20,593 research outputs found

    Introdução dos Elementos da Harmonia Funcional na Aprendizagem da Guitarra

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    O presente relat√≥rio √© realizado no √Ęmbito da Unidade Curricular de Pr√°tica de Ensino Supervisionada, do Mestrado em Ensino de M√ļsica no Instituto Piaget de Viseu. O mesmo desenvolve-se em torno da introdu√ß√£o dos elementos da harmonia funcional na aprendizagem da guitarra. Enquanto estudante de guitarra cl√°ssica e como professor estagi√°rio no Conservat√≥rio Bomfim em Braga, observei alunos com dificuldades na identifica√ß√£o dos acordes da guitarra, bem como na identifica√ß√£o dos encadeamentos harm√≥nicos. Durante o meu percurso constatei a dificuldade em encontrar de forma estruturada os conceitos que enquadrassem todos os pontos relevantes para a aprendizagem e pr√°tica dos elementos da harmonia funcional no ensino da guitarra, pelo que me propus a investigar e trabalhar este tema. A harmonia funcional apresenta uma abordagem diferenciada de conceitos e pr√°ticas conhecidas, adaptadas a uma outra realidade expressiva. Cada acorde relaciona-se com o todo de um determinado centro tonal, sendo diferente da harmonia tradicional que classifica o acorde relacionando-o apenas com a posi√ß√£o do baixo na escala. O projeto de interven√ß√£o pedag√≥gica teve como metodologia uma Investiga√ß√£o-A√ß√£o, baseando-se num ciclo de quatro fases essenciais: planifica√ß√£o, a√ß√£o, observa√ß√£o e reflex√£o. Na minha interven√ß√£o, realizei dois question√°rios em plataforma digital google forms, um antes da interven√ß√£o, com o intuito de observar o conhecimento pr√©vio dos alunos em rela√ß√£o a este tema, e outro ap√≥s a mesma, procurando este analisar o conhecimento adquirido pelos estudantes, utilizando assim, as compet√™ncias adquiridas pelos alunos, os seus pontos de vista, como forma de observar o sucesso ou insucesso desta experi√™ncia. Procurei tamb√©m aproximar mais a rela√ß√£o entre alunos e professores, focando nas necessidades espec√≠ficas de cada aluno

    Do Catholics have an external locus of evaluation? Inauthentic experiences of Catholic guilt in the pursuit of self-forgiveness

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    This two-part mixed methods study investigated emotional response to transgression and selffor-giveness in Catholic individuals in concert with locus of evaluation orientation following a hypothe-sis that Catholics may be particularly unable to find self-forgiveness in the teachings of their reli-gion. Study 1 was a qualitative semi-structured interview with a sample of 20 practicing Catholic participants. Questions focused on the emotive experiences of selfforgiveness and transgressions and the contribution that Catholic practices (prayer and reconciliation) make to the process. Data were analysed using thematic analysis which supported evidence of Catholic guilt but suggested that there may be some inauthenticity and insincerity with which penitents' approach reconciliato-ry practices. Study 2 used a sample of 239 Christian participants in groups of Catholics and Christian non-Catholics. Participants responded to two psychometric questionnaires: the Heartland Forgiveness Scale, and the Locus of Evaluation Inventory. Followed by two additional questions pertaining to self-forgiveness experiences, and one question requiring participants to prioritise types of forgiveness. The results found no difference between Catholics and non-Catholics in their response to self-forgiveness or locus of evaluation orientation. However, in non-Catholic Christians but not in Catholics, the frequency of religious practice correlated with higher total forgiveness and its subscales (including self-forgiveness), with more internal locus of evaluation, and with lower self-regard, suggesting that church attendance does not relate to the propensity for self-forgiveness in Catholic individuals

    Towards a sociology of conspiracy theories: An investigation into conspiratorial thinking on Dönmes

