skills deficits exhibited by children with SAD) improved. Implications of the findings are discussed.
Show less - Date Issued
- 2012
- Identifier
- CFH0004148, ucf:44819
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004148
- Title
- JERRY HERMAN'S LEADING LADIES.
- Creator
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Mansell, John, Wuehrmann, MFA, Nicholas, University of Central Florida
- Abstract / Description
-
Jerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÂÂ's presence. I was cast in the musical revue, ItÂÂ's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver...
Show moreJerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÂÂ's presence. I was cast in the musical revue, ItÂÂ's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver. My portion of the revue explored HermanÂÂ's leading male roles of Cornelius from Hello, Dolly!; Mack from Mack and Mabel; Colonel Tadeusz Boleslav Stjerbinsky from The Grand Tour; and Albin from La Cage aux Folles, My analysis of these specific leading male roles uncovers how their relationships with their leading ladies defines their character in each of the musicals for which they were written. It also helped me define multiple characters in the course of a revue with no plot or storyline. Though all these male characters provided me with challenges, my greatest task was defining Albin in La Cage aux Folles. He provides a unique perspective in that he exemplifies a combination of both male/female characteristics. He is a man who regularly portrays a woman onstage in a drag club as well as assuming a female role in a homosexual relationship. He serves as the ÂÂ"leading ladyÂÂ" for La Cage aux Folles though his character is considered a ÂÂ"leading manÂÂ" role. He is the consummate representation of all Jerry Herman leading roles, and embodies many of the themes Herman utilizes in all his work.
Show less - Date Issued
- 2010
- Identifier
- CFE0003017, ucf:48346
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003017
- Title
- FATHERS' LANGUAGE INFLUENCE ON THEIR SIX-MONTH-OLD INFANTS' VOCALIZATION DURING FREE-PLAY.
- Creator
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Xia, Lu, Culp, Rex, University of Central Florida
- Abstract / Description
-
Data for this study were derived from videotapes of 26 father-infant dyads, specifically from a five minute period of free-play. The first step was the creation of a literal transcription of the father-infant dyads interaction. Subsequently, nine variables of fathers' language characteristics and one infant characteristic were coded employing the literal transcriptions and observing the videotapes. The fathers' language variables were number of : (1) father utterances, (2) father...
Show moreData for this study were derived from videotapes of 26 father-infant dyads, specifically from a five minute period of free-play. The first step was the creation of a literal transcription of the father-infant dyads interaction. Subsequently, nine variables of fathers' language characteristics and one infant characteristic were coded employing the literal transcriptions and observing the videotapes. The fathers' language variables were number of : (1) father utterances, (2) father words, (3) father contingent responses, (4) father teaching utterances, (5) father descriptive teaching utterances, (6) father directive teaching utterances - making commands, (7) father directive teaching utterance – asking questions, (8) percentage of father teaching utterances, and (9) mean length of father utterances (MLU). The infant variable was number of vocalizations. Eight out of the nine variables were positively correlated to infant vocalizations, indicating the importance of fathers input in child language development. The only negative correlation in the present study was between Mean Length of Utterance (MLU) and infant vocalizations and the possible reasons are discussed. The findings support the idea that there are positive relationships between fathers' language characteristics and infant vocalizations. Recommendations are made that fathers should be involved in early intervention programs.
Show less - Date Issued
- 2010
- Identifier
- CFE0003229, ucf:48553
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003229
- Title
- Social Skills and Social Acceptance in Childhood Anxiety Disorders.
- Creator
-
Scharfstein, Lindsay, Beidel, Deborah, Rapport, Mark, Sims, Valerie, University of Central Florida
- Abstract / Description
-
The present study examined the social skills and social acceptance of children with SAD (n=20), children with GAD (n=18), and typically developing (TD) children (n=20). A multimodal assessment paradigm was employed to address three study objectives: (a) to determine whether social skills deficits are unique to children with SAD or extend to children with GAD, (b) to assess whether skills vary as a function of social context (in vivo peer interaction Wii Task versus hypothetical Social...
Show moreThe present study examined the social skills and social acceptance of children with SAD (n=20), children with GAD (n=18), and typically developing (TD) children (n=20). A multimodal assessment paradigm was employed to address three study objectives: (a) to determine whether social skills deficits are unique to children with SAD or extend to children with GAD, (b) to assess whether skills vary as a function of social context (in vivo peer interaction Wii Task versus hypothetical Social Vignette Task) and (c) to examine the relationship between anxiety diagnosis and social acceptance. Parent questionnaire data indicated that both youth with SAD and GAD experienced difficulties with assertiveness, whereas children with SAD experienced a broader range of social skills difficulties. Blinded observers' ratings during the behavioral assessment social tasks indicated that compared to children with GAD and TD children, children with SAD have deficits in social behaviors and social knowledge across settings, including speech latency, a paucity of speech, few spontaneous comments, questions and exclamations, and ineffective social responses. In addition, vocal analysis revealed that children with SAD were characterized by anxious speech patterns. By comparison, children with GAD exhibited non-anxious speech patterns and did not differ significantly from TD youth on social behaviors, with the exception of fewer spontaneous comments and questions. Lastly, children with SAD were perceived as less likeable and less socially desirable by their peers than both children with GAD and TD children. Clinical implications of these findings are discussed.
Show less - Date Issued
- 2013
- Identifier
- CFE0004932, ucf:49631
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004932
- Title
- BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET.
- Creator
-
Tedrick, Deborah, Wuehrmann, Nicholas, University of Central Florida
- Abstract / Description
-
Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a...
Show moreMusic and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.
Show less - Date Issued
- 2006
- Identifier
- CFE0001421, ucf:47043
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001421
- Title
- BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING.
- Creator
-
Leffner, Josephine, Wuehrmann, Nicholas, University of Central Florida
- Abstract / Description
-
Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a...
Show moreCabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
Show less - Date Issued
- 2006
- Identifier
- CFE0001422, ucf:47062
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001422
- Title
- Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms.
- Creator
-
Becker, Theresa, Hines, Rebecca, Beverly, Monifa, Hopp, Carolyn, Hamed, Kastro, University of Central Florida
- Abstract / Description
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Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little...
Show moreImprovisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and..., mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student.Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.
Show less - Date Issued
- 2012
- Identifier
- CFE0004516, ucf:49273
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004516
