This investigation examined the linkages between and across the language processes of listening, speaking, reading, drawing and writing as well as the meanings displayed within and across these modes in children’s response to story. Eight first grade children whose reading levels represented a range of low to above-average ability participated in four individual storyreading sessions for a total of 32 sessions. Each session was twenty-to-thirty minutes in length and took place during the class's reading/writing period. Drawing/writing samples, field notes, and videotapes and audiotapes were collected over a six week period. The drawing/writing composing sequence was recorded for each story and flow charts were made depicting each child's pattern of movement between and across language processes. The flow charts were used to examine the language process usage and linkage patterns evident in the movement between and across modes. The kinds of meanings examined included response to conference questions, functions of language displayed during the drawing/writing, and the coherence and specificity present in the story retellings and picture stories. The results of the study indicated that no one particular language process was chosen exclusively to convey meaning in response to story. Some linkage patterns, described as simultaneous or sequential, did occur more frequently than others. The simultaneous linkage pattern of talking/listening and drawing/picture reading was a common pattern displayed by both the high and low ability groups. An analysis of the response to conference questions revealed some awareness by the children of their drawing/writing composing strategies. Another aspect of process knowledge, concept of story, was seen in the analysis of the initial image drawn or written by each child. The functions of language displayed during the drawing/writing composing process were identified as informational, procedural, and format-regulatory. The concept knowledge, examined in terms of coherence and specificity, was characteristic of the categories described as skeletal and interpretational for both groups' story retellings and picture stories. This study suggested that children differ in the way they use the language processes to display meaning in response to story. Parallels were drawn in examining children's thinking processes across the modes. This study supports the notion that recognition and understanding of the various ways children communicate meaning can help educators in their roles as facilitators of language learning. / Ed. D.

This thesis is an integrated part of the process-oriented artistic project Upprepa repa upp veckla ut veckla in and involves reflections upon its artistic accretions as well as the process itself.  The process gravitated around different nodes of attraction such as listening, attention, improvisation, repetition, slowness and language. These nodes were investigated through improvised piano playing (solo and in groups), writing, reading, listening and discussing, and materialized in three work in progress- concerts, one exam concert and a solo cassette. I approached music playing-listening in a relational way, acknowledging bodily sensations and intuition as well as memory and thought; this in dialogue with thinkers and artists such as Pauline Oliveros and Éliane Radigue.  The project also examined how to destabilize the traditional roles between musician and audience, and gave valuable insights in how to create a mutual encounter as well as a collective space of listening, and the political potentials of this.  The results points toward a reformulated performative artistic practice centered around listening and shared spaces, and ways of integrating different artistic expressions such as written language, music and sounds.

Humans need to feel connected to one another. With each new technology we create and re-create ways to connect with others we care about. Thanks to the ubiquity of powerful mobile technology in certain parts of the world, we have nearly immediate access to those remote others. Despite these advances our shared experiences are diminishing, and the ways we most often connect with our remote framily members seem to be superficial and at the expense of more meaningful interaction with collocated family members. People are not likely to give up the convenience and entertainment afforded by their mobile technology, but might those same technologies be capable of supporting interactions that help the users be the selves they wish they were, rather than the consumers their technologies were designed to support? To investigate the space of technological support for people's feelings of togetherness I conducted three studies. The first study was a diary study over 14 days where I asked about the current practices of middle schoolers for communicating with friends out side of school and for listening to music. In the second study, I conducted a design charrette where participants designed a technology to support co-listening, and then tried my first prototype. CoListen is a streaming music player that supports a listener in listening to the same music at the same time as a friend or family member. CoListen is designed with the explicit intent of requiring as little of the listener's attention as possible. In the third study, I deployed Colisten v1.0 in the wild and conducted a 14-day diary study asking participants about their experiences. I found that many of the participants from my target population listen to music and communicate with their friends, and that phatic communication (as opposed to goal-oriented communication) was prominent. I also found participants to be interested in the idea of technology to support co-listening and intrigued by how few little the barrier to co-listening can be, and how little attention is required. In study 3 I found that people enjoyed the experience of remote co-listening and did listen to music as a background activity. Many participatns reported feeling more together with their framily members with whom they co-listened. / Ph. D. / Humans need to feel connected to one another. With each new technology we create and re-create ways to connect with others we care about. Thanks to the ubiquity of powerful mobile technology in certain parts of the world, we have nearly immediate access to those remote others. Despite these advances our shared experiences are diminishing, and the ways we most often connect with our remote family members seem to be superficial and at the expense of more meaningful interaction with collocated family members. People are not likely to give up the convenience and entertainment afforded by their mobile technology, but might those same technologies be capable of supporting interactions that help the users be the selves they wish they were, rather than the consumers their technologies were designed to support? To investigate the space of technological support for people’s feelings of togetherness I conducted three studies. The final study involved participant using a custom-built streaming music player app that supported friends and family members in listening to the same music at the same time. This app was also designed to require as little of the listener’s attention as possible. I found that many people reported feeling more together with their friends or family with whom they co-listened.

