Key Terms - ALL Flashcards
(178 cards)
1
Q
Synergogy - drama
A
teaching one another and learning from one another, including deciding together how to tell the story through movement.»_space;> Petersen, Michelle. “Scripture Relevance Drama.” Paper presented at the International Orality Network conference, Dallas, Texas, September 16, 2008.
2
Q
song - music
A
a composition consisting minimally of rhythm, melody, and text
3
Q
piece - music
A
a composition consisting minimally of rhythm, melody, but NO TEXT
4
Q
form - music
A
The organization of musical materials. Songs and pieces consist of patterned combinations of textual, rhythmic, and melodic segments
5
Q
phrase - music
A
A brief section of music, analogous to a phrase of spoken language, that sounds somewhat complete in itself, while not self-sufficient; A, B, C»_space;>Kay Kauffman Shelemay, Soundscapes: Exploring Music in a Changing World. (New York: Norton, 2001), 358. (CLAT, 93)
6
Q
motif - music
A
salient combination of notes; a, b, c
7
Q
timbre - music
A
The quality (“color”) of a tone produced by a voice or instrument.
8
Q
texture - music
A
the horizontal and vertical relationships of musical materials, comparable to the weave of a fabric»_space;>Willi Apel, Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1972), 842. (CLAT, 98)
9
Q
tonal center - music
A
The pitch around which the musical piece revolves. The tonal center is often the most frequent pitch in a piece and fills prominent structural roles.
10
Q
tonal inventory - music
A
All the notes used in a musical piece or genre.
11
Q
modulation - music
A
Change of tonal center or key within a composition.
12
Q
harmony - music
A
two or more notes played [or sung] together at the same time.
13
Q
contour - music
A
The characteristic (motion) shape of a melody within a musical composition.
14
Q
responsorial (call and response) - music
A
Singing in which leader and chorus alternate. ABAB. E.g., much African song.
15
Q
antiphonal - music
A
Music in which two groups sing or play alternately. E.g., Renaissance choral music, Mamaindé song teaching (Brazil).
16
Q
cyclic - music
A
a repeated pattern, but much longer than ostinato (e.g., 12 bar blues, the gong cycles of Indonesian gamelan music, and the talas of Hindustani raga)
17
Q
ostinato - music
A
continuous repeated musical motif
18
Q
strophic - music
A
a song in which all stanzas of the text are sung to the same music, in contrast to a song with new music for each stanza [through-composed].»> Willi Apel, Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1972), 811. (CLAT, 94)
19
Q
through-composed - music
A
Melodic structure with no large-scale repetition. ABCDEFG.
20
Q
progressive - music
A
Each section has completely different material. Differs from through-composed in that it has a fixed number of repetitions and the repetitions are generally shorter than through-composed. AABBCCDD, etc.
21
Q
theme and variations - music
A
A basic theme is presented and then different variations of it are subsequently presented. A A1 A2 A3 A4 A5, etc.
22
Q
litany - music
A
Consists of only one short phrase that is reiterated throughout.»>Bruno Nettl, Music in Primitive Culture (Cambridge: Harvard University Press, 1956), 69. (CLAT, 94)
23
Q
song form - music
A
the structure and organization of a musical composition
24
Q
rhythm - music
A
the whole feeling of movement in music, or the pattern of long and short notes occurring in a song.
25
meter - music
The underlying pattern of beats, by which the time span of a piece of music or a section thereof is organized.
26
aerophones - music
instruments that use a resonating vibrating column of air to sound (flute, trombones, etc.)
27
cordophones - music
instruments that produce sound from vibrating strings (harps, guitars, etc.)
28
membranophones - music
instruments that have a membrane stretched over a frame and are struck to sound (drums)
29
idiophones - music
instruments that vibrate the entire material of the instrument (cymbals, xylophones, rattles, etc.)
30
drama
"the reproduction of actions performed by people. These actions recreate former actions, or create a world of possible actions." >>>Hatcher, Jeffrey. The Art and Craft of Playwriting. Cincinnati: Story Press, 1996.
31
performance space - drama
Space where drama, music, etc., may be performed. . . specifically the area in a theatre, concert hall, etc., in which the performers act, play instruments, etc., as opposed to the area where the audience sits.
