When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song.  The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”.  Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson.  The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song. / <p>Soprano: Hitomi Ohki</p><p>Piano: Anders Kilström</p><p></p><p>Aaron Copland (1900-1990)</p><p>Twelve Poems of Emily Dickonson</p><p>1, Nature, the gentlest mother</p><p>2, There came a wind like a bugle</p><p>3, Why do they shut me out of Heaven?</p><p>4, The world feels dusty</p><p>5, Heart, we will forget him!</p><p>6, Dear March, come in!</p><p>7, Sleep is supposed to be</p><p>8, When they come back</p><p>9, I felt a funeral in my brain</p><p>10, I've heard an organ talk sometimes</p><p>11, Going to Heaven!</p><p>12, The Chariot</p>

1987 AD. When a Satanic cult threatens to usher in Armageddon, the LAPD's top supercop manchild and his crotchety grandma of a partner must punch, kick, and shoot their way through their toughest case yet: protecting a feral 9-year-old girl who just so happens to be the Antichrist.

This work introduces the idea of mysterious criticism as a viable means by which to critique, explain, and understand the role that hierarchy plays in human social relations. It scrutinizes the works of Kenneth Burke and others to explain the role that mystery plays in human hierarchical circumstances, and becomes a foray into popular culture as a suitable object by which to explicate the form of critique offered in its pages as well as providing fruitful sources for the study of hierarchy in the beginning of the 21st century. / text

