{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://ualberta.aviaryplatform.com/iiif/6t0gt5gz1c/manifest","type":"Manifest","label":{"en":["Gender and Gesture Translation: Perception and Response in Choral Conducting"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/128/original/UA_Logo_WHT_RGB_%281%29.png?1725471982","metadata":[{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e\u003ca href=\"https://creativecommons.org/licenses/by-nc-nd/4.0/\"\u003eAttribution-NonCommercial-No Derivatives 4.0 International\u003c/a\u003e\u003c/p\u003e"]}},{"label":{"en":["Agent"]},"value":{"en":["Brooks, Sara (Creator)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-11-01"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThese videos correspond to Sara Brook's Fall 2016 thesis Gender and Gesture Translation: Perception and Response in Choral Conducting. These video clips are a component of the video analysis section within the thesis.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThesis abstract: \u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe full thesis for this degree consists of two concerts and a scholarly essay. The concerts, presented on March 2, 2014 and November 2, 2015 featured the following works: \u003cem\u003eGloria\u003c/em\u003e RV 589 by Antonio Vivaldi, \u003cem\u003eMass No. 2 in G Major\u003c/em\u003e D. 167 by Franz Schubert, \u003cem\u003eCantata BWV 6 – Bleib bei uns, denn es will Abend warden\u003c/em\u003e by J.S. Bach, as well as a world premiere of\u003cem\u003e I think they laugh in Heaven\u003c/em\u003e by Canadian composer Jeff Enns.  The essay explores gesture and the perception of gender in the choral rehearsal or performance, and is appropriately introduced by the following statement: “When a woman makes a certain gesture it is interpreted differently than when a man makes the same gesture.” – Marin Alsop  \u003c/p\u003e\u003cbr\u003e\u003cp\u003eMarin Alsop’s observation on a gender-specific approach to conducting invites reflection on the following question: what differences exist in the conducting gestures of male and female conductors, and how are these differences interpreted by an ensemble?\u003c/p\u003e\u003cbr\u003e\u003cp\u003eIn contemporary society, research in gendered leadership in the areas of politics, education, and business is quickly evolving. Music scholars also acknowledge stylistic differences between male and female conductors. However, gender-specific conducting techniques remain a generally under-developed topic.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe study of gender differences within the field of choral conducting requires examination of the relationships that exist between body types, physical gestures, verbal communication styles, and leadership behaviours, especially as they appear in choristers’ responses. This document initiates discussion of these topics with respect to performance and perception, and is intended to show the possible translation of study models between general social interaction and conductor-chorister interaction.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe first portion of this study provides a review of studies conducted within the twentieth and twenty-first centuries in the fields of social psychology and nonverbal communication. The selected studies successfully link the performance of gender to gesture, laying the groundwork for discussion of podium gesture and its perception. A second section of this study presents findings from analysed video footage of choral conductors (male and female) in rehearsal and survey results compiled from chorister exposure to video footage.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThis investigation embodies a rich social dimension that has been lacking in specialized scholarship on the role and impact of gender in choral conducting. An investigation of this nature not only provides insight into chorister response, but will result in a greater awareness of the gender-related gesture typology, one that can eventually lead to a deeper connection between conductor and ensemble. \u003c/p\u003e (General)"]}},{"label":{"en":["Relation"]},"value":{"en":["\u003ca href=\"https://doi.org/10.7939/R3J38KP3B\"\u003eGender and Gesture Translation: Perception and Response in Choral Conducting\u003c/a\u003e (Part of)"]}},{"label":{"en":["Subject"]},"value":{"en":["Music (Topical)","Gesture (Topical)","Choral conducting (Topical)","Gender (Topical)"]}},{"label":{"en":["Type"]},"value":{"en":["Supplementary thesis materials"]}},{"label":{"en":["Note"]},"value":{"en":["\u003cp\u003eVideos in this thesis do not have audio\u003c/p\u003e (General)"]}}],"summary":{"en":["\u003cp\u003eThese videos correspond to Sara Brook's Fall 2016 thesis Gender and Gesture Translation: Perception and Response in Choral Conducting. These video clips are a component of the video analysis section within the thesis.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThesis abstract: \u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe full thesis for this degree consists of two concerts and a scholarly essay. The concerts, presented on March 2, 2014 and November 2, 2015 featured the following works: \u003cem\u003eGloria\u003c/em\u003e RV 589 by Antonio Vivaldi, \u003cem\u003eMass No. 2 in G Major\u003c/em\u003e D. 167 by Franz Schubert, \u003cem\u003eCantata BWV 6 – Bleib bei uns, denn es will Abend warden\u003c/em\u003e by J.S. Bach, as well as a world premiere of\u003cem\u003e I think they laugh in Heaven\u003c/em\u003e by Canadian composer Jeff Enns.  The essay explores gesture and the perception of gender in the choral rehearsal or performance, and is appropriately introduced by the following statement: “When a woman makes a certain gesture it is interpreted differently than when a man makes the same gesture.” – Marin Alsop  \u003c/p\u003e\u003cbr\u003e\u003cp\u003eMarin Alsop’s observation on a gender-specific approach to conducting invites reflection on the following question: what differences exist in the conducting gestures of male and female conductors, and how are these differences interpreted by an ensemble?\u003c/p\u003e\u003cbr\u003e\u003cp\u003eIn contemporary society, research in gendered leadership in the areas of politics, education, and business is quickly evolving. Music scholars also acknowledge stylistic differences between male and female conductors. However, gender-specific conducting techniques remain a generally under-developed topic.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe study of gender differences within the field of choral conducting requires examination of the relationships that exist between body types, physical gestures, verbal communication styles, and leadership behaviours, especially as they appear in choristers’ responses. This document initiates discussion of these topics with respect to performance and perception, and is intended to show the possible translation of study models between general social interaction and conductor-chorister interaction.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThe first portion of this study provides a review of studies conducted within the twentieth and twenty-first centuries in the fields of social psychology and nonverbal communication. The selected studies successfully link the performance of gender to gesture, laying the groundwork for discussion of podium gesture and its perception. A second section of this study presents findings from analysed video footage of choral conductors (male and female) in rehearsal and survey results compiled from chorister exposure to video footage.\u003c/p\u003e\u003cbr\u003e\u003cp\u003eThis investigation embodies a rich social dimension that has been lacking in specialized scholarship on the role and impact of gender in choral conducting. An investigation of this nature not only provides insight into chorister response, but will result in a greater awareness of the gender-related gesture typology, one that can eventually lead to a deeper connection between conductor and ensemble. \u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003e\u003ca href=\"https://creativecommons.org/licenses/by-nc-nd/4.0/\"\u003eAttribution-NonCommercial-No Derivatives 4.0 International\u003c/a\u003e\u003c/p\u003e"]}},"provider":[{"id":"https://ualberta.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["University of Alberta Library"]},"homepage":[{"id":"https://ualberta.aviaryplatform.com/","type":"Text","label":{"en":["University of Alberta Library"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/128/original/UA_Logo_WHT_RGB_%281%29.png?1725471982","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/254/054/small/Video_A-20Group_1.mp4_1728489663.jpg?1728489665","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://ualberta.aviaryplatform.com/collections/1787/collection_resources/136912/file/254054","type":"Canvas","label":{"en":["Media File 1 of 5 - 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