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    This thesis investigates the social and political significance of conspiracy theories, which has been an academically neglected topic despite its historical relevance. The academic literature focuses on the methodology, social significance and political impacts of these theories in a secluded manner and lacks empirical analyses. In response, this research provides a comprehensive theoretical framework for conspiracy theories by considering their methodology, political impacts and social significance in the light of empirical data. Theoretically, the thesis uses Adorno's semi-erudition theory along with Girardian approach. It proposes that conspiracy theories are methodologically semi-erudite narratives, i.e. they are biased in favour of a belief and use reason only to prove it. It suggests that conspiracy theories appear in times of power vacuum and provide semi-erudite cognitive maps that relieve alienation and ontological insecurities of people and groups. In so doing, they enforce social control over their audience due to their essentialist, closed-to-interpretation narratives. In order to verify the theory, the study analyses empirically the social and political significance of conspiracy theories about the Dönme community in Turkey. The analysis comprises interviews with conspiracy theorists, conspiracy theory readers and political parties, alongside a frame analysis of the popular conspiracy theory books on Dönmes. These confirm the theoretical framework by showing that the conspiracy theories are fed by the ontological insecurities of Turkish society. Hence, conspiracy theorists, most readers and some political parties respond to their own ontological insecurities and political frustrations through scapegoating Dönmes. Consequently, this work shows that conspiracy theories are important symptoms of society, which, while relieving ontological insecurities, do not provide politically prolific narratives

    Songs without borders: complex interpretative song worlds and the audiences that inhabit them

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    The genre of music commonly referred to as art song often elicits emotionally charged responses in accounts of audience experiences. However, scholarship has largely neglected the object of inquiry where these responses and experiences materialise: the live art song event. The principal research task in this study is to investigate audience experience of live art song events in the UK. The audiences and events at the centre of this inquiry coalesce around the work of the art song promoter Oxford Lieder. Using a mixed method approach (questionnaire, diary methods and guided interviews), statistical and thematic analysis, and Interpretative Phenomenological Analysis, is applied to a dataset that utilises 82 individual participants‚Äô experiences of live art song events, including regular attendees and those experiencing live art song for the first time. To frame the findings of this inquiry, this study establishes the concept of complex interpretative song worlds: defined as a collection of interactions that audience members draw upon to construct their experience of live art song events, through a dynamic and multi-faceted interplay with the system of possibilities afforded by live art song environments. In this study, complex interpretative song world theorising takes place across three levels of audiencing: (1) Interactions with the live art song domain (the norms, behaviours, and conventions of live art song environments) are gathered under three themes. Collecting activity sees a desire for participants to scrutinise song objects, embrace familiar artists and repertoire, and adopt a connoisseur-like approach to knowledge acquisition. Connecting activity reveals a prized sense of close psycho-social resonance, which takes place between songs, performers, spaces and everyday experiences. Venerating activity foregrounds a view of songs as inviolable objects, where perceived changes to songs are deemed heretical by some, examined through the (re)introduction of sung English translations into the live art song corpus. (2) Interactions with live art song objects (the lexical and musical features that make up songs) reveal the ways audience members process words and music, and prioritise either, or both features during live art song events. The presentation of these materials in ways that blur senses (sights and sounds), and time (before, during, and after performances), are shown to be as additive to audience member conceptualisations of the nature of lexical-musical relationships as they are disruptive. (3) Interactions with live art song actors (performers, producers, and audiences) reveal processes of role formation at work, where vocal acts, non-vocal acts, and fixed and non-fixed traits complicate the way audience members derive impressions of performers. Art song‚Äôs hybridity as a genre, which is not a dramatic form, yet ‚Äėnot not‚Äô a dramatic form, reveals the imbricated way audience members construct identities of performers: as professional musicians; as human beings; and as inhabitants of roles defined textually through a song‚Äôs poetic content. This interdisciplinary study draws predominantly on three overlapping areas of scholarship, and makes new contributions to knowledge in all three. For musicology, this inquiry develops deeper understandings of live art song objects to complement the hegemony of hermeneutic, musico-analytical and historiographical research that typifies much of the existing art song literature. For audience studies, these findings provide new audiencing insights, by examining an art form not yet analysed by empirical audience research methods, and one that simultaneously combines both words and music as a mode of expression. For translation theory, this inquiry responds to calls within the existing literature for more research to understand the reception of translation in music. This study also generates dividends outside of the academy, providing new insights for performers and promoters of art song to inform approaches to programming, presentation, production, marketing and audience development