Yes / This chapter will examine issues of social justice by focussing on social exclusion and infant mortality. Infant mortality is defined as the death of a live born child before its first birthday. Social exclusion and infant mortality are both important areas of policy debate in the UK and globally (1).We will examine how far they are linked and will focus on ethnic minority populations with higher than average rates of infant mortality. The chapter continues by considering a small group of women who have experienced the death of an infant and who have come together in a group called HOPE. We ask how their experience might inform our understanding of the needs of women at the time of childbirth and in the weeks immediately following it. Their experiences illuminate how feelings of exclusion, and injustice, can be manifest in and through the structures and processes of engaging with health care professionals. The potential to promote social justice and enhance inclusion via listening to the voices of those who have had this experience of loss is considered

This experiment tested three hypotheses linking the right cerebral regulation of hostility and physiological arousal. First, replication of previous research supporting heightened physiological (systolic blood pressure, diastolic blood pressure, and heart rate) reactivity among high hostile subjects was attempted. Second, a positive association between hostility and reactivity of facial valence and intensity to stress were expected. Last, hemispheric lateralization of cerebral activity in response to stress was measured. Low- and high-hostile subjects were identified using the Cook Medley Hostility Scale (CMHS). All subjects completed the cold pressor paradigm and were videotaped before, during, and after the stressor for analysis of facial valence and intensity. Physiological measures (SBP, DBP, and HR) were recorded and dichotic listening procedures were administered before and after the stressor. The primary finding of this research was greater right cerebral activation to stress among high-hostile subjects, as indicated by their enhanced intention to the left ear. Data further supported previous findings of heightened physiological reactivity to stress among high-hostiles. However, no hostility group differences on facial expression measures were found. Data suggest a positive relationship between right cerebral activity and cardiovascular arousal. / Master of Science

The Dichotic Emotional Words Tape developed by Bryden and MacCrae (1989) was used to assess cerebral asymmetry for propositional and nonpropositional speech as a function of verbal fluency. Forty-five right-handed subjects with normal auditory acuity for pure tones were assigned to a verbal fluency classification based on scores on the FAS test (Borkowski, Benton, & Spreen, 1967). After being assigned to a fluency category, subjects were instructed to listen for a word (bower, dower, power, or tower) or affective tone (happy, sad, angry, or neutral). The most important findings of this study were the main effects of fluency (higher, middle, and lower), stimulus type (word and affect), and focus or intention (focus left and focus right). Subjects higher in fluency exhibited significantly greater REA and LEA scores than subjects lower in fluency. For stimuli presented to the right ear, scores for words were significantly greater than scores for affect. However, for stimuli presented to the left ear, scores for affect were significantly greater than scores for words. Focus left instructions led to increases in LEA scores, while focus right instructions led to increases in REA scores. Directions for future research are discussed. / Master of Science

Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.