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-23T17:22:59Z No. of bitstreams: 1 carloshenriquegoncalves.pdf: 787093 bytes, checksum: 8bf13c5df4d2f966a2f9d228ebda6dba (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-26T15:02:39Z (GMT) No. of bitstreams: 1 carloshenriquegoncalves.pdf: 787093 bytes, checksum: 8bf13c5df4d2f966a2f9d228ebda6dba (MD5) / Made available in DSpace on 2016-02-26T15:02:39Z (GMT). No. of bitstreams: 1 carloshenriquegoncalves.pdf: 787093 bytes, checksum: 8bf13c5df4d2f966a2f9d228ebda6dba (MD5) Previous issue date: 2014-02-26 / Este trabalho investiga a influência da teoria da emoção de Richard Lazarus sobre a Terapia Cognitiva (TC) de Aaron Beck. As primeiras abordagens denominadas cognitivo-comportamentais, com foco nos processos cognitivos, surgiram no período em que, segundo alguns autores, ocorreu a chamada revolução cognitiva. A TC de Aaron Beck é uma das que mais se destacaram nesse movimento. Em seu modelo cognitivo, Beck sustenta que a percepção dos eventos influenciam as emoções e os comportamentos, e defende a primazia da cognição sobre processos emocionais. Concomitantemente, a emoção começa a ser investigada experimentalmente, colocando em evidência o problema da relação entre cognição e emoção. Através de pesquisa bibliográfica e análise teórica, procurou-se revisar o estado do conceito de emoção na Psicologia dando ênfase à teoria da emoção de Lazarus. Como resultado apontamos o papel da emoção, tanto para Lazarus quanto para Beck, como fonte de informação dos processos psicodinâmicos, apesar de postularem a primazia da cognição e comungarem da visão construtivista do conhecimento. A semelhança entre a visão conceitual das emoções básicas: raiva, ansiedade e tristeza e seus modelos de acionamento, a utilização dos conceitos de Lazarus de avaliação primária e secundária na TC, a possibilidade de controle da emoção pela razão e o conceito de empatia, foram pontos levantados como influências diretas de Lazarus sobre a TC. Verificou-se ainda ao final do estudo, o movimento atual de Beck em buscar compatibilizar a TC com os resultados da neuropsicologia e em se aproximar de teorias que privilegiam a emoção, o que pode ser observado em sua Teoria dos Modos. / This paper investigates the influence of the theory of emotion from Richard Lazarus on the Aaron Beck’s Cognitive Therapy (CT). The first called ‘cognitive-behavioral’ approaches, focused on cognitive processes, emerged in the period, which, according to some authors, the so-called ‘cognitive revolution’ occurred. The Aaron Beck’s TC is one of the most outstanding in this movement. In his cognitive model, Beck argues that the perception of events influence emotions and behaviors, and defends the primacy of cognition over emotional processes. Concomitantly, emotion begins to be experimentally investigated, highlighting the problem of the relationship between cognition and emotion. Through literature research and theoretical analysis, we sought to review the status of the concept of emotion in psychology emphasizing the theory of emotion from Lazarus. As a result, we point out the role of emotion, both for Lazarus and for Beck, as a source of information to psychodynamic processes, meanwhile positing the primacy of cognition and the constructivist view of knowledge. The similarity between the conceptual views of basic emotions: anger, anxiety and sadness and their drive models, the use of Lazarus primary and secondary evaluation concepts on CT, the ability to control emotion by reason and the concept of empathy, points direct influences from Lazarus on TC. It is also pointed at the end of the study the current movement of Beck in seeking conciliation with the results of neuropsychology and with theories that emphasize emotion, what is seen in his Theory of Modes.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-08T17:14:28Z No. of bitstreams: 1 nataliaquintelarocha.pdf: 528792 bytes, checksum: ba904366eb8400d2ba2612707e5f2730 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-09T11:39:49Z (GMT) No. of bitstreams: 1 nataliaquintelarocha.pdf: 528792 bytes, checksum: ba904366eb8400d2ba2612707e5f2730 (MD5) / Made available in DSpace on 2016-08-09T11:39:49Z (GMT). No. of bitstreams: 1 nataliaquintelarocha.pdf: 528792 bytes, checksum: ba904366eb8400d2ba2612707e5f2730 (MD5) Previous issue date: 2013-02-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa tem por objetivo inventariar as teses sobre personalidade de Aaron Beck e realizar uma análise em relação ao estado em que se encontra a teoria da personalidade de sua abordagem. O campo teórico da Terapia Cognitiva é um tanto negligenciado e possui ainda muitas lacunas, sendo o da teoria da personalidade uma das principais. Para analisar o estado atual do problema na TC, primeiramente descrevemos alguns critérios de teoria científica e da personalidade, além de apresentar brevemente uma discussão e histórico sobre o conceito de personalidade e suas teorias. Posteriormente descrevemos as teses de Beck a partir dos modelos que ele apresentou ao longo de sua obra, sendo o primeiro deles o modelo de depressão, que foi elaborado inicialmente por Beck para explicar e tratar pacientes deprimidos, o segundo o modelo de psicopatologia, em que o autor propõe uma expansão da teoria original para outros transtornos psiquiátricos com poucas alterações na estrutura teórica básica, e o terceiro o modelo modal, sua recente proposta teórica com a apresentação e incorporação de novos conceitos e hipóteses à teoria original, que surge como tentativa de resolver alguns problemas levantados por Beck e seus críticos. Por fim, realizamos a avaliação das teses encontradas. Concluímos que apesar de as teses de Beck sobre personalidade serem relevantes e consistentes, não constituem ainda uma teoria da personalidade completa, pois existem nela lacunas importantes. As principais delas se referem ao posicionamento em relação a uma teoria da motivação e a uma teoria explícita de funcionamento da personalidade não patológica. / This research aims to survey the Aaron Beck’s thesis about personality and analyse the state of the theory of personality in his approach. The theoretical framework of Cognitive Therapy is somewhat neglected and still has many gaps, especially in personality theory. To analyze the current state of this problem in the Cognitive Therapy, we first described some criteria of scientific theory and personality theory, and briefly present a discussion about the concept of personality and its theories. Later we described Beck's thesis from the models he showed throughout his work, the first of them, his model of depression, which was originally developed by Beck to explain and treat depressed patients.The second, the psychopathology model , in which the author proposes an expansion of the original theory to other psychiatric disorders with little change in the basic theoretical framework, and the third is the modal model, his recent theoretical proposal in which he presented and incorporated new concepts and hypotheses to the original theory. This model appears as an attempt to solve some problems in TC raised by Beck himself and by his critics. Finally, we evaluate the thesis found. We conclude that although Beck's thesis about personality are relevant and consistent, don't constitute a complete theory of personality, because of important gaps. The main of them refer to a lack of a theory of motivation and an explicit theory of nonpathological personality.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-07-04T15:13:40Z No. of bitstreams: 1 melissagevezierfioravante.pdf: 1354852 bytes, checksum: 808f66014cdf608e6275e8c268614016 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-06T14:20:42Z (GMT) No. of bitstreams: 1 melissagevezierfioravante.pdf: 1354852 bytes, checksum: 808f66014cdf608e6275e8c268614016 (MD5) / Made available in DSpace on 2018-07-06T14:20:42Z (GMT). No. of bitstreams: 1 melissagevezierfioravante.pdf: 1354852 bytes, checksum: 808f66014cdf608e6275e8c268614016 (MD5) Previous issue date: 2014-05-16 / Este estudo tem por objetivo dissertar sobre as confluências e divergências teóricas entre a Terapia Cognitiva de Aaron Beck e a Terapia do Esquema de Jeffrey Young. Nos últimos 30 anos, surgiu um esforço de alargamento das terapias cognitivas para atender pacientes com patologias graves e com transtornos de personalidade, pois esses casos acabavam por não responder, de maneira satisfatória, ao tratamento de terapia cognitiva tradicional. Dentro desta perspectiva, as diferentes abordagens são definidas em 1ª geração e 2ª geração de terapias cognitivas. A distinção entre ambas as gerações ocorre na adaptação de três pontos importantes: conceitual, estrutural e de processo. Atualmente, observa-se o crescimento de Terapias Cognitivas com proposta integrativa, às quais, além de apresentarem características pertencentes as três abordagens, somam-se preocupações pertinentes às diferenças culturais e espiritualidade. A Terapia dos Esquemas surgiu em 1990 para tratar pacientes com transtornos de personalidade ou transtornos mais severos e arraigados. Através deste estudo, buscou-se analisar as semelhanças e divergências entre os conceitos e hipóteses usados em ambas as teorias: o conceito de “esquema”, o papel da emoção, perspectiva de tratamento para pacientes com transtorno de personalidade e pacientes caracteriológicos ou com transtornos crônicos, o modelo modal e a relação terapêutica e escalas utilizadas. Analisando o conceito de esquema na Terapia do Esquema, observa-se que a definição é significativamente vaga. Quanto à origem dos esquemas disfuncionais, a Terapia Cognitiva aponta para uma falha no processamento de informação diante das situações vivenciadas na realidade. Já a Teoria do Esquema, os esquemas pessoais refletem com bastante precisão o seu ambiente remoto. Quanto ao aspecto relacionado à relação terapêutica, Young apropria-se da ideia de “experiência emocional corretiva” de Alexander e French para dar formas ao seu constructo denominado reparação parental limitada, cujo objetivo é diminuir conflitos remotos através da relação terapêutica, causados por necessidades emocionais não supridas. Diferentemente, a Terapia Cognitiva de Beck aponta para o papel importante da relação terapêutica, defendendo o papel do terapeuta como conselheiro ou modelo, nos casos de pacientes com Transtorno de Personalidade, não objetivando a resolução de conflitos emocionais remotos. / This study aims to work on the confluences and divergences between the theoretical Aaron Beck’ Cognitive Therapy and Jeffrey Young’ Schema Therapy. Over the past 30 years, there has been a broadening effort from cognitive therapies to assist patients with serious illnesses and personality disorders, because these cases ended up in not respond satisfactorily to the treatment of traditional cognitive therapy. Within this perspective, the different approaches are defined in "1st generation" and "2nd generation" cognitive therapies. The distinction between the two generations of adaptation occurs in three major issues: conceptual, structural and process. Currently, there is growth of integrative Cognitive Therapies, which, besides having the three characteristics of all three approaches, add to the concerns about cultural differences and spirituality. Schema Therapy emerged in 1990 to treat patients with personality disorders or those with more severe or entrenched disorders. Through this study, we sought to examine the similarities and differences between the hypothesis and concepts used in both theories: the concept of "scheme", the role of emotion, the prospective treatment for patients with personality disorder or with chronic disorders, the modal model, the therapeutic relationship and the scales. Analyzing the concept of schema in Schema Therapy, it is observed that the definition is significantly vague. Regarding the origin of dysfunctional schemas, Cognitive Therapy points to a failure in the information processing at the situations experienced in reality. Regarding the Theory of Schema, personal schemes reflect quite accurately your remote environment. About the therapeutic relationship, Young appropriates the idea of "corrective emotional experience" from Alexander and French to shape his construct called “limited parental repair”, whose goal is to reduce remote conflicts through the therapeutic relationship, caused by unmet emotional needs. Differently, the Beck Cognitive Therapy points to the important role of the therapeutic relationship, defending the role of counselor or therapist as model in cases of patients with personality disorder, not aiming at the resolution of remote emotional conflicts.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.

