Call number: LD2668 .T4 1978 V58 / Master of Science

Call number: LD2668 .T4 1979 F716 / Master of Science

Call number: LD2668 .T4 1979 J67 / Master of Science

The purpose of the descriptive research was to investigate the relationship between an adherence to the Black community's belief and value system about Black skin tones and Black school-age children's skin tone preferences and perceptions of occupational life opportunities. Six Black skin tones were scaled via Thurstone's method of paired comparisons and the law of comparative judgment. The result was an interval level Skin Tone Scale on which the skin tones were positioned from most to least preferred by the children. The most preferred skin tones ranged from medium to honey brown. The least preferred were the extreme tones of very light yellow and very dark brown. Data collection was accomplished with the Porter Skin Tone Connotation Scale (PSTCS). The instrument was constructed from the forced choice preference paradigm. Data were obtained from a volunteer sample of 98 Black school-age children who resided in a city in Arizona. Data collection and analyses were constructed to test two hypotheses: (1) Black school-age children's skin tone classifications for differential status occupations will be related to gender, age, and perception of own skin tone as indexed by the skin tone values of the Skin Tone Scale, and (2) with increasing age, Black school-age children's skin tone preferences will be more systematically related to the skin tone values of the Skin Tone Scale. Testing of the first hypothesis with multiple regression indicated that the independent variables did not account for enough variance to support the hypothesis. Analysis of the second hypothesis with coefficient gamma suggested a trend toward more systematic agreement with the Skin Tone Scale with increasing age. Results of the first hypothesis were discussed in relation to composition of the sample, gender differences, the achievement value of the Black sociocultural system, and these Black children's lived experience. Results of the second hypothesis reflected those from similar investigations conducted in the 1940s. The results suggested Black children still most prefer brown skin tones and least prefer extreme light and dark skin tones. Black children's preferences for Black skin tones have not altered in approximately forty years.

Poster exhibited at GPSC Student Showcase, February 24th, 2016, University of Arizona. / We investigated whether bees have an innate preference for flowers with saturated pigments and whether experience altered any preference. Preference could be a result of reward quality varying by color morph and/or responses to the petals, anthers, or their combination. Consequently, we gave bees experience on one of four floral configurations created from two color morphs of Solanum tridynanum. We subsequently tested learned preference using an array of all four configurations. Changes in preference as a result of experience were not mediated by anthers, only by petals. Bees that first experienced configurations with purple petals subsequently preferred configurations with purple petals, relative to naïve bees. However, bees that first experienced white petals showed no subsequent change in preference relative to naïve bees. Surprisingly, naïve bees showed no preference for any particular floral configuration. Rather than an innate preference for flowers with more saturated colors, bees are less able to develop a preference for unsaturated types. Because individuals are more able to develop a preference for saturated flowers, these flowers experience greater visitation, and thus greater pollination success, over unsaturated types.

How to Orient Yourself in the Wilderness is an exhibition presented in the style of a survival guide. The “wilderness” is a metaphor for the unknown. Within this category of the unknown are numerous literal and figurative spaces. I use the guide as an attempt to pin down why I gravitate towards the camera and what it means to me as a form of communication. Simultaneously I explore what it means to be “southern” and the manner in which it is traditionally represented in images. Also included in the wilderness tag is the “art world” and the relationship of straight photography towards and with it. The exhibition is loosely attached to the survival guide premise in order to highlight the shortcoming of photography’s ability to explain.

Stroop interference through the colour-word task has been a popular means of studying selective attention since its introduction in 1935. Little effort has been made to adapting a non-verbal task for use with pre-school children. Cramer (1976) devised a colour-picture task where pictures characteristically associated with a particular colour (such as a picture of a banana and the colour yellow) were presented in incongruous colours (e.g., a blue banana). A series of studies was conducted with children aged between 3 and 8 years of age which investigated facets of this colour-picture task. Two methods of responding were compared - a verbal response, and a manual response that allowed younger children to participate (a card-sorting technique). In addition to the basic colour-picture task where children named colours and forms, another task was introduced where children 'prescribed' the correct colour of incorrectly-coloured pictures (Santostefano, 1978; Sebovà & Árochovà, 1986). Results showed that children consistently displayed increased latencies when colour-naming and colour-sorting characteristically and uncharacteristically-coloured pictures. Interference was frequently found for inappropriately-coloured but not appropriately-coloured pictures in form-naming/sorting tasks. The prescribing task proved difficult for children to complete and produced increased latencies and error rates. Performance of the naming colour-picture task was compared to classic Stroop colour-word procedures in children aged between 5 and 8. There were correlations between colour naming in the colour-picture and colour-word tasks for children aged 5 - 7. Performance in the prescribing task did not correlate. It is concluded that the tasks are good measures of selective attention but not necessarily direct equivalents of the colour-word task. An evaluation of the verbal and non-verbal methods is also given.

Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.

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När en kock komponerar en maträtt som skall fotograferas kommer han behöva göra en medveten estetisk bedömning innan maträtten tillagas, för att sedan analysera och förstå hur betraktaren uppfattar matfotografi. I denna litteraturstudie är syftet att undersöka hur estetiska begrepp och bildanalysmetoder tillämpas inom matfotografi. Uppsatsen bygger på en litteraturstudie, där fyra vetenskapliga artiklar har tillämpats för att besvara syftet. Resultatet i litteraturstudien visar att det är svårt att finna en metod att applicera på matfotografi, men om det går att skapa ett språk med flera metoder tillsammans finns det stora fördelar ur ett analytiskt perspektiv. Tillämpningen av estetiska begrepp tillsammans med bildanalyser är komplicerat och forskningen som gjorts är inte tillräcklig / B-uppsatser