本研究旨在探討如何增進低學習成就者英聽能力，除了研究何種聽力教材符合低學習成就者認知上的需求之外，並在英聽課從情意因素著手，引起低學習成就者學習動機，而且英聽課程設計也融入多元智慧，從外在成績的提昇激勵低學習成就者內發性地自主學習動機。 本研究以14位高三體育生為研究對象，研究時間持續一學期從2003年9月到2004年1月，研究工具以日記方式由學生記錄聽英文歌曲以及英文文章段落的課後心得。資料分析取自學生日記。 本研究結果如下：〈一〉淺顯易懂與學生日常生活相關而且包括學生先前學過的生字、片語、句型的英文歌曲以及文章段落有益於增進低學習成就者英聽能力。〈二〉愉快而且充滿互助的教室氣氛減少英文學習的焦慮，維持低學習成就者自尊，增加低學習成就者自信，引起學習動機。〈三〉融入六種多元智慧〈語文智慧、音樂智慧、視覺空間智慧、肢體-動覺智慧、人際智慧、內省智慧〉的英聽課程以聽前(pre-listening)、聽時(while-listening)、聽後(post-listening)三階段可有效的加強低學習成就者英聽能力。〈四〉外在的獎賞可激勵低學習成就者內發性自主學習。 / This research investigated how to improve low achievers’ listening ability, using PE students as the subject of the study. The purpose was (a) to investigate what kind of listening materials meet low achievers’ cognitive needs; (b) to motivate low achievers in listening course affectively; (c) to apply MI theory into listening curriculum development for low achievers; (d) to trigger low achievers extrinsically and intrinsically in English class. A total of 14 high school PE seniors in Taipei County in Taiwan participated in the study. The research period lasted for a semester from September 2003 to January 2004. Journals on listening to songs and listening to passages were employed as instruments. Data for the research were collected from students’ journals. The results of the study are summarized as follows. (1) Comprehensible English songs and English passages related to learners’ daily life, including lexis, phrases, and sentence patterns they previously learned were especially beneficial for low achievers to improve their listening ability. (2) A pleasant and supportive classroom atmosphere enables low achievers to reduce language learning anxiety and maintain low achievers’ self-esteem. (3) Courses integrating six intelligences (i.e. verbal/linguistic, musical, visual-spatial, bodily-kinesthetic, interpersonal, and intrapersonal intelligences) were designed into three stages; i.e. pre-listening, while-listening, and post-listening in the listening treatment, and proved to be effective. (4) Low achievers were inspired by extrinsic rewards and intrinsic factors. Better grades and positive feedback inspired low achievers’ extrinsic motivation. Besides, intrinsic motivation derived from comprehensible input and listening to English songs. The findings of the study suggest that low achievers’ listening ability can be effectively improved as long as listening materials are carefully designed to suit students’ needs.

