...Harvard Management Communication Letter A NEWSLETTER FROM HARVARD BUSINESS SCHOOL PUBLISHING TOOLS, TECHNIQUES, AND IDEAS FOR THE ARTICULATE EXECUTIVE Article Reprint No. C0302A Stand Up and Throw Away the Script by Susan G. Parker Harvard Management Communication Letter A NEWSLETTER FROM HARVARD BUSINESS SCHOOL PUBLISHING TOOLS, TECHNIQUES, AND IDEAS FOR THE ARTICULATE EXECUTIVE Harvard Management Communication Letter Subscriptions Harvard Management Communication Letter Subscription Service Center P.O. Box 257 Shrub Oak, NY 10588-0257 Phone: U.S. and Canada, (800) 668-6705 Outside the U.S. and Canada, (617) 783-7474 Fax: (914) 962-1338 Web: http://hmcl.harvardbusinessonline.org American Express, MasterCard, Visa accepted. Billing available. Harvard Management Communication Letter Custom Reprints Please inquire about our custom service and quantity discounts. We will print your company’s logo on the cover of reprints or collections in black and white or two-color. The process is easy, cost-effective, and quick. Phone: (617) 783-7626 or Fax: (617) 783-7658 Permissions For permission to copy or republish, please write or call: Permissions Department Harvard Business School Publishing 60 Harvard Way Boston, MA 02163 Phone: (617) 783-7587 For a print or electronic catalog of HBSP publications, please contact us: Harvard Business School Publishing Customer Service 60 Harvard Way Boston, MA 02163 Phone: U.S. and Canada, (800) 668-6705 Outside the U...
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...points. At multiples times, he reached inside the piano and touched out bass notes directly on the strings like a bassist usually does on his own instrument. That was really amusing for the audience. Some of Bojan Z's tune were played through a couple of effects boxes (one of which as a digital delay) and occasionally on a xenophone, an electronic keyboard of his own design. His jazz technique is redoubtable, to be sure, and his solos scorch the air, along with his fingers never waver. For a few tracks, the melodies usually hides inside continuous ranges of improvisation, served more as bones inside a body of sound, more like supportive structures than flashy facades. In the third track of the night, Josh and Bojan together played a unison melody as a recurring interlude between trombone improvisations. The melody helps divided Bojan’s solo into ranges of increasing intensity, and filled to his impassioned improvisation a beautifully sense of...
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...Comedy Pigs Paper Improvisation seemed hard at first when watching it in the class room on the DVD that professor Brady showed us. But the comedy pigs demonstrated something less complicated and more relatable too. I was thrown off immediately when I saw the little mermaid set up in the background of the stage but I did not let it throw me off completely. Unlike our class, the comedy pigs held a heavier cast than we did. While we only held six people in our group "Fuck it Bucket", the comedy pigs had about ten people I would say. I am not sure if they played any warm up games in the back or if they even need too but they came out quickly explaining everything and performing as if it was second and nature to them. After many years of doing improvisation, I am sure that you become accustom to all the games or exercises that a group may do. I am still getting good at games we introduced later or in the middle of the semester. But the comedy pigs were great and in a small way, a bit of an inspiration to continue acting no matter where I may end up. The many games they played that were perfectly played improvised made me feel more interested in furthering my knowledge with acting and improvising. Like any other improvisation group, they walked out and gave a warm welcoming as the comedy pigs. The games they played were nothing like the games we played in class and I believe that is because they have more experience. We are new to the event of improvisation while they have done...
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...Contemporary dance company in Australia The ease of movement promoted by contemporary dance technique means that is it accessible for beginners as well as allowing experienced dancers to push new boundaries of body movement. Partners can improvise using the natural movement of the body, characterized by weight exchange, fluid movement and touch . 'Contemporary dance' has different meanings in different places. Different terms are used: modern dance, post-modern dance, 'new' dance, experimental dance, dance improvisation and contact improvisation as well as other terms in different languages. It is not contemporary artists and companies working in the fields of classical ballet, modern ballet, jazz dance, show dance or other forms of popular dance. Contempraroy is one of the most biggest dance company and it included lots of people that work for them some of them are : Desire Choreography Lisa Wilson Music by Matt Cornell and Paul Charlier Music edited by Matt Cornell Cast Emily Amisano, Juliette Barton, Lachlan Bell, Thomas Bradley, Richard Cilli, Janessa Dufty, Bernhard Knauer Fanatic Concept Sam Haren, Steve Mayhew, Larissa McGowan Choreography Larissa McGowan Dramaturg Sam Haren Sound Construction Steve Mayhew Cast Natalie Allen, Bernhard Knauer/Chris Aubrey, Thomas Bradley Yield Choreography by Emily Amisano Music by Fourtet, Seekae, Gold Panda Music mixed by Grayson James Cast Lachlan Bell, Juliette Barton, Richard Cilli, Janessa Dufty Dream Lucid ...
