Because the history of Indian-White relations in Canada has focussed mainly on the colonized Indians and ignored the impact of colonization on the White colonizers, it has simplified a complex affiliation which, clearly, had an impact on both groups while reducing Indian peoples to objects to be studied. By understanding the concept of a relationship involved in colonization, we can alternatively focus on the effects colonization had on both the large and small colonizers. Not only will a study of this type allow us to emphasize the once-ignored impact of colonization on the colonizers, it will also help to avoid the over-study of the Indian peoples in Canada. Exploring the history of the Indian Homemaking Program, Extension Division, University of Saskatchewan, 1967-1972 is an excellent venue in which to perform such a study. The program, which involves White Extension Instructors travelling to Saskatchewan reserves to teach Indian women homemaking skills such as knitting and crocheting, sewing and food preparation, promoted informal cross-cultural education in a setting that was both relaxed and enjoyable. After speaking with Extension Instructors about their vast array of experiences with respect to the program, it is abundantly clear that their days in the program, and with Indian women, changed the way they saw and experienced Saskatchewan.

The problem of the study was to establish a valid and reliable instrument to measure the attitudes of Indiana school administrators toward sexuality education curriculum. From a table of specifications, a pool of 43 items was developed into the initial instrument. A 12-member jury of experts consisting of health educators, school health education teachers, high school principals, college professors (in the health education/school health field), and school superintendents was used to determine the validity of the items. The items were sent for the jury review one. To determine which items would be retained, revised, or eliminated, the items were subjected to both a quantitative and qualitative review. The revised instrument was then sent to the jury for review two. Responses from the second review were also subjected to quantitative and qualitative analysis. This final review included the use of the Content Validity Ratio (CVR). All items on the instrument that were not statistically significant at p < .05 were eliminated. A pilot study followed to establish validity. The final instrument contained 20 items from the 43 original proposed items. / Department of Physiology and Health Science

There is no abstract available for this thesis.

There is no abstract available for this thesis.

This creative project consists of a twenty minute, sixteen millimeter film of children in grades one through six, creatively involved in the process of music making. It is a challenging music instruction which involves speech, movement, dance, singing, instrumental playing and symbolization in building the basic conceptual development. It is based on the philosophy and aims of Carl Orff of Germany, Zoltan Kodaly of Hungary, and the contributions of a number of American educators who have developed and adapted these methods for American children.In addition to specifying and demonstrating some of the innovative techniques involved in guiding children to the discovery of, and sensitivity to the basic elements of music, this project takes into consideration the natural development of the child as well as the natural order of the musical elements.

This study was undertaken to determine if a programmed machine is superior to a programmed text in teaching fluidic concepts to Industrial Education majors. An eighty frame linear program was produced in both text and thirty-five millimeter slide forms. A machine was constructed which displayed the slide, evaluated the response by the subject, and provided instantaneous feedback by cycling forward or backward one slide within the series.A group of randomly selected subjects was exposed to each of these programs and their learning measured by a criterion instrument of suitable reliability. A third group experienced only the criterion instrument.Statistical analysis revealed the performance of both programs to be significantly superior to no treatment. A comparison of the two experimental groups indicated the advantage of the machine group to be non-significant at an acceptable level of confidence.

"Augmenting Clarinet Technique" is this writer's attempt at introducing students of the clarinet to some of the more common new music practices. The new practices included in this sequential study explore the techniques of microtones, quarter tones, timbre changes, proportional notations, harmonics, timbre trills, portamento drills, dyads, vibrato, smorzato, reverse envelope and decay, timeline score readings, three-note multiphonics, four-note multiphonics, multiphonic trills, kinematic multiphonics, simultaneous humming and playing techniques, and demanding altissimo register studies, as well as the technique of combining an acoustic instrument, in this case the clarinet, with the electronic tape medium.This study's purpose is to expound some of the more common demands of the new music. In order to be approachable, this study is highly selective and takes the form of ten originally composed etudes, their prerequisite studies, and one trio.These techniques present problems which often need detailed performance instructions. Although many new-music compositions do in fact contain performing instructions, it seems that an appropriate sequence of their study would assure exposure to most of these new challenges. Other studies have indicated that the introduction of these new techniques can be simplified by exposure through a learning sequence based on increasing difficulty. This concept is utilized to assure a sequence of study that will at least familiarize the clarinetist with these directives and ultimately will give him a mastery of those selected and presented in these etudes.The prerequisite studies are designed to serve a four-fold purpose: 1) to develop embouchure control and resiliency, 2) to acquire facility in manipulating the oral cavity, 3) to acclimate the ears, and 4) to serve as a solid foundation for the ten etudes which follow them. Since it is the opinion of this writer that a new technique must be mastered out of context before it can be incorporated into a whole composition, these prerequisite studies function merely as an introduction to and a drill on each new performance technique. This is accomplished by exploring the realms of lip bends, harmonics, quarter tones, two-note multiphonics (dyads), and the use of the altissimo register, all presented out of context of a normal frame of music.After these prerequisite studies are sufficiently mastered, the student is then able to incorporate each of these techniques into an etude composed for that purpose. There are ten contemporary etudes in all. Each one deals with the problem of musically incorporating at least one specific new technique into a short but whole composition.Vapors, etude No. 10, is the culmination of the study. This etude is intended to stand on its own in the performance medium as a complete composition; therefore, almost all of the new techniques presented earlier were musically incorporated into this composition. Vapors can be performed alone or preferably with electronics in the form of tape reiteration controlled by the performing clarinetist by the use of a foot pedal or switch."Augmenting Clarinet Technique" is in no way intended to turn a novice clarinetist into a prodigy of new music techniques. It merely serves the purpose of exposing the student to some of the most commonly used new techniques found in the contemporary literature. / School of Music

