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There is a growing body of evidence that higher-value information can be prioritised for both visual and auditory working memory. The present study examines whether valuable items can similarly be prioritised for the tactile domain. Employing an immediate serial recall procedure (ISR), participants reconstructed a 6-item tactile sequence by moving their fingers in the order of original stimulation. Participants were informed either that one serial position was worth notionally more points (prioritisation condition) or that all items were of equal value (control condition). For Experiment 1 (N = 48), significant boosts in correct recall were evident when serial positions 4 or 5 were more valuable (i.e., prioritisation effects). Experiment 2 (N = 24) demonstrated that the prioritisation effect persisted with concurrent articulation, suggesting that task performance was not a function of verbal recoding and rehearsal of the tactile information. Importantly, a significant recall cost for low-value (non-prioritised) items within the sequence was evident for both experiments. Taken together, these findings demonstrate that (1) prioritisation effects transfer to the tactile domain and (2) finite attentional resources can be deliberately and strategically redistributed to specific items within a sequence, dependent upon the prevailing task demands. [ABSTRACT FROM AUTHOR]

Informed by individuals wrongfully convicted by confession, and in light of basic research on practice effects on performance, two studies examined the effects of rehearsal on suspects and observers. In Study 1 (N = 37), participants who were guilty or innocent of a mock crime were incentivized to confess and then improve upon that confession three more times. Overall, guilty suspects' confessions were longer than those of innocents, rehearsal increased statement length in both conditions, and suspects described their rehearsed confessions as easier to give and more believable, and themselves as less nervous. In Study 2, 161 observers watched a single confession from the first study. Results showed that they did not distinguish between true and false confessions; they were biased toward seeing guilt, substantially over-believing false confessions; and rehearsal exacerbated this latter tendency. In the realm of 'practice makes perfect', innocence did not serve as a safeguard. [ABSTRACT FROM AUTHOR]

Strategic incremental rehearsal (SIR) is an efficacious flashcard intervention shown to improve foundational skill acquisition. However, there is limited research examining the feasibility and effectiveness of SIR when used by school‐based implementers. We present two studies to address this limitation. Study 1 examined the effects of SIR implemented by teachers on the acquisition of grapheme‐phoneme correspondences with three at‐risk kindergarteners. Study 2 examined the effects of SIR implemented by a same‐age peer on the acquisition and fluency of addition math facts with 3 second‐grade students receiving special education services. Overall, both studies point to the effectiveness of using SIR with students requiring intensive intervention in an focused, short timeframe. The effectiveness of SIR is particularly salient given that teachers and peers were able to implement SIR with high treatment integrity and effectively improve outcomes for students with and at risk for disabilities. Practitioner points: Letter‐sound outcomes improved for struggling kindergarteners when SIR was implemented by teachers.Acquisition and fluency of addition math facts improved when SIR was implemented by a same‐age peer tutor for second graders with learning disabilities.Teachers and peers implemented SIR with high levels of treatment fidelity even after feedback was faded. [ABSTRACT FROM AUTHOR]

Imagined interactions (IIs) are conversational daydreams communicators can use to envision how interactions might unfold prospectively or how they might have unfolded differently in retrospect. In this study, imagined interactions with the boss (IIB) were investigated alongside employees' upward dissent and silence. Analyses of survey responses from U.S. working adults (N = 322) revealed that three functions (rehearsal, relationship management, and compensation) and three characteristics (frequency, proactivity, and specificity) of IIB were associated with various upward dissent or defensive silence strategies. The general pattern of findings indicated that when employees reported rehearsal or relationship management IIB, they tended to select communicatively-competent dissent strategies (e.g., prosocial dissent). The study is the first of its kind to associate IIB with upward dissent selection. Implications for theory and practice conclude the paper. [ABSTRACT FROM AUTHOR]

This project is a rehearsal in language and its capacity to refuse comprehensibility. In this experimental process, we will be exploring the boundaries of legibility through a tracing of the shards and fragments embodied in the minor detail. With our sight fixed toward Palestine, we will explore how detail holds radical potential, be it in classical texts in the canon of Palestinian literature, or in the oral testimonies that have emerged from Gaza over the past 6 months. The focus on illegibility and language that defies comprehension exists in the shadow of genocide, where language fails to capture the immensity of the moment. Broken and sharp, it turns inward into a sense closer to emotion than to logic. In that sense, this project is also a rehearsal in utilizing language as matter, as material, as tangible touch. [ABSTRACT FROM AUTHOR]