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...instrumеntal music such as symphony, concеrto, sonata еtc. for instancе in thе concеrt Olympic fanfarе thеmе 1984, it usеs thе form of chambеr orchеstra. This also appliеs for Amparito roca. Somе of thе concеrts without conductors such as bееtlеs lovе and buglar’s holiday can qualify for string orchеstra Sociеty Most of thе classical music acts as a background music in moviеs, tеlеvision programmеs, advеrtisеmеnts and еvеnts. Likе Circlе for lifе is thе background music for Lion king cartoon. Thе Amparita roca is thе thеmе song for Olympic gamеs Litеraturе This is thе charactеristic which makеs classical music to bе outstanding. This is bеcausе its rеpеrtoirе tеnds to bе writtеn down in musical notations. Also, improvisation of classical music has sееn many advancеs in this gеnrе. Classical music has...
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...The effects of music on children and young people. 1. The effect of music on IQ Campabello, Nicolette; De Carlo, Mary Jane; O'Neil, Jean; Vacek, Mary Jill Music Enhances Learning. Dissertations/Theses; Tests/Questionnaires. 2002 An action research project implemented musical strategies to affect and enhance student recall and memory. The target population was three suburban elementary schools near a major midwestern city: (1) a kindergarten classroom contained 32-38 students; (2) a second grade classroom contained 23 students and five Individualized Education Program (IEP) students; and (3) a fifth grade classroom. Students exhibited difficulty recalling facts and information in a variety of subject areas evidenced through an inability to gain mastery of grade level skill areas. Research suggests that young students have difficulty understanding concepts and lack the ability and desire to learn. A successful program needs to be developed to teach these concepts. A review of solution strategies suggests that the following musical techniques proved to be helpful for increasing student recall because the songs helped with phonemic training, mnemonics, setting desired skills to familiar tunes, and linking connection to cultural themes. Research has shown that preschool children taught with an early exposure to music through games and songs showed an IQ advantage of 10 to 20 points over those children taught without exposure to the songs. In the same study, students at age...
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...Drama Improvisation Journal 1. I enjoyed many of the games and activities that we did during the improvisation unit. These games were enjoyable to me because there was a lot of freedom to express different ideas through improvisation Also, I was able to work together with other people that I would normally not work with 2. There were a few obstacles that made my experience with the improvisation unit slightly difficult. First of all, it was hard to come up with ideas without any time to think. Also, sometimes it was challenging to prolong certain scenes. This is due to the fact that I would either run out of ideas or have ideas that would end the scene. Finally, it was somewhat challenging to stay within limits at times. This may have been...
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...“They frankly admit, however that they feel completely at sea when it comes to understanding how a piece of music is made”. Alan Copland stated this in his book, What to Listen for in Music, and I couldn’t agree more. So to better understand his teachings, I listened to two different musical pieces and shared my thought of how they were art rather than entertainment. “It must be nice” by Lyfe Jennings is the first song I listened to and the instrumental really caught eye. “Why a good melody should have the power to move us has thus far defied all analysis”. Before distinguishing the musical elements of the piece, I let the music move my emotions around. The beginning tempo was slow starting which made me relax but the song gets close to the ending it becomes faster and more powerful. The element that I thought had a hidden meaning was the beat, unified clapping of the hands. The song is about having a person to trust and love and the clapping of the hands at the same pace signifies togetherness in a relationship. Besides the words stating the meaning of these songs, the rhythm and melody behind it exposed it as well. The next type of music I listened to is abstract and feels like a bunch of different random people came together and started playing. This type is called Gamelan referring to many different kinds of Indonesian musical groups. The melody is basic and fixed with a repeating beat of instruments. “The reader probably realizes by now that, along with composers, he...
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...The main protagonist of Ralph Ellison invisible man is not the only one who remains unseen as the novel unfolds. Another element also cloaked in invisibility follows our unknown character throughout the novel, changing both beat and tempo as the novel develops. Rather like the invisible man, the ongoing musical beat that runs through out the invisible man’ may not be visible yet it is very clearly felt and heard. It is the distinct incorporation of the inflowing musical beat that allows for an interloping of ideas based upon the visible, the invisible and the creative with the novel. The main theme within the ‘invisible man’ is that of the more obvious theme of invisibility. Ellison explores through the use of music such as in the form of jazz the moments or experiences where invisibility takes control. Such breaks in visibility signify a chance for the protagonist to escape and break the mould of the what can be called ‘constitutional visibility’ allowing for the exploration of ones own identity and individuality. An individuality and identity that is not in any way restricted to what is generally accepted as visible. Our Guarantee To You No Quibble Money Back Guarantee! We are so confident in our ability to produce top level academic work that we are prepared to back it with a "No Quibble, Money Back" guarantee! Such breaks that allow for such explorations to take place within the novel can be seen from the very beginning where in the prologue the protagonist recalls...
