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The Munda languages of South Asia exhibit sound symbolism in their use of mimetic reduplication, to which they devote a surprisingly large percentage of their lexicons, typically upwards of ten percent. We present an extensive empirical typology of mimetic reduplication in seven Munda languages: Ho, Kera Mundari, Kharia, Mundari, Remo (Bondo), Santali, and Sora (Savara). Munda Mimetic forms can depict sensory qualities of sound, space, movement, texture, smell, taste, temperature, feelings, and sensations. The typology of mimetic reduplication in Munda varies across syntactic class, semantic domain and phonological form. This can shed light on the breadth of diverse structures in Munda languages, and may also be extrapolated to other languages and other examinations of reduplication and/or mimesis. This work provides a wealth of data to researchers of mimesis and reduplication, challenging the definition of what it means for forms to be sound-symbolic or reduplicated. Resume: Les langues Munda de l’Asie du Sud presentent un symbolisme sonore dans leur utilisation de la reduplication mimetique, qui constitue un pourcentage tres eleve – typiquement plus de dix pour cent – de leur lexique. Nous presentons ici une typologie empirique abondante de la reduplication mimetique dans sept langues Munda: le Ho, le Kera Munari, le Kharia, le Mundari, Le Remo (Bondo), le Santali, et le Sora (Savara). Les formes mimetiques des langues Munda peuvent representer les qualites sensorielles du son, de l’espace, du mouvement, de la texture, de l’odorat, du gout, de la temperature, des sentiments et des sensations. La typologie de la reduplication mimetique Munda varie selon la categorie syntaxique, le domaine semantique et la forme phonologique. Cela peut eclairer la diversite des structures dans les langues Munda, et peut egalement s’appliquer a d’autres langues et a d’autres etudes de la reduplication ou de la mimesis. Ce travail fournit aux chercheurs d’abondantes donnees de mimesis et de reduplication, et complique la definition de ce que cela signifie quand on dit que les formes sont symboliques de maniere sonore, ou encore redupliquees.

This article seeks to interrogate aspects of assessment practices in musical theatre. Practices in the training of musical theatre students are rarely a source for reflection, and this project sought to unveil some of the processes of learning, teaching and assessment in a new musical theatre degree. The larger project on which this article is based sought to develop and evaluate assessment protocols that assisted in facilitating practices with a stronger alignment with the professional realities of musical theatre. The data for this research consists of perceptions of students and their lecturers in relation to the implementation of a continuous assessment regime in a musical theatre degree in Australia. The assessment process is designed to provide students with regular commentary about their progress. In addition to end-of-semester exams, weekly marks are awarded for approximately twenty sub-activities within the broad areas of acting, dance, performance project, singing and speech. In addition, this means of assessment is located within a degree structure that employs a sliding scale across three years: students are assessed through formative assessment in the early years, and summative in the later years of the degree. Through individual interviews with staff and students, the efficacy of this assessment process was documented. Staff members who worked with students in the programme were interviewed to ascertain the strengths and weaknesses of such an approach. Students were interviewed to determine whether they believed it assisted them in both their learning and in achieving goals during and beyond the degree. An action research cycle was initiated and the findings demonstrate a relative degree of agreement between expectations of participants in the course and the proposed outcomes at the end of the degree. These findings, combined with artefacts from the programme and previously reported student perceptions, are presented as a model that may provide the potential for replication in other training programmes that seek to prepare students for the realities of a career in the creative and performing arts.

This article seeks to redefine the relationship between Boileau’s Dialogue des heros de roman and Madeleine de Scudery’s Clelie. While Boileau wishes to use his text to erase Scudery from memory, a close reading of the Dialogue and its Lucianic model reveals Scudery’s influence on Boileau’s wit. Indeed, the character of Amilcar from Clelie embodies the spirit of Lucianic satire that Boileau hopes to use against Scudery. Ultimately, Boileau is indebted to a form of enjouement that is inscribed within and popularized by Clelie, and it is this debt that Boileau tries unsuccessfully to make his reader forget in his Dialogue.

(2002). Comic Discontinuity in the Memoires of Saint-Simon. Seventeenth-Century French Studies: Vol. 24, No. 1, pp. 271-276.