During scenic opera rehearsals, the participants create performance bodies – fictive behaviours that portray the characters in the libretto. They use depictions – interactional practices comprised of short scenes staged for the other participants – to propose and negotiate performance bodies that suit the developing aesthetics of the production. In this paper, we focus on non-serious proposal depictions: depictions that become treated as laughable and not suitable for the performance. Non-serious depictions can accomplish joint fictionalizations, especially with teasing (Cantarutti, 2022), and are used in contrast with an ideal performance (Keevallik, 2010). Building on this work, we analyze how non-serious depictions are used to decide what the wished performance will be. We discuss two types of non-serious depictions in the workplace setting of the opera rehearsal process and show how negotiations over the seriousness of depictions achieve aesthetic intersubjectivity among the colleagues. The ambiguity between serious and non-serious proposals is exploited as a resource when navigating the unknown territories of a piece of art under development. The material consists of 20 h of video-recorded opera rehearsals in Swedish and English, with an Italian libretto. • Opera rehearsal participants use depictions in proposals to create a performance. • Depictions can be designed as either serious or non-serious. • This paper focuses on how depictions are designed and treated as non-serious. • Non-serious depictions can be treated as tangential to the interactional agenda. • They can also be a tool to manage aesthetic intersubjectivity and affiliation. [ABSTRACT FROM AUTHOR]

Vocalizations are a central resource for instructing in orchestra rehearsals. Conductors use them to make the musicians understand what they want to hear, i.e., through singing and rhythmic vocalizations they imitate or depict the envisaged musical qualities. In this contribution, I examine what vocalizations of orchestra conductors look like and how they are embedded in the instructional interaction between conductor and musicians. Based on a corpus of orchestra rehearsals in France and Italy, the paper uses multimodal conversation analysis to describe the vocal resources used by the conductors for singing, the interactional and sequential organization of vocalizations, as well as their functional properties. Vocalizing appears to often be accompanied by other semiotic resources, such as gestures and gaze, in order to form vocal-gestural demonstrations that embody musical aspects, e.g., tempo, phrasing, articulation, etc. The analysis reveals that vocalizations are employed by conductors for various purposes that exceed the simple action of imitating the music. Data are in French, Italian and English. • Conductors vocalize using arbitrary but similar syllables and onomatopoeic patterns. • Vocalizations are closely tied to and timed with prosodic and gestural events. • Vocal depictions provide gestalt-like information about music character. • Vocalizations indicate correctable aspects prospectively and retrospectively. • Vocal demonstrations specify verbal instructions and monitor musical performance. [ABSTRACT FROM AUTHOR]

Stemming from the combined philosophies of social work and professional artistic practice, this paper recounts five years of working with populations of fifth graders to craft their own original plays. Application of group development theory in our evolving theatrical process emphasizes several lessons, including utilizing a population's observed need(s) to derive socioemotional purpose; the ownership a group discovers when creating its own material; and the importance of centering what two communities have to offer each other in mutual aid. The 509 classroom at PS3 is a case study for the immense socioemotional impact artistic practice can have when student need is not neglected in favor of academic skill acquisition. [ABSTRACT FROM AUTHOR]

This article explores a collaboration between the dance company Rosas and musician Anthony Braxton, focusing on their use of Braxton's Ghost Trance Music system and the Rosas Toolbox. The collaboration aimed to combine their practices and create a unified performance. The dancers discuss the challenges they faced and the importance of trust and improvisation in their work. The collaboration resulted in an ongoing and evolving piece that challenged traditional boundaries in dance and music. [Extracted from the article]

The article focuses on the concept of abolition as a dynamic process of envisioning and creating a future free from oppressive systems. Topics include the transformation of carceral geographies into spaces of care and mutuality, the importance of place-based movements alongside broader movements, and the role of feminist refusal in resisting colonial racial capitalism.