32
dramatic setting - drama
the imagined location of the story conveyed by the performers’ use of words, space, set pieces, lighting or props to evoke an imagined place and time
33
blocking - drama
the arrangement of all actors’ movements in space in relation to one another.
34
props - drama
objects used by a performer which can change location in the course of acting. Hand props are carried by actors. Set props are pieces of the scene. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.
35
costumes - drama
the clothes and makeup performers wear
36
sets - drama
arrangement of set pieces and objects (realistic, impressionistic, minimalistic, or bare)
37
realistic - drama
costumes, props, scenery, and set pieces that reproduce real life as exactly as possible
38
impressionistic - drama
costumes, props, scenery, and set pieces that are prepared in advance and give an idea of a thing without trying to reproduce it exactly.
39
minimalistic - drama
when costumes, props, scenery, and set pieces that are few and unassuming so attention is placed on other aspects of a performance.
40
improvised - drama
costumes, props, scenery, and set pieces found on hand without being prepared in advance and made to represent things that they are not by the performer’s spontaneous ingenuity.
41
mimed - drama
an absence of material; the actor’s actions cause the audience to imagine objects that are not physically present.
42
ensemble - drama
the group performing a drama
43
actor - drama
a person who portrays a character.
44
playwright - drama
a person who creates scripts for plays.
45
director - drama
the person who supervises the creative integration of all the elements of a drama and instructs the actors and crew as to their performance elements. There may be no single director in a performance, as when performers coach one another.
46
crew - drama
the people who set up, take down, change scenes, manipulate the environment during performance (e.g., lighting, sound effects), advertise, and/or manage the set, costumes, and props.
47
nonmatrixed performer - drama
a background performer who does not show character
48
foley artist - drama
a crew member who creates sound effects
49
audience - drama
the intended spectators and listeners of a performance or speech
50
spect-actors - drama
when the line between spectator and actor is blurred and the audience participates actively in the performance. (Barber, Collins, Ricard 1997)
51
fourth wall - drama
When actors speak to the audience, acknowledge they are there
52
representational depiction of reality - drama
“make believe” depiction of reality shapes stage action; onstage characters behave as if they are unaware of the audience’s presence.
However, the fourth wall is present between actors and audience but it’s just invisible.
No performer interaction with audience
53
presentational depiction of reality - drama
“breaking the wall” (make believe)
it is known as a show.
[McLaughlin 1997]—breaking the fourth wall; audience and performers acknowledge one another’s presence
[Petersen 2010]—Jula granddaughter imitating dead grandfather so visitors can address her as if she were him
54
dramatic premise - drama
the idea or message that the play is seeking to communicate by the string of events that unfold
55
metaphors - drama
an image comparing something concrete with an abstract idea.
56
image system - drama
a visual image repeated in various ways to convey an extended metaphor.
57
symbol - drama
a concrete visual object that stands for something abstract. E.g., what do the candlesticks symbolize to Jean ValJean in Les Misérables?
58
plot - drama
the series of events in a play and their structured arrangement in time. The ordering of events helps express the world view and meaning of the play
59
frame - drama
the overall purpose of an event and lets the audience know how to interpret it.
60
dialogue - drama
verbal interaction between characters
61
tempo/rate/pace - drama
how fast or slowly a performer speaks. This can either be in regard to the duration of the words, or the length of the silences between words. What does the character’s use of time say about the character? >>>Jack Frakes, Acting for Life: A Textbook on Acting (Colorado Springs: Meriwether, 2005), 52. (CLAT, 114)
62
plot structure - drama
“a selection of events from characters’ life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life.” >>>Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting (New York: HarperCollins, 1997), 33. (CLAT 108)
63
dramatic setting/imagined space - drama
the location of the story conveyed by the performers’ use of words, space, set pieces, lighting or props to evoke an imagined place and time
64
character - drama
a person represented by an actor in a drama
65
archetype - drama
the original pattern of model of a character on which later archetypal characters are based
66
dramatic intensity curve - drama
shows rise and fall of action across time >>>Buzz McLaughlin, The Playwright’s Process: Learning the Craft from Today’s Leading Dramatists (New York: Back Stage Books, 1997), 131–134. (CLAT 108)
67
realistic acting - drama
emotion is experienced onstage and not only displayed
68
brechtian acting - drama
the actor interprets a role but remains outside of the role and comments on the role or situation. Emotion is displayed. [Schechner 2006]
69
codified action - drama
A performer uses a symbol system of movements, gestures, makeup whose meanings are set by tradition and passed down from generation to generation. Background knowledge is required by audience, eg: Chinese jingju. Emotion is displayed rather than experienced.