Aaron Copland was born of Russian-Jewish parents on November 14, 1900. Harris Kaplan, his father, had acquired the American equivalent of his name when an immigration official at the British port of entry wrote it on his papers, and from then on the family name was "Copland." Sarah Mittenthal and Harris Copland met at a family social gathering in New York and were married in 1885. They lived in the upper stories of his department store in Brooklyn which remained the family home until 1924 and was where Aaron, the youngest of five, was born.

Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / The following report is a detailed analysis on the following three pieces: Suite in B-flat by Richard Strauss for woodwind chamber ensemble, Two Pieces from Lieutenant Kije by Sergei Prokofiev for brass and percussion ensemble, and a finally Down a Country Lane by Aaron Copland for concert band. The goal of the analysis is to provide rehearsal information for educational purposes. Aspects of the compositions studied include: background information on the composer and composition, a historical perspective, technical and stylistic considerations, and the musical elements. The researchers perspective on philosophy of music education is also stated as well as the importance of choosing quality literature for pedagogical needs and performance. The goal of this report is to aid future conductors in their performances of the literature and for that reason the seating charts for the ensembles, acoustical justifications, as well as rehearsal plans have been included.

本論文共一冊，大約二萬四千字左右，共分六章十七節。 第一章包括前言，加值稅之類型，稅率的區分（單一稅率與複式稅率）。 第二章介紹Henery Aaron的Input-output model，利用此模型來估算課程前與稅後的 產出值，並藉此兩種不同之產出值而比較價值效果。 第三章、第四章分別以台灣的十七個產業在課征IVAT與CVAT之後的價格效果，再求出 一一般的價格水準發現價和是否漲跌取決於加值稅與間接稅的轉嫁能力。若加值稅的 轉嫁能力越強，則以加值稅取代間接稅後，其價格越容易上漲。 第五章討論加值係數對物價之影響，發現加值係數對物價有正的關係，但是必須在加 值係數超過某一臨界之後，課征加值稅之後物價上漲，台灣由於加值係數低，因而課 征加值稅後，價格並沒有上漲。 第六章總結論，從財政收入，經濟穩定，經濟成長等項談，加值稅應屬一項良稅。