The fading affect bias (FAB) occurs in autobiographical memory when unpleasant emotions fade faster than pleasant emotions and the phenomenon appears to be a form of emotion regulation. As emotion regulation is positively related to problem solving, the current study examined FAB in the context of problem solving. In-person and online studies asked participants to provide basic demographics, describe their problem-solving abilities, and rate various healthy and unhealthy variables, including emotional intelligence and positive problem-solving attitudes. Participants also completed an autobiographical event memory form for which they recalled and described two pleasant and two unpleasant problem-solving and non-problem-solving events and rated the initial and current affect and rehearsals for those events. We found a robust FAB effect that was larger for problem-solving events than for non-problem-solving events in Study 1 but not in Study 2. We also found that FAB was positively related to healthy variables, such as grit, and negatively related to unhealthy variables, such as depression. Moreover, many of these negative relations were inverted at high levels of positive problem-solving attitudes, and these complex interactions were partially mediated by talking rehearsals and thinking rehearsals. [ABSTRACT FROM AUTHOR]

Though verbal rehearsal is a frequently endorsed strategy for remembering short lists among adults, there is ambiguity around when children deploy it, and what circumstantial factors encourage them to rehearse. We recoded data from a recent multilab replication of a serial picture memory task in which children were observed for evidence of task-related speech or lip movements to extract finer-grained detail about how children spoke during the task. With these data, we aimed to better understand the manner in which children rehearse and the task scenarios which elicit overt rehearsal. Children in several countries from 5 to 10 years old were tasked with remembering 2–5 nameable pictures in serial order across a 15-second delay. Coders categorized children’s speech or lip movements as reflecting fixed rehearsal of the last-presented item only, cumulative rehearsal of all the items presented so far, or some attempt at cumulative rehearsal. We found that most children, regardless of age, did not overtly rehearse at all during presentation of the objects or during the delay period. However, children who sometimes overtly rehearsed recalled longer lists of items than children who did not. Though rare, cumulative rehearsal was most frequently observed for list lengths close to the participant’s demonstrated maximum recall length. Critically, on the trials where overt rehearsal was observed, recall improved. This evidence supports previous suggestions that rehearsal strategy, and possibly also its effectiveness, changes with task difficulty, and raises further questions about how verbal rehearsal affects serial recall. [ABSTRACT FROM AUTHOR]

This article examines Shakespeare's interest in masques and their impact on his plays, specifically The Tempest and The Winter's Tale. It delves into the controversy surrounding the antimasque in The Tempest and Shakespeare's perspective on masques and the absolutist ideology they promoted. The article emphasizes the significance of considering non-Jonsonian masques, like those by Samuel Daniel and Thomas Campion, in comprehending Shakespeare's involvement with masquing. It highlights the personal involvement of Shakespeare and his company, the King's Men, in producing masques and collaborating with the Master of the Revels. The text explores the influence of court masques on Shakespeare's plays The Winter's Tale and The Tempest, drawing parallels between Campion's masques and certain scenes in The Winter's Tale, such as the animation of Hermione's statue. However, it advises against assuming that Shakespeare endorsed Campion's views on royal pageantry and power. The text also mentions the impact of Jonson's masques on Shakespeare's plays and suggests that further research is necessary to fully comprehend Shakespeare's engagement with masques and their ideological implications. [Extracted from the article]

This paper uses the production effect to test one of the important predictions of a view of memory that is embodied in the Revised Feature Model (RFM). When to-be-recalled lists contain items both read aloud and silently, words read aloud are less well recalled at the beginning of the list and better recalled at the end. According to the RFM, producing the items by reading them aloud adds distinctive features which supports recall, but production also interferes with rehearsal – a process that operates more significantly at the start of a list. This critical role assigned to rehearsal has never been systematically tested. We do this here through a systematic literature review and an experiment that manipulates presentation rate. With a faster presentation rate, rehearsal is less likely; the implication is that the advantage observed for silently read items in the primacy positions should vanish, while the recency advantage for produced items should remain. The systematic review collected an initial sample of 422 unique articles on the production effect in immediate serial recall and revealed the predicted pattern. In addition, in our experiment, the presentation rate was manipulated within an immediate serial recall task (500, 1,000, and 2,000 ms/word). As predicted, the recency advantage for produced items was observed for all presentation speeds. Critically, the production disadvantage for early serial positions was only present for the two slowest rates, but not at the fastest speed. Results were successfully modeled by calling upon the RFM. [ABSTRACT FROM AUTHOR]

The article presents the discussion on evolution of ideas on energizing choral rehearsals. Topics include focusing on conductor-driven energy and later reflecting on feedback from surveys to enhance rehearsal dynamics; and defining and embodying energy in choral rehearsals, characteristics of an energetic conductor, and the impact of conductor energy on choir performance and engagement.

