This experimental study examines an online module designed to increase student competence in oral citation behavior using a mastery training strategy. Students in the experimental condition provided complete citations at a higher rate and provided more citation information for traditional and web-based sources compared with a control group without required training. Although subjective norms set by instructors also influence citation behavior, the general trend depicted was that students completing the required module training performed more complete citations. Implications for student learning, mastery instruction, and course assessment were considered to be generally beneficial and at minimal cost.

Lisa Henderson, LOVE AND MONEY: QUEERS, CLASS, AND CULTURAL PRODUCTION. New York: New York University Press, 2013; 201 pp. ISBN: 9780814790588, $23.00 paperback.

The series Adam Ruins Everything (ARE) provides an opportunity to contemplate White, hipster masculinity and its professed progressivism in U.S. culture. As seen in ARE, hipster masculinity claims—in part—to possess an enlightened social politic, challenging sexism, racism, and heterosexism, yet the figuration of the White, cisgender-male hipster we get seemingly adopts feminist positions as means to insulate and expand his own social privilege. Using rhetorical strategies to win debates against cultural hegemony, the hipster of ARE becomes a superior masculinity, a trusted voice to guide and liberate White women and people of color, centering himself as the source of a singular truth. The essay provides the opportunity to consider ongoing tensions and ironies between men/masculinity and feminism.

Foi escolhida uma obra musical inédita no meu repertório sobre a qual detalho os mecanismos utilizados na preparação para a sua execução em público. Este trabalho divide-se em três etapas: análise a partir de conhecimentos adquiridos ao longo da minha experiência como intérprete, entrevista e execução da obra para o compositor, e análise formal. O foco concentra-se no resultado expressivo obtido na execução, apoiado nas informações contidas na partitura e na estética revelada pelo texto musical. Para empreender a verificação de resultados apresento uma gravação da obra realizada ao final de cada etapa. Dessa forma, por se tratar de um meio de comunicação artística, esta pesquisa está apoiada em dois capítulos do livro The Science and Psychology of Music Performance (2002) de Richard Parncutt e Gary McPherson que abordam este tema: Comunicação Estrutural e Comunicação Emocional na execução musical. Esta dissertação pretende avaliar as semelhanças e diferenças expressivas obtidas ao final de cada etapa mencionada através da comparação qualitativa das gravações. / The purpose of this study is to detail mechanisms utilized in the preparation of an unknown piece for public performance. It is divided into three stages: analysis, in which I use my prior experience and knowledge as a pianist, interview and performance of the work for the composer, and a formal analysis. The main focus is on the expressive results of the performance, supported by the indications the score has to offer, as well on the aesthetics revealed by the musical text. A recording of the piece at the end of each stage of the study was made to verify the results. In this manner, and because this is an artistic means of communication, this study is also supported by two chapters of the book The Science and Psychology of Music Performance (2002) by Richard Parncutt and Gary McPherson. The authors comment on structural and emotional communication in performance. It is the intent of this study to evaluate the similarities and differences of expression at the end of each phase by a qualitative comparison of the recordings.

Foi escolhida uma obra musical inédita no meu repertório sobre a qual detalho os mecanismos utilizados na preparação para a sua execução em público. Este trabalho divide-se em três etapas: análise a partir de conhecimentos adquiridos ao longo da minha experiência como intérprete, entrevista e execução da obra para o compositor, e análise formal. O foco concentra-se no resultado expressivo obtido na execução, apoiado nas informações contidas na partitura e na estética revelada pelo texto musical. Para empreender a verificação de resultados apresento uma gravação da obra realizada ao final de cada etapa. Dessa forma, por se tratar de um meio de comunicação artística, esta pesquisa está apoiada em dois capítulos do livro The Science and Psychology of Music Performance (2002) de Richard Parncutt e Gary McPherson que abordam este tema: Comunicação Estrutural e Comunicação Emocional na execução musical. Esta dissertação pretende avaliar as semelhanças e diferenças expressivas obtidas ao final de cada etapa mencionada através da comparação qualitativa das gravações. / The purpose of this study is to detail mechanisms utilized in the preparation of an unknown piece for public performance. It is divided into three stages: analysis, in which I use my prior experience and knowledge as a pianist, interview and performance of the