80 research outputs found
Effects of Singing on the Vocabulary Acquisition of University Japanese Foreign Language Students
Research shows that there is a relationship between music and memory (Salcedo, 2002). This study examined the effects of singing on the acquisition of foreign language vocabulary. There were approximately 30 students participating from two sections of a Japanese foreign language class at the University of Kansas. All were in their third semester of Japanese language instruction. An experimental group was taught vocabulary along with a melody, whereas a control group was not exposed to the melody. Specifically, the dependent measure compared the number of items that the experimental and control groups correctly recognized on tests. The participants took a pretest and two posttests of their knowledge on transitive and intransitive verbs. After conducting a pilot study, a decision was made for the present study to lengthen the amount of time between the two posttests since the pilot study results were trending towards significance for the second posttest. The present study results showed statistically significant differences between the two groups on their delayed recognition, but no difference on their immediate recognition. Students in the singing group completed a questionnaire that was intended to obtain their perceptions about the effectiveness of lessons with music. Students reported that they enjoyed them and experienced the Din effect. This study found that singing could be an effective learning source for vocabulary acquisition. Implications for teaching and research are explored
WEHST: Wearable Engine for Human-Mediated Telepresence
This dissertation reports on the industrial design of a wearable computational device created to enable better emergency medical intervention for situations where electronic remote assistance is necessary. The design created for this doctoral project, which assists practices by paramedics with mandates for search-and-rescue (SAR) in hazardous environments, contributes to the field of human-mediated teleparamedicine (HMTPM). Ethnographic and industrial design aspects of this research considered the intricate relationships at play in search-and-rescue operations, which lead to the design of the system created for this project known as WEHST: Wearable Engine for Human-Mediated Telepresence. Three case studies of different teams were carried out, each focusing on making improvements to the practices of teams of paramedics and search-and-rescue technicians who use combinations of ambulance, airplane, and helicopter transport in specific chemical, biological, radioactive, nuclear and explosive (CBRNE) scenarios. The three paramedicine groups included are the Canadian Air Force 442 Rescue Squadron, Nelson Search and Rescue, and the British Columbia Ambulance Service Infant Transport Team. Data was gathered over a seven-year period through a variety of methods including observation, interviews, examination of documents, and industrial design. The data collected included physiological, social, technical, and ecological information about the rescuers. Actor-network theory guided the research design, data analysis, and design synthesis. All of this leads to the creation of the WEHST system. As identified, the WEHST design created in this dissertation project addresses the difficulty case-study participants found in using their radios in hazardous settings. As the research identified, a means of controlling these radios without depending on hands, voice, or speech would greatly improve communication, as would wearing sensors and other computing resources better linking operators, radios, and environments. WEHST responds to this need. WEHST is an instance of industrial design for a wearable “engine” for human-situated telepresence that includes eight interoperable families of wearable electronic modules and accompanying textiles. These make up a platform technology for modular, scalable and adaptable toolsets for field practice, pedagogy, or research. This document details the considerations that went into the creation of the WEHST design
An investigation into the effectiveness of teaching and support that deaf children receive in dance classes in Primary schools
This thesis investigates the teaching and support which deaf pupils receive in Primary school dance classes. Adopting a social model of disability, I emphasise the need to establish a learning environment which promotes a positive view of deafness and the use of sign language. This project posed three research questions. First, what support are deaf pupils eligible to receive in Primary school dance classes? Second, what teaching and support do Primary schools provide for deaf pupils in dance classes? These first two questions examine the relations between legislation and practice. The third question was what recommendations can be made to improve teaching and support to facilitate the access and participation of deaf children in Primary school dance classes in different educational settings? This research critiques the teaching and support by reviewing statutes, Primary school dance education theories and the literature on dance and disabilities, and by analysing observations of and interviews with students and teachers in dance lessons. There is a significant lack in the literature of any discussion about deaf people in the field of dance and disability and this study fills that gap. Its contribution to knowledge lies in showing the reality of Primary schools’ inclusion of deaf students in different educational settings of dance. It proposes the term ‘emotional inclusion’ of deaf students as a more appropriate model of thinking about diversity than simply integration or inclusion. The effectiveness of teaching depends on what its aims are; however, the suggestions and recommendations made in this thesis can be widely used by other teachers or schools to reflect on their own teaching and support with a deaf researcher’s view. They will also help other teachers to prepare and teach dance to classes which include deaf students. It is hoped that this research will help us to understand deaf students and introduce Government policies to provide them with more dance opportunities
Didactical perspectives of aural training
Thesis (PhD) -- Stellenbosch University, 1993.ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented
in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory
towards Aural Training are furthermore made.
The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects
such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological
approaches found in published and unpublished sources, as well as a practical questionnaire-based survey,
investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA),
the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an
integrated Aural Training approach for children is proposed in the third part.
Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not
been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c)
prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at
most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes
scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced
by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as
Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable;
(h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have
been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and
teaching methods; (j) commercially available software is often chosen because of its availability and not because of
being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals
of Aural Training and to apply music psychological principles.
Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of
Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into
the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the
conviction that most effective learning takes place through active involvement and creation, and (b) music psychological
principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman,
and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural
Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as
well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It
offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural
Training methods. Examples of children's compositions are presented to support this model.