70
costumes - dance
the clothes and makeup performers wear
71
floorplan - dance
an overhead representation of a dance performance that includes the boundaries of the space, permanent objects, and “snapshots” of dancers beginning and ending a movement pattern and their pathway to get from point A to point B.
72
space - dance
the location, demarcation, and physical characteristics of the area used for a performance, which can affect the form of artistic communication.
73
props - dance
objects used by a performer which can change location in the course of acting. Hand props are carried by actors. Set props are pieces of the scene. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.
74
addressing - dance
Acknowledging something/someone is somewhere, demonstrating conscious interaction. >>>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)
75
awareness - dance
Knowing something/someone is somewhere, demonstrating conscious perception. >>>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)
76
transient relationships - dance
Awareness and/or addressing that comes and goes throughout the performance.>>>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)
77
retained relationships - dance
Awareness and/or addressing that is maintained and sustained throughout the performance.>>>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)
78
canceled relationships - dance
Awareness and/or addressing that ends at a specific time during the performance.>>>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)
79
solo - dance
One person is moving, whether truly alone or in the midst of a nonmoving group.
80
ensemble - dance
A small group of people moving either in unison, counterpoint, or in contact with one another and/or a soloist.
81
corps - dance
A large group moving in unison, canon (dancers repeating exactly the movements of a first dancer, one after the other) or other large coordinated effort.
82
dance - dance
a composition consisting minimally of patterned movement
83
hierarchical segmentation - dance
the splitting of a performance into sequential segments, from either a top-down perspective (in other words, macro to micro), a bottom-up perspective, or a basic level-out perspective.>>>Anca Giurchescu and Eva Kröschlová, “Theory and Method of Dance Form Analysis,” in Dance Structures: Perspectives on the Analysis of Human Movement, ed. Adrienne Kaeppler and Elsi Evancich Dunin (Budapest: Akadémiai Kiadó, 2007), 21–52. (CLAT 77-79, 126).
84
total dance form - dance
The highest structural level resulting in an organic and autonomous entity through the summation of all the integrated structural units.
85
part - dance
The highest structural unit within the total dance form.
86
strophe - dance
A closed higher form that is comprised of phrases and organized according to the grouping principle.
87
section - dance
An intermediate macrostructure consisting of a linking or grouping of phrases. A one-phrase section decomposes directly into motifs.
88
motif - dance
The smallest significant grammatical sequence of movements having meaning for both the dancers and their society and for the dance genre within a given dance system.
89
chain form - dance
Movement segments that are lined up one after another, and their number and relationship is not important. Subcategories include homogeneous, vartiation, heterogeneous, and rondo.
90
grouping form - dance
Movement segments have a precise number of components set in a fixed and contrastive relationship. Subcategories include two-segment form, three-segment form, and multisegment form.
91
gravity - dance
downward force acting on a dancer
92
dab - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as direct, light, and sudden>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
93
press - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as direct, strong, and sustained>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
94
glide - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as direct, light, and sustained>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
95
slash - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, strong, sudden>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
96
float - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, and light, and sustained>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
97
wring - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, strong, and sustained>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
98
flick - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, light, and sudden>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
99
punch - dance
One of Laban’s eight EFFORT categories (effort actions) characterized as direct, strong, and sudden>>>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).