    The geographies of care and training in the development of assistance dog partnerships

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    Human-assistance-dog partnerships form a significant phenomena that have been overlooked in both animal geographies and disability geographies. By focusing on one Assistance Dogs UK (ADUK) charity, ‚ÄėDog A.I.D‚Äô., a charity that helps physically disabled and chronically ill people to train their own pets to be assistance dogs, I detail the intimate entangled lifeworlds that humans and dogs occupy. In doing so, I also dialogue between the sub-disciplinary fields of animal geographies and disability geographies, by exploring two broad thematic areas ‚Äď embodiment and care. As such, this thesis examines the geographies of assistance dog partnership, the care and training practices involved, the benefits and challenges of sharing a lifeworld with a different species, and the changing relationship from a human-pet bond to a human-assistance-dog partnership. Drawing on lived experience and representations of assistance dog partnerships gathered through qualitative (and quantitative) research methods, including a survey, semi-structured interviews (face-to-face, online, and telephone), video ethnography, and magazine analysis, I contribute to research on the assistance dog partnerships and growing debates around the more-than-human nature of care. The ethnomethodological approach to exploring how training occurs between disabled human and assistance dog is also noteworthy as it centres the lively experiences of practice at work between species. The thesis is organised around interconnected themes: the intimate worlds of assistance dog partnerships, working bodies, and caring relations. These thematics allow for a geographical interpretation into the governance, spatial organisation, and representations of dog assistance partnerships. I also explore the training cultures of Dog A.I.D. whilst also spotlighting the lived experiences of training through the early stages of ‚Äėsocialisation‚Äô, ‚Äėfamiliarisation‚Äô, ‚Äėlife skills training‚Äô, through to ‚Äėtask work‚Äô. Finally, the thesis focuses on the practices of care that characterise the assistance dog partnership, showing how care is provided and received by both human and nonhuman. I pay attention to the complex potentiality of the partnership, illustrating how dogs are trained to assist, but also how dogs appear to embody lively, agentic, moments of care. The thesis contributes original work which speaks to animal and disability geographies and attends to the multiple geographies of care-full cross-species lives

    Make belief: the art of inventing religions

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    Attention has recently turned, within the study of New Religious Movements, to the phenomenon of invented religions. Invented religions import transmedial works of speculative fiction from art and popular culture and convert these fictions into scriptures for new forms of religious belief. I approach this phenomenon from the unique position of being both a student and practitioner of invented religions. For the past thirteen years, my work as an artist and cultural engineer has focused upon the re-construction of a fictional queer religion as art, called RELIGIONVIR.US. My religion invokes sci-fi franchise culture and merges Judeo-Christian iconography with psychedelic, queer and cyberpunk aesthetics, to produce a religion as an ongoing transmedial space opera whose ‚Äúepisodes‚ÄĚ have been presented as artworks in over twenty five countries worldwide. RELIGIONVIR.US explores religion as an infective agent capable of multiplying within the living cells of its host, while proposing religion as a form of multimedia production capable of inspiring beliefs, generating worldviews and engineering cultures. This Practise-led PhD explores the fabrication of my own invented religion in relation to others of its kind, as a manual of techniques both studied and utilised to elicit ‚Äúreligious experiences‚ÄĚ in secular publics through art. It speculates upon the processes that conspire to transform something ‚Äúmade‚ÄĚ into something ‚Äúbelieved‚ÄĚ, the possibility of religion as an artistic medium, and probes what happens when people begin to ‚Äúbelieve‚ÄĚ in something that they know is a fabrication. The contents of my artistic portfolio produced within the auspices of the PhD are presented throughout the dissertation as case studies of ‚ÄúReligious Prosthetics‚ÄĚ: devices designed with the intent to conjure religious reactions among various publics. Make Belief: The Art of Invented Religions probes the intersections of art, religion, myth and popular culture to speculate upon the difference between make-believe and make-belief in the post-truth era of deepfakes and alternative facts
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