A Rough Journey is a single movement for orchestra with an approximate length of 14 minutes. The orchestra consists of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players), piano and strings. The piece is inspired by Alfred Schnittke's musical language and features a variety of elements representing different styles. The harmonic language for instance, consists of pure triads (mostly augmented triads) in both tonal and atonal textures, triads with added dissonances as well as clusters. Although for the most part the piece does not follow a traditional harmonic language, I introduce unstable tonal centers occasionally to strengthen the tonal aspect of the music in contrast with its contemporary textures. The composition includes a few monograms as the main thematic materials which include B-A-C-H and D-S-C-H. However, I add extra notes to these motives to make them slightly longer and more unique. For example, I almost always end the B-A-C-H with the starting note, making it B-A-C-H-B. The Shostakovich motive is also extended to DS-C-H-(B flat-A flat-G). These motives are developed and transformed as the piece progresses, and appear with various rhythms. Dodecaphony is another compositional technique which is used in my work. I use "quasi dodecaphonic" rows against other materials as one of the musical layers. Piano is one of the instruments that features this particular technique by playing all twelve notes in a variety of forms. In addition to tone rows with consecutive notes, I also use dodecaphonic approach in a macro level which is a more unique way of using the technique. For example, the first section of the piece features the two discussed main monograms starting from each and every note of all twelve pitch classes, exploring a vast spectrum of notes at the very beginning. At the same time, I make allusions to traditional harmonic progressions by creating triadic structures in this imitative texture. The pivot note F# is introduced against the discussed texture and maintains its prominence throughout the composition. This pivot note serves as the ending point of some sections, including the string introduction.

Hyperkinetic movement (HKM) can encumber nonverbal communication of preference. Caregiver and clinician interpretation of preference are recognized as a valuable but limited proxy translation. It is known that biomechanical signals can differentiate among movement patterns in various populations. We hypothesize that preference is encoded in HKM; to test this hypothesis we propose a unified approach to detect preference within HKM, fusing observational and quantitative techniques while incorporating caregiver and clinician perspectives. We illustrate this method through two case studies; in the first case preference is detectable by both visual (fair agreement) and accelerometer classification (68.5% accuracy) whereas in the second case preference is only detectable by accelerometer-based classification with 62.9% accuracy. The proposed procedure may enable researchers to effectively explore communicative movement patterns in children with HKM. The findings warrant further investigation into potential communicative patterns in HKM.

Hyperkinetic movement (HKM) can encumber nonverbal communication of preference. Caregiver and clinician interpretation of preference are recognized as a valuable but limited proxy translation. It is known that biomechanical signals can differentiate among movement patterns in various populations. We hypothesize that preference is encoded in HKM; to test this hypothesis we propose a unified approach to detect preference within HKM, fusing observational and quantitative techniques while incorporating caregiver and clinician perspectives. We illustrate this method through two case studies; in the first case preference is detectable by both visual (fair agreement) and accelerometer classification (68.5% accuracy) whereas in the second case preference is only detectable by accelerometer-based classification with 62.9% accuracy. The proposed procedure may enable researchers to effectively explore communicative movement patterns in children with HKM. The findings warrant further investigation into potential communicative patterns in HKM.

A Rough Journey is a single movement for orchestra with an approximate length of 14 minutes. The orchestra consists of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players), piano and strings. The piece is inspired by Alfred Schnittke's musical language and features a variety of elements representing different styles. The harmonic language for instance, consists of pure triads (mostly augmented triads) in both tonal and atonal textures, triads with added dissonances as well as clusters. Although for the most part the piece does not follow a traditional harmonic language, I introduce unstable tonal centers occasionally to strengthen the tonal aspect of the music in contrast with its contemporary textures. The composition includes a few monograms as the main thematic materials which include B-A-C-H and D-S-C-H. However, I add extra notes to these motives to make them slightly longer and more unique. For example, I almost always end the B-A-C-H with the starting note, making it B-A-C-H-B. The Shostakovich motive is also extended to DS-C-H-(B flat-A flat-G). These motives are developed and transformed as the piece progresses, and appear with various rhythms. Dodecaphony is another compositional technique which is used in my work. I use "quasi dodecaphonic" rows against other materials as one of the musical layers. Piano is one of the instruments that features this particular technique by playing all twelve notes in a variety of forms. In addition to tone rows with consecutive notes, I also use dodecaphonic approach in a macro level which is a more unique way of using the technique. For example, the first section of the piece features the two discussed main monograms starting from each and every note of all twelve pitch classes, exploring a vast spectrum of notes at the very beginning. At the same time, I make allusions to traditional harmonic progressions by creating triadic structures in this imitative texture. The pivot note F# is introduced against the discussed texture and maintains its prominence throughout the composition. This pivot note serves as the ending point of some sections, including the string introduction.

This work aims to further the understanding of the trajectory and velocity profile of curved motion. Two competing theories, the two-thirds power law and the minimum jerk velocity profile, were tested. A set of two experiments was run that had the subjects generate curved motion. The first experiment had subjects move along a bounded oval and the second experiment had subjects move is a less constrained manner inducing a curved path. The study shows evidence for the expected effects of distance travel and allowable room for error. The evidence for the two movement profiles explaining the data is minimal.

When timing a fluent sequence of either movement or speech, evidence suggests that people consider the amount of time available during the production of a first unit to prepare a second unit, evident in a reverse length effect for response onset of the sequence (e.g., Griffin, 2003; Ketelaars, Garry, and Franks, 1997). The current study investigated whether such considerations extend to sequences composed of both speech and movement units. Participants named an object and manually traced a course to produce a fluent sequence. Duration of the first production was manipulated. If preparation modulation operates over speech and movement units within the same sequence, sequence onset will be earlier when the first unit is short in production duration as opposed to long. In general, participants began sequences later when production of first unit did not exceed preparation time of the second unit. This finding provides support for preparation.

The Cristero Rebellion and the Sinarquista Movement were reactionary forces that opposed the progression of the Mexican Revolution in the first half of the twentieth century. This thesis compares the two movements, with particular emphasis on their ideologies. Both groups embodied Catholic resistance against an anticlerical and socialist Mexican government. The struggle between the church and state, which can be traced to colonial times, reached a zenith with the highly anticlerical Mexican Revolution of 1910. As revolutionary ideology was vigorously implemented by the Mexican state, Catholics rallied behind the church and sought recourse in violence. This culminated in the Cristero Rebellion of 1926-29, with disastrous results. In the 1930s, when the new threat of socialism emerged, Catholics abandoned the path of bloodshed and supported the Sinarquista Movement. These movements represented the ultimate expression in religious protest, yet little is written that compares the Sinarquistas with the Cristeros. Moreover, some historians contended that the two groups had little in common. In essence, present historiography views the movements as two separate events. This thesis argues that while a few differences exist, the Sinarquistas shared many of the goals, ideologies, and demographics of the Cristeros. Moreover, it concludes that the Sinarquista Movement was essentially a continuation of the Cristero struggle.

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