本個案研究旨在探討實施聽力策略教學對四位台灣國中生的影響與衝擊。 不同於以往傳統認知取向的策略教學，本文採用維高斯基（Vygotsky）社會文化取向理論來分析學生的學習；相信策略教學與學習應該考量到學生與外界環境及人際間的互動，而非只探討教學本身的成效。因此本研究在個案對策略學習及自主學習的觀感和態度上多所著墨。文獻回顧內容則涵蓋聽力策略的理論及聽力策略教學實施情形及成效的研究。 　　本研究對象針對37位八年級的學生實施為期18週的聽力教學。但重心放在四位個案身上。研究方法採用質化的學生訪談及學生學習日記的分析輔以量化的聽力策略問卷。實施的步驟分為準備期、診斷期、教學期、練習期、及評估期。在教學開始前，學生們先通過全民英檢初級的聽力測試以評估其聽力能力並篩選個案。然後，實施聽力策略問卷調查以觀察學生平時使用的策略。之後，學生們接受六項聽力策略的教導，包含：猜測、分類、類推、記筆記、選擇性專注、及詢問。在教學實施期間，個案被要求寫學習日記，記錄對所學策略的感想及使用情形。學習日記及訪談是分析個案學習情形的主要資料。 第四章則著重於探討四位個案的家庭背景，學校表現，及對自主學習的態度和想法。目的是希望完整呈現四位個案不同的人格及學習特質，及之所以他們會如此學習的原因。第五章記錄了研究的兩樣重大發現： 1. 聽力能力較高的同學顯然比聽力較弱的學生更能夠有效率的交互使用「由上而下」 及「由下而上」的聽力策略。而聽力較弱的同學則傾向於過度依靠直接翻譯」策略。 2. 原本一向被傳統認知學習策略所忽略的情意方面的因素，反而似乎是影響學生策略學習的主因。這些情意方面的因素包括了：學生如何控制自己的脾氣，學習態度，及情緒。更重要的是，學生似乎都傾向於需要找到生命中的重要他人，並依靠這些較有能力的大人來提供他們踏出學習第一步時必要的安全感，知識，能力，方法及學習的動力。 因此，本研究的發現，回應了維高斯基的社會文化取向理論。唯有先透過人際間的互動與學習，才有可能回歸自我，反求諸己，達到內省與自發的境界。本研究希望能藉由教育現場的真實互動情形，喚醒策略學習及教學研究者對社會文化取向的學習理論，以及學生情意態度影響學習成效的重視。 / The purpose of this case study was to investigate four Taiwanese junior high school learners’ listening strategy use when receiving listening strategy instruction. Different from conventional quantitative SLA strategy studies, this present qualitative case study, adopting sociocultural perspectives, grounded on the conception that the issues of strategy learning should not be understood only in terms of direct instruction and its effectiveness. Instead, exploring the learning processes in which learners and the external environment are necessary. Therefore, this case study focused on the discussion of four learners’ attitude toward learning and their perspectives toward listening strategy instruction. The participants of this study were 37 students in a Taiwanese junior high school in the Taipei city. Yet, the focus was on four cases, Natalie, Tom, Jasmine and Jin Pin. Three major data collection instruments were adopted including the quantitative questionnaire, qualitative interviews and learning journals kept by the four cases. The instructional procedure was divided into five stages-- preparation, diagnosis, instruction, practice, and evaluation. A sample GEPT listening comprehension test was given to the students to pretest their proficiency in the diagnosis stage. Then the instruction on six listening strategies--guessing, grouping, inferencing, note-taking, selective attention, and asking for clarification was provided for 18 weeks. The Listening Comprehension Strategy Questionnaire based on Wang (2000) was conducted to identify the learners’ listening strategy use. Their learning journals were evaluated to explore their ongoing problems and perceptions toward learning the strategies. In Chapter Four, the profiles of the four cases were illustrated including their family background, school performance, and attitude toward learning autonomously to give a full picture of their learning habits. In Chapter Five, major findings are summarized. First, the case study echoed the previous finding that more skillful listeners seem to use both the ‘top-down’ and ‘bottom-up’ strategies more effectively while less skillful listeners rely too much on direct translation. Second, some salient issues previously not emphasized were found including learners’ affective concerns and their ability to control emotions, turned out to powerfully influence the learners’ learning. The learners needed to be assisted first by some adult surrogates and their significant others and to gain enough guidance, assurance, sense of security and control over the emotions before they can move on to self-regulated learning. If not, their learning tends to be subject to their own emotions, which are mostly controlled by the interaction between the learners and the external environment or the others. This finding consisted with the sociocultural perspective in that learning is a collaborative process between the learners and their social contexts. Only through interaction with others can learners achieve a new level of autonomy. To foster learner autonomy, strategy training needs to account for a more interactive view of learning. It also suggests that more efforts should be paid to explore the impact of learners’ affective and social concerns on their language learning toward autonomy.

This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.