The article presents the discussion on innovative pedagogical approaches in choral music education. Topics include emphasizing the importance of moving beyond traditional musical notation to empower students through collective decision-making and empathy-driven leadership styles; and fostering deeper student engagement with music, redefining conductor-student dynamics, and achieving nuanced performances through shared ownership and collaborative rehearsal processes.

AbstractReferring to the social and cultural anthropological perspectives and employing a qualitative approach as the primary methodological tool, this PhD dissertation explores the performing art tradition of Chhau in Purulia, West Bengal, as a cultural/performance text. According to Richard Schechner (2006), the performance process as a time-space sequence consists of (1) proto-performance – training, workshop, and rehearsal; (2) performance – warm-up, public performance, events/contexts sustaining the public performance, and cool down; and (3) aftermath – critical responses, archives, and memories. Conflating these three-phase performance sequences, first, the dissertation finds out the correlation between dance habits and restored behavior and analyzes the proto-performance practices of Purulia Chhau. Second, it analyzes the connection between the performative cultures of Chaitra Parva and Purulia Chhau and establishes a synthesis among ritual, performance, and spirituality. It also understands the core performance gist of Purulia Chhau, deriving from the cultures of orality, performativity, and make-believe/make-belief. Third, the dissertation critically looks at the various performance aftermaths such as audience reception, critical responses, archives, memories, new normalization, and women’s innovations that take place in Purulia Chhau. [ABSTRACT FROM AUTHOR]

France’s policy of confinement in response to Covid-19 posed an existential threat to theatres. The Comédie-Française responded with a range of digital and cinematic programming. This article examines Christophe Honoré’s film Guermantes (2021), created following the cancellation of his stage adaptation of Marcel Proust’s Le Côté de Guermantes, and Théâtre à la table, a series of staged readings posted to YouTube between November 2020 and June 2021. These projects are notable for how they centred rehearsal. The article shows how the Comédie-Française mobilised the intimacy of the rehearsal room to compensate for the loss of corporeal presence, and then interrogates Guermantes’s argument for the aesthetic value of rehearsal as an end in itself. However, while these works claim to show the process rather than the product, they in fact show little of the repetitive work of the répétition. Both were also preceded by rehearsals to which audiences were not given access. Noting the proliferation in recent years of rehearsal diaries and documentaries in France, the article concludes by arguing that the Comédie-Française’s response to the pandemic reflects a broader interrogation in contemporary French theatre of the aesthetic value of the rehearsal. [ABSTRACT FROM AUTHOR]

AbstractA critical but understudied skill within teacher education is how to create productive book discussions with robust interactions between students and teachers. In the present study, avatar rehearsals were used as a practice-based technique to teach the skills of leading book discussions that elicit student thinking. The use of avatars is fairly new to the field of teacher education and understudied when paired with high-leverage practices like productive discussions. Findings showed that the avatar rehearsal enabled PSTs to demonstrate emerging, but unstable, progress in eliciting. Implications suggest that more rehearsals are needed, within both pre- and in-service teacher education. [ABSTRACT FROM AUTHOR]