This paper is an investigation into the problem of the pianist with small hands, causes and effects of limitations encountered, and methods for managing the problem. A central aim is to demonstrate the accessibility of many standard works (particularly from the Romantic era) generally thought to be out-of-reach to pianists with small hands.Early chapters deal with physiological demans of piano playing. This includes hand function, related brain and central nervous system activity, and also ideal hand structure characteristics for pianists. It is then shown that the hands of many pianists deviate from the ideal, but that it is possible to compensate for most deficiencies, as seen in the hand structure and pianistic achievements of several virtuosi with small hands.Although relatively little has been written on the problem of small hands, those authors who did touch on the subject offered a variety of solutions, classifiable as physiological corrective measures, and musical devices and techniques.Physiological corrective solutions fall into three broad groups: (1) stretching the hand span, (2) strengthening hand and arm muscles and building general endurance, either at or away from the keyboard, and (3) inducing a relaxed state of body/mind to eliminate tension and musclecontraction.Musical devices and techniques consist of 166 edited excerpts from standard works of sixteen composers to illustrate numerous principles. These techniques and principlesare categorized as follows:Strength: Devices to increase strength and tone forthose with small or fragile hand structure.Stretch: Devices to increase or to give the illusionor increasing the hand span.Small hand position: Devices to maintain a small and relaxed hand position.Redivisions: Redistributions, rearrangements of notes between the hands to reduce stretch requirements.Re-editing or rewriting of a note or passage.These principles for musical solutions are then applied to selected Chopin, Ravel, and Debussy works, closing with the entire Sonata in B Minor by Chopin.Just as each hand with its limitations is unique, so are solutions highly individual. The musical excerpts, therefore, are meant to serve as examples or catalysts in aiding pianists to solve their own hand problems.

This research project documents the evolution of harp pedagogy in twentieth century America. The investigation focused on teaching trends, materials used, and influences that had an impact on the harp community during this period of time. Information for the study was gathered through questionnaires and personal interviews.Seventy-one harp teachers from throughout the United States, divided into three groups based upon experience, completed a survey on harp pedagogy. Respondents answered questions regarding school of harp playing, instructional methods, and the sequencing of technical skills for the beginning student. In addition, teachers provided their opinions about the quantity and quality of harp teaching materials during the twentieth century, and listed important individuals, organizations, and events. Data gathered from surveys was compared for similarities and differences between the three groups.Results indicated that opportunities for harp study increased significantly from 1900-2000, and that 77% of all teaching materials currently in use were written in 1930 or later. The diversity of teaching methods and materials increased as well, with moderately experienced and less experienced teachers being more likely to combine schools of harp playing in their instruction and use a variety of books with beginning students. The more experienced group of teachers tended to have specific opinions about what materials they use in lessons and were more likely to follow a single school of harp playing. A majority of teachers agreed that the quantity of harp teaching materials increased during the twentieth century, but felt that the quality of these materials either stayed the same or declined. / School of Music

The purpose of this study was to construct teaching strategies for selected skills and concepts in brass-instrument performance. The skills to be studied initially consisted of breathing, embouchure, sound production, and articulation; after research and analysis the skill of posture Haas added. The selected concepts were those identified by various brass authors as representing the elements of classical style; namely, "sostenuto," "accent," "staccato," and the "short accent" or "inarcato." While the brass authors also indicated the importance of tempo and dynamics to classical style, the latter were seen by the writer to be self-explanatory to a far greater extent than the primary elements named.Teaching strategies for the selected skills and concepts were constructed by utilizing relevant results of researchers' studies in motor skill acquisition and conceptual learning. These strategies were combined with the skills and concepts of the study to yield empirically-based methodologies to be used in beginning brass instruction.