1. Prelude: Positioning Singing Pedagogy in the 21st Century by Jessica O'Bryan and Scott Harrison.- PART I: OVERVIEW 2. Singing Pedagogy in the 21st Century: A Look Toward the Future by Scott McCoy.- 3. Habits of the Mind, Hand and Heart: Approaches to Classical Singing Training by Jessica O'Bryan.- 4. Teaching Popular Music Styles by Kim Chandler.- 5. A Brief Overview of Approaches to Teaching the Music Theatre Song by Jeannette LoVetri with Mary Saunders-Barton and Edrie Means Weekly.- PART II: SINGING, THE BODY AND THE MIND 6. Vocal Health and Singing Pedagogy: Considerations from Biology and Motor Learning by Douglas F. Roth and Katherine Verdolini Abbott.- 7. The Role of the Speech and Language Therapist - Speech Pathologist - in the Modern Singing Studio by Ron Morris.- 8. The Extra-Normal Voice: EVT in Singing by Michael Edward Edgerton.- 9. Registers Defined through Visual Feedback by Donald Gray Miller.- 10. Body Mapping: Enhancing Voice Performance through Somatic Pedagogy by Heather J. Buchanan.- 11. Vocal Pedagogy and the Feldenkrais Method by Stephen Grant.- 12. Perception, Evaluation and Communication of Singing Voices by Helen F Mitchell.- 13. The Teacher-Student Relationship in One-to-one Singing Lessons: An Investigation of Personality and Adult Attachment by Sofia Serra-Dawa.- 14. Negotiating an 'Opera Singer Identity' by Jane Oakland.- PART III: APPROACHES TO STYLE 15. Style and Ornamentation in Classical and Bel Canto Arias by Martha Elliott.- 16. Handel and the Voice Practitioner: Perspectives on Performance Practice and Higher Education Pedagogy by Paul McMahon.- 17. Contemporary Vocal Artistry in Popular Culture Musics: Perceptions, Observations and Lived Experiences by Diane Hughes.- 18. Pathways for Teaching Vocal Jazz Improvisation by Wendy Hargreaves.- 19. Voice in Worship: The Contemporary Worship Singer by Daniel K. Robinson.- 20. Take my Hand: Teaching the Gospel Singer in the Applied Voice Studio by Trineice Robinson-Martin.- PART IV: THE TRAINING GROUND 21. The Conservatorium Environment: Reflections on the Tertiary Vocal Setting Past and Present by Margaret Schindler.- 22. More Than Just Style: A Profile of Professional Contemporary Gig Singers by Irene Bartlett.- 23. Developing a Tertiary Course in Music Theatre by Paul Sabey.- 24. Training the Singing Researcher by Scott Harrison.- POSTLUDE 25. The Future of Singing Pedagogy by Scott Harrison and Jessica O'Bryan

This chapter investigates the ways in which an Australian conservatorium has established and maintained an artistic research culture over the last decade. In doing so, the authors firstly review the international literature in terms of the current thinking about practice-centred environments, both in terms of academic research and research training as a sub-set of this. The chapter then examines the authors’ local conservatorium context as a case study to focus on staff research activity together with a review of higher degree research programs and resources. The data gathered incorporates materials drawn from the Australian federal government’s Excellence in Research for Australia exercise together with data from local research students, graduates, academic supervisors and administrators. Arising insights offer implications for this evolving artistic research culture and the on-going interplay between staff, student and federal government agendas.

The rise of new of modes of worship in the last 50 years has challenged the roles played by both males and females in the liturgical environment. Since the second Vatican Council of the 1960s, men and women have been afforded new opportunities for engagement. This chapter interrogates the role of the contemporary worship singer, specifically focusing on the changes to have taken place since the 1960s in relation to the role, function and performance activities of men in this environment. While historical comparisons are made with the more traditional music making in western churches (i.e. choir boys and choral scholars), the major focus of the chapter is on the way in which male contemporary worship singers have sought to embrace the new possibilities available in liturgy. Through the voices of men involved, the chapter offers insights into the changes and the current status of the male cotemporary worship singer.