Applied behavior analysis (ABA) focuses on providing socially significant treatments and practices. Recent advancements in ethically-minded research have encouraged practitioners to think beyond the technical skills required for implementing behavior-analytic practices and consider how these practices are delivered. Compassionate care in ABA has recently been conceptually defined and subsequently researched to explore ways to explicitly and systematically teach compassionate-care-based skills within the scope of ABA. Researchers have noted barriers specific to the time required to teach compassionate-care-based skills using behavior skills training (BST) especially when working to train groups in compassionate care skills. Further, these studies have focused primarily on using compassionate care towards interactions with caregivers as communication partners. This study operationalized the compassionate care-based skill of receiving feedback within a behavioral analytic lens and taught it to eight master's students enrolled in an ABA course. An experimental case study approach was used to evaluate the relative benefit of modified behavioral skills training (BST) versions, including conditions with and without rehearsal opportunities and individualized performance feedback. Results indicated that all participants demonstrated significant skill increases across multiple communication partners (i.e., client, caregiver, colleague) compared to baseline sessions, with conditions including opportunities for rehearsal and performance feedback resulting in higher skill acquisition for seven of the eight participants. Conditions that required the participants to generalize to novel scenarios and novel communication partners resulted in lower competencies; however, all participant skills across all communication partners remained higher than baseline measures. Limitations included practicing skills within role-play scenarios only, the application of compassionate care-based skills in a variety of cultures, and limits related to using an experimental case study as a methodological approach. Implications for future research and practitioner-based applications are discussed. [ABSTRACT FROM AUTHOR]

This essay seeks to reflect on the functions and paths of the movement of imagination in art educational processes. To do this, the author delves into her notes, interspersing concepts and poetry. In the poetic field, he shares Tupi mythical narrative, poetry set to music from the Brazilian songbook and some practical educational art with children. In the conceptual field, he invites authors such as Gaston Bachelard, André Breton, Joseph Campbell, Renato Noguera, Mircea Eliade and Gianni Rodare to talk. An educational art path is suggested without the rigid objectivity of a methodology; least one presentation of techniques. The aim is to invite readers to inhabit the text, either to change their ideas of place or to graft it with new suggestions. It is, therefore, an explicit rehearsing of thoughts driven by the author's teaching experience. [ABSTRACT FROM AUTHOR]

In 2014, in Angola, the first higher education institution in Arts began operating, after fifty-two years of university history in the country. The implementation of this area of knowledge, in addition to officialities, involves rehearsing specific ways of communicating the processes relating to the creation of works, as well as the practice of theory in that environment. Relying on a bibliographical review, this text–written in the form of a diary–rehearses the possibilities of research and writing, within the arts, in academia, for the Angolan context. [ABSTRACT FROM AUTHOR]

The article examines the film "El futuro perfecto" and its use of acousmatic sound to challenge fixed notions of Argentine identity and the immigrant experience. It follows Xiaobin, a Chinese immigrant in Buenos Aires, as she learns Spanish and navigates daily interactions. The film's use of acousmatic sound, where the source is unseen, prompts viewers to question assumptions about the characters' identities. It critiques the association between being Argentine and being white, while also highlighting the historical context of immigration in Argentina. The article explores how the film challenges assumptions about who can sound Argentine and encourages viewers to question their own beliefs and assumptions. It also analyzes scenes that simulate acousmatic conditions and how they contribute to the film's exploration of language and identity. The article discusses the concept of the acousmatic voice and its ability to challenge assumptions, as well as the portrayal of race, listening, and voice in the film. It emphasizes the importance of listening and understanding different voices and experiences. The article also examines the subway scenes in the film as a representation of a quiet and introspective space. Overall, the film "El futuro perfecto" explores migration and identity, challenging stereotypes and embracing multiple possibilities for a more inclusive future. [Extracted from the article]

This article is a roundtable discussion among opera professionals about the importance of collaboration in opera productions. The participants discuss the challenges of directing and acting in Wagner's operas, emphasizing the importance of personal direction and understanding the characters. They also discuss their experiences working on specific productions and the rewards and challenges of the rehearsal process. The participants highlight the collaborative nature of opera production and the transformative power of live performances. They emphasize the need to value and promote opera as a form of spiritual nourishment. [Extracted from the article]

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This article is a personal account by Lynn Watson, an Emeritus Professor of Theatre at the University of Maryland, Baltimore County (UMBC), about her journey in the performing arts. She discusses her education, experiences studying under renowned acting teachers, and various acting roles she had throughout her career. Watson also reflects on her work in theater productions in Washington, DC, her research in voice, speech, and dialect, and offers advice to aspiring theater professionals. She expresses gratitude for the Voice and Speech Trainers Association (VASTA). [Extracted from the article]

The article presents an interview with Tim Rasinski, a professor emeritus of Literacy Education at Kent State University.. Rasinski provides his insights and experiences in reading fluency, word study, and support for struggling readers. He discussed topics including his journey from an economics degree to a renowned educator, effective methods for improving reading fluency, and the importance of combining the science and art of teaching.