100
connectivity - dance
a set of six patterned movements that conceptualize the body as an instrument with different parts or limbs: the head, tail, two arms, and two legs, all of which are connected to the center of the torso. >>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
101
breath - dance
All movements derive from breath, but some very small movements are initiated or guided by the breath.>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
102
head-tail - dance
Connection between the head and the pelvis>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
103
core-distal - dance
Connection between the “core” and the limbs of the arms and legs—3 D; asymmetrical.>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
104
homologous - dance
Connection between the upper half of the body (head, arms) and lower half of the body (pelvis, legs)—2 D>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
105
homolateral - dance
Connection between the right side and left side of the body—2 D; symmetrical>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
106
contralateral - dance
Connection between the upper right and lower left>>>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)
107
kinesphere - dance
the area of space occupied by the dancer's body>>>
108
phrasing - dance
Movements are performed with a particular quality of energy or intensity
109
impact vs impulse - dance
Impact: sudden stop (either of strong or light accent); Impulse: outburst (either of strong or light accent)
110
accented - dance
Spurts of intensity or energy that can be repeated with pauses or stillness in between each spurt, which can be strong (such as flamenco dancing) or light (such as typing on a keyboard).
111
vibratory - dance
A series of quick and repetitive movements that can be repeated at various “wavelengths,” which can be strong (such as whole body convulsions) or light (such as a shoulder shimmy).
112
resilience (elastic, bouyant, weight) - dance
Energy that plays with gravity, emphasizing the strength or heaviness and/or the lightness or “weightlessness” of a movement.
113
effort/dynamics - dance
movement quality or engagement of effort that deals primarily with Space, Time, and Weight
114
codified/stylized [movement?] - dance
Common movements set in a particular style that often have specific names and expectations associated with it.
115
story - OVA
A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication.
116
character - OVA
any animate figure within a story
117
props - OVA
Objects used by a performer which can change location in the course of acting, including hand props and set props. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.
118
costumes - OVA
the clothes and makeup performers wear
119
performer-audience interaction - OVA
emergence, i.e., audience signs of attention/inattention/interaction which affects performers >>>Bauman, Richard. 1977. Verbal Art as Performance. Rowley, Mass.: Newbury House Publishers.
120
discourse analysis - OVA
the study of the ways in which language is used between people, both in written texts and spoken contexts
121
climax - OVA
when the central character makes a decision which will lead to a resolution of the conflict.
122
episodic - OVA
plots that contain scenes linked by theme or idea more than by actions and reactions. The series of events is not necessarily linked by cause and effect. Many history plays, myths, and folk tales are episodic.
123
poetry - OVA
a type of literature that conveys a thought, describes a scene or tells a story in a concentrated, lyrical arrangement of words.
124
proverbs - OVA
condensed, specially formed bits of wisdom
125
riddle - OVA
a question or statement intentionally phrased so as to require ingenuity in ascertaining its answer or meaning
126
narrative - OVA
A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication.
127
vernacular text - OVA
A full text transcription of an event in its original form and language.
128
word for word gloss - OVA
A literal translation into a language of wider communication.
129
free translation - OVA
A translation that is natural in the language of wider communication.
130
text density - OVA
Number of lines per verse, number of verses per poem or song, number of syllables per line, number of notes per syllable (in song).
131
Assonance - OVA
Rhyme referring to the same or similar vowel sounds in neighboring words.
132
Rhyme - OVA
The same or similar vowel sounds at the end, beginning, or middle of lines.
133
Vocables - OVA
Words without propositional meaning (nonsense words or sounds; e.g., a call, greeting, etc.)
134
ideophone - OVA
a vivid representation of sensory imagery
135
Consonance - OVA
Close correspondence of sounds
136
Alliteration - OVA
Repetition of the same or similar sounds at the beginning of words.
137
Rhythmic speech - OVA
(no def)
138
Rhetorical questions - OVA
Questions meant to persuade rather than elicit information.
139
metaphors - OVA
Figures of speech in which a word of phrase corresponds to an object or action tha tis not literally applicable
140
symbolism - OVA
the meanings behind signifiers (representations that stand for something else) in a verbal performance
141
personification - OVA
characters who represent abstract concepts
142
stereotypes - OVA
a simplified or generalized, predictable representation of a character without subtlety.
143
intro/opening formula - OVA
a phrase and/or action that serves to rouse the interest of a storytelling audience, sometimes eliciting a formal response from them as well as setting the mood for the start of the narration>>>Finnegan, Ruth. 2014. Oral Literature in Africa. World Oral Literature Series. Cambridge: Open Book Publishers. http://books.openedition.org/obp/1201.