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...compositions and improvisations. Waters focuses on a set of studio recordings, calling attention to details in the music through description and transcriptions in argue for another way of hearing the music. Throughout, Waters distinctively displays the collaborative element of the group’s ongoing musical motives during improvisation. The interactions between each player during the transition of each passage, gives way to the combined musical practice, in which one improvised solo evolves to the next. Waters demonstrates how the Quintet’s recordings embrace the group’s connection between hard bop and avant-garde. The combining of these two genres played a huge role in the definitive influence of the Quintet’s music. Waters also explores various improvisational and accompaniment techniques through the use of motives, structure and form in improvisation....
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...Essays on Service Improvisation Competence: Empirical Evidence from The Hospitality Industry A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Management by Enrico Secchi August 2012 Accepted by: Dr. Aleda V. Roth, Committee Chair Dr. Thomas A. Mroz Dr. Gulru Ozkan Dr. Rohit Verma Abstract This dissertation explores the service design antecedents and the performance outcomes of Service Improvisation Competence (Serv–IC)—the ability of service employees to deviate from established processes and routines in order to timely respond to unexpected events, using available resources. Service operations and strategy research have strongly highlighted the importance of possessing flexibility in order to face the uncertainty derived from the interaction with the external environment (Tansik and Chase 1988, Eisenhardt and Tabrizi 1995, Brown and Eisenhardt 1998, Frei et al. 1999, Menor et al. 2001, Frei 2006). An important component of the ability of service firms to adapt to customer requests, expectations, and needs rests in the systemic ability of frontline employees to creatively adapt to the challenges posed by the constant struggle to satisfy customers. This dissertation is composed of three essays. In Essay 1, we build the theoretical framework necessary to advance a theory of Service Improvisation Competence, and we propose a nomological network that links service delivery...
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...that jazz is meant to be felt rather than thought about. The purpose of improvisational music is to provide a framework for musicians to display unique creative ideas through spontaneous improvisation, and in doing so, communicating with the audience in a way that other genres of music simply...
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...can change every couple of years similar to fashion styles. Similar to fashion styles, musical styles return well after they were introduced and phased out. When considering the links between a classical solo concerto and a mid 20th century jazz piece with improvisation, right off the bat, you may not think there are any, however, there are multiple unique links that the two have in common. One may think that there are no links within these...
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...a period of over a hundred years, encompassing a very wide range of music, making it difficult to define. Jazz makes heavy use of improvisation, polyrhythms, syncopation and the swing note,[2] as well as aspects of European harmony, American popular music,[3] the brass band tradition, and African musical elements such as blue notes and African-American styles such as ragtime.[1] Although the foundation of jazz is deeply rooted within the black experience of the United States, different cultures have contributed their own experience to the music as well. Intellectuals around the world have hailed jazz as "one of America's original art forms".[4] As jazz spread around the world, it drew on different national, regional, and local musical cultures, which gave rise to many distinctive styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collectivepolyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music towards a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The 1950s saw the...
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...1. Modal improvisation involves the relationship between chords and scales. The term, modal, comes from the Arabic term maqam. As to modal, “each maqam consists not only of a scale but also of specific melodic forms, moods, and other non-musical associations”(255). Modal improvisation is primarily a compositional form of performance. The improvisation does not mean a player can play whatever they would like. Instead, it allows the performer to compose, within strict boundaries, while playing. There are actually fully written ensemble compositions out there without improvisation. The compositions are still considered modal improvisation because the compositions still follow the conventions of maqam. 2. Islamic Call to Prayer and Jewish biblical cantillation are not considered “music” of “singing,” because of sensuality. Islam believes music is overly sensual. Islamic Call to Prayer does have definite pitch, rhythm, and contour. However, Islam does not think of Call to Prayer as sensual, but “as heightened speed or ‘holy’ speech, delivered in a style requiring both declamation and the spinning out of syllables”(248). Full-fledged singing is often forbidden for Judaism because of sensuality. To get around full-fledged singing, Judaism uses the term cantillation. Cantillation is thought of as a heightened speech that is between speaking and singing. Even if a cantillation has a melody, it is still not referred to as “singing.” 3. There are many factors...
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