title: ‎‘For what saies Quinapalus?’‎ Paper for Twelfth Night Seminar

authors: Houlahan, Mark

subjects: Shakespeare

abstract: Mark Houlahan ‘For what saies Quinapalus?’ John Manningham, the first person to report a performance of Twelfth Night (Feb 2, 1602), also began the discussion of the play’s sources. Scholars since then have linked the play to a network of sixteenth century plays and prose fictions in Italian, French and Latin. How much of these Shakespeare had read, seen or heard tell of we cannot say. This paper traces some (potential) threads from these sources, in particular those underpinning the flight of the twins and their arrival in Illyria. In several sources the disasters of war have dispersed the family. The play chooses not to directly represent this but the violence of war (by land and sea) erupts at key points in the action. When Viola and Sebastian finally meet in Act V they experience a combination of grief, trauma and relief. Two refugees finally arriving, alive, at a safe haven, is the emotional centre of the play; though in live performance and other adaptations this is often downplayed.

text: ‎‘For what saies Quinapalus?’‎ Paper for Twelfth Night Seminar Mark Houlahan ‘For what saies Quinapalus?’ John Manningham, the first person to report a performance of Twelfth Night (Feb 2, 1602), also began the discussion of the play’s sources. Scholars since then have linked the play to a network of sixteenth century plays and prose fictions in Italian, French and Latin. How much of these Shakespeare had read, seen or heard tell of we cannot say. This paper traces some (potential) threads from these sources, in particular those underpinning the flight of the twins and their arrival in Illyria. In several sources the disasters of war have dispersed the family. The play chooses not to directly represent this but the violence of war (by land and sea) erupts at key points in the action. When Viola and Sebastian finally meet in Act V they experience a combination of grief, trauma and relief. Two refugees finally arriving, alive, at a safe haven, is the emotional centre of the play; though in live performance and other adaptations this is often downplayed.

year: 2022-04-01

title: Audio visual analysis of player experience: Feedback-based gameplay metrics

authors: Marczak, Raphaël

abstract: This chapter introduces readers to an innovative method designed specifically to meet game researchers’ need to be able to analyse and explore players’ experiences with any off-the-shelf PC game. We introduce how insights into players’ experiences are achieved from automatically processing significant elements of the audio-visual feedback (i.e., moving image and sound) produced by the game.

text: Audio visual analysis of player experience: Feedback-based gameplay metrics This chapter introduces readers to an innovative method designed specifically to meet game researchers’ need to be able to analyse and explore players’ experiences with any off-the-shelf PC game. We introduce how insights into players’ experiences are achieved from automatically processing significant elements of the audio-visual feedback (i.e., moving image and sound) produced by the game.

year: 2015

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016