It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents,
teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary
music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for
Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to
both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style
periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly
Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to
incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on
holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be
incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through
composition.AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel
in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding
word ten slotte voorgestel aan hand van hierdie inligting.
Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek
geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en
metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde
bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale
Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel.
'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel.
Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding
nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c)
voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die
gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer
onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f)
gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke
waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as
gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale
musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding
sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke
en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van
beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder
dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in
gehooropleiding te inkorporeer.
Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref
en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding
deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die
oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die
musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick-
Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding
benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word
nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking,
aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die
aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes.
Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar
is.
Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend
krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies
aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente
verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort
te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t)
metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en
geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n
wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente
hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog
om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme
wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k)
gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde
model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word
Twentieth-Century Poetry and Visual Culture: transatlantic Perspectives of European and American Modernism
[ES] Este estudio investiga el impacto de la cultura visual moderna en la poesía vanguardista desde una perspectiva que tiene en cuenta los intercambios transatlánticos entre el modernismo europeo y norteamericano. A principios del siglo veinte las imágenes formaban parte de una sociedad influenciada por los avances tecnológicos y el consumismo. Sensible a los métodos empleados por la cultura de masas y la publicidad, los poetas modernistas recurrieron al potencial de la experiencia óptica no sólo para promover sus obras sino también para apelar al sentido de la vista como el medio más rápido y efectivo en provocar una reacción en el espectador. Movimientos como el cubismo, el futurismo, el dadaísmo, el expresionismo alemán y el surrealismo francés ejercieron influencia sobre el experimentalismo británico y norteamericano. En Gran Bretaña el imagismo y el vorticismo tomaron como referentes las disciplinas de la pintura y la escultura para articular un lenguaje poético que reprodujera los efectos de la cultura publicitaria. En Estados Unidos poetas y artistas tales como William Carlos Williams, Hart Crane y los precisionistas utilizaron la imagen visual para recrear la energía de la metrópolis norteamericana. Otros modernistas en la línea de Gertrude Stein, T.S. Eliot y Ezra Pound expresaron en París su extrañamiento respecto de su patria escribiendo una poesía épica que se asentaba en el collage pictórico con el fin de proporcionar una visión plural que enfatizara las perspectivas interculturales. Asimismo, la aparición del cine y la fotografía inspira la poesía de Marianne Moore y H.D., cuya imagen cinemática puede interpretarse en favor de la democratización y la expansión del arte. El estudio de la cultura visual contribuye a conectar formas populares como los medios de masa con la estética de las bellas artes y de la poesía. La interrelación de los géneros literarios con las artes plásticas, el cine y la fotografía nos invita a reflexionar acerca de la condición ontológica del sujeto u objeto presentado en la obra artística así como la tensión entre arte y verdad en la época moderna. La estética de principios del siglo veinte participa en estructuras visuales e incluye nuevos modelos que emulan la realidad publicitaria y los medios de masas.[En] This study investigates the impact of modern visual culture on avant-garde poetry from a perspective that considers transatlantic exchanges between European and American Modernism. My argument is at the brink of twentieth century images were part and parcel of a highly technologized and capitalist society. Sensitive to the methods employed by mass culture and the advertising industry, Modernist poets relied upon the potential of optical experience not only to promote their works but also to appeal to eyesight as the fastest and most effective way to provoke a reaction in the viewer. Therefore, I pay heed to Cubism, Futurism, Dadaism, German Expressionism and French Surrealism as a means of exploring the origin of avant-garde aesthetics and their bearing on the British and American experimentalism. In Great Britain, Imagism and Vorticism relied upon the disciplines of painting and sculpture to articulate a poetic language that reproduced the artifice of promotional culture. In the U.S. poets and artists such as Williams, Crane, Stevens and the Precisionists, utilized visual imagery to envision American city life and natural landscapes. Other Modernists such as Stein, Eliot and Pound conveyed their displacement from their homeland by engaging in an epic poetry that reproduced cross-cultural perspectives thanks to the collage effect. Likewise, the emergence of cinema and photography makes a direct impact on the poetry of Moore and H.D., whose mechanized image might be interpreted in terms of the democratization and expansion of art. The study of visual culture thus helps connect popular or low forms, such as media, with high forms in line with the fine arts and poetry. The interrelation of the literary genre with plastic and mechanical forms is significant because it invites us to think over the original thing and its duplicates as well as the tension between art and truth in modernity. All in all, early twentieth-century aesthetics participates in visual structures, opening up models that emulate the free circulation of commodities, whether they are tangible or intangible
UTPA Undergraduate Catalog 2011-2013
https://scholarworks.utrgv.edu/edinburglegacycatalogs/1076/thumbnail.jp
UTPA Undergraduate Catalog 2013-2015
https://scholarworks.utrgv.edu/edinburglegacycatalogs/1077/thumbnail.jp
Eastern Illinois University Undergraduate Catalog 1990 - 1991
This Catalog lists available courses for the 1990-1991 term.https://thekeep.eiu.edu/eiu_catalogs/1029/thumbnail.jp
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