Exploring diverse strategies of process-focused research from historical reconstructions of period practices to staged intimacy coaching, seven new titles offer a representative but not exhaustive overview of the expanding field of rehearsal studies. [ABSTRACT FROM AUTHOR]

Chatbots and natural language processing tools have emerged as a ubiquitous yet exceptional development of algorithmic performativity. The release of ChatGPT on 30 November 2022 signaled a sea change in language-learning technological-performative relations. ChatGPT programs human knowledge as a stylized, computational performance and rehearses the human as technological. [ABSTRACT FROM AUTHOR]

This essay shows how Jimi Hendrix's experiments with fuzz anticipated notyet-audible sonic worlds and evinced Blackness in sound. Focusing on the American guitarist's debut album, Are You Experienced (1967), I describe fuzz as an entryway into the politico-theatrical scene of Black sociality. My analysis pivots on two axes: edgework and excess. I argue that Hendrix's pursuit of new sonic territory, as well as the mathematical-electrical engineering that brought such sounds into being, can be read as an aesthetic practice of edgework, but also that the resulting music—which early reviewers described as "hellish," "freaky," "unimaginable," and "manic"—acts as a sign of fuzz's unruly excess. Across my analysis, I am in conversation with Matthew Morrison's theory of "Blacksound," which shows how US popular music attempts to essentialize and delimit Black performativity. If Hendrix's fuzz tone is audible as an enactment of fugitivity born from a tradition of radical Black aesthetics, I argue, then its unruly and anarchistic ethos refutes racial essentialism, insisting on agency, beauty, and life in the face of social death. Through this intervention, I develop a theory of "rehearsal" as a future-oriented Black performance sensibility that creates the conditions in which living otherwise becomes imaginable and achievable. [ABSTRACT FROM AUTHOR]

Reconfigurable robots are deployed for applications demanding area coverage, such as cleaning and inspections. Reconfiguration per context, considering beyond a small set of predefined shapes, is crucial for area coverage performance. However, the existing area coverage methods of reconfigurable robots are not always effective and require improvements for ascertaining the intended goal. Therefore, this article proposes a novel coverage strategy based on internal rehearsals to improve the area coverage performance of a reconfigurable robot. In this regard, a reconfigurable robot is embodied with the cognitive ability to predict the outcomes of its actions before executing them. A genetic algorithm uses the results of the internal rehearsals to determine a set of the robot's coverage parameters, including positioning, heading, and reconfiguration, to maximize coverage in an obstacle cluster encountered by the robot. The experimental results confirm that the proposed method can significantly improve the area coverage performance of a reconfigurable robot. [ABSTRACT FROM AUTHOR]

Several books, studies and videos are available on the Internet on the importance and role of singing in schools and choral singing, and on effective ways of learning songs and choral works. As a result of technological progress, MIDI recordings and digital choral parts are available to choirs and choir leaders to facilitate the rehearsal and learning process. However, what on the one hand seems modern and innovative (digital pianos, audio and video recordings, easy and fast communication, streaming, virtual choirs) can have a negative impact on the other. At international conferences and symposiums, it is common to see choirmasters making hand gestures to sound one or more parts, as a kind of attraction to show off solfa singing. It is not always clear, however, what the intelligent use of solmization can do beyond the two- (three-)part singing or vocal warm-up. The following chapters will point out why reading music with a relative system of solfa is beneficial, and why learning to sing a part or a choral work with the help of piano is less supported. [ABSTRACT FROM AUTHOR]

This article considers a subset of lawsuits in which emancipated people sued to have their enslavers’ bequests to them honored. It contends that we should see these suits as contests over reparations. By exploring this unappreciated history, this article argues that enslavers themselves believed reparations were due and were willing to pay them, that there was a general agreement between enslaved and enslaver about the form reparations should take, and that there was a similar understanding that reparations should be generational. The article further suggests the promise of additional inquiry into historical testamentary records. Such a novel archive would add to contemporary arguments in favor of reparations by identifying an unacknowledged effort to provide compensation to formerly enslaved people. [ABSTRACT FROM AUTHOR]