144
poetic meter - OVA
periodic parallelism; that is, poetic lines that are primarily bound by repeated groups of musical pulses (“beats”), not by repeated groups of patterned word stresses
145
musico-poetic analysis - OVA
An analysis of song lyrics describing their rhythm, syntax, phonology, morphology, and semantics
146
emergence - OVA
audience signs of attention/inattention/interaction which affects performers >>>"Bauman, Richard. 1977. Verbal Art as Performance. Rowley, Mass.: Newbury House Publishers.
"
147
onomatopoeia - OVA
an ideophone that phonetically imitates, resembles, or suggests the sound that it describes
148
Verbal Play - OVA
A highly creative act that overlaps with other features. It is often found in storytelling by means of various semantic devices, including metaphor, allegory, metonymy, puns, humor, and so on.
149
Rhythm/pulse - OVA
This often is structured by syllables. These syllables come together in a certain number of beats or a certain pattern.
150
Text density - OVA
Number of lines per verse, number of verses per poem or song, number of syllables per line, number of notes per syllable (in song)
151
Lexical repetition - OVA
Use of the same word in more than one context
152
Homonyms - OVA
Two or more words that share the same pronunciation and spelling but with different meanings.
153
Archaic language - OVA
Words, phrases, or grammatical structures no longer used in normal speech
154
Borrowed words - OVA
Words adopted from another language.
155
visual unity - visual
An integrated message in which the various parts of the message are in harmony with the other parts: proximity, repetition, continuation, and controlled chaos, to name a few. >>>David A. Lauer and Stephen Pentak, Design Basics, 5th ed. (Stamford, CT: Wadsworth Publishing, 2002).
156
display space - visual
the area where visual images are created, displayed or used; or, the distances or areas around, between, and within components of a visual image. Space can be positive or negative, open or closed, shallow or deep, and two-dimensional or three-dimensional.
157
space - visual
the area where visual images are created, displayed or used; or, the distances or areas around, between, and within components of a visual image which can be positive or negative, geometric or organic, open or closed, shallow or deep, and two-dimensional or three-dimensional.
158
proximity - visual
A way to make separate elements look as if they belong together (visual unity) by putting the elements close together.>>>David A. Lauer and Stephen Pentak, Design Basics, 5th ed. (Stamford, CT: Wadsworth Publishing, 2002).
159
balance - visual
The distribution of the visual weight of objects, colors, texture, and space in an image so that it make the overall design feel stable. This distribution can be symmetrical, in which the parts are subjectively mirrored; asymmetrical, in which the elements have a distributed weight that is not symmetrical; or radial, in which the parts appear to balance outward from a point of origin.
160
rhythm - visual
the process of directing eye movement through an image, based on repetition.
161
proportion - visual
the relationships between visual elements, particularly with reference to relative size.
162
materials - visual
substances chosen by creators of art objects to produce the visual features they desire in their work
163
mixed media - visual
The use of different materials in the production of a visual image
164
manipulation - visual
any technique an artist uses to changes the surface or appearance of a material in a visual image
165
creation process - visual
How a visual image is made
166
subject matter - visual
the representational content of a visual image: portrait, landscape, still-life, a scene from everyday life, or narrative
167
line - visual
the path made by a pointed instrument: a pen, a pencil, a crayon, a stick. A line implies action because work was required to make it.>>>Edmund B. Feldman, Varieties of Visual Experience, 4th ed. (New York: Adams, 1992), 207.
168
shape - visual
A two- or three-dimensional area, often formed by lines, usually with defined edges or colors.
169
value - visual
The lightness or darkness of a part of an image compared to other parts of the image.
170
color - visual
The visual response to the wavelengths of light reflected from something, identified as red, blue, green, etc.
171
hue - visual
The prototypical color definition in a culture.
172
shade - visual
Darker variants of a color formed by adding varying amounts of black to the hue.
173
tint - visual
Lighter variant of a color formed by adding varying amounts of white to the hue.
174
texture - visual
the actual or implied surface quality in a work of art
175
symbolism - visual
the meanings behind visible signifiers (visual representations that stand for something else) in a visual image
176
symbols - visual
a thing that represents or stands for something else, especially a material object representing something abstract
177
signs/signifiers
| - visual
representations that have meanings beyond what they literally represent.
178
frame - visual
The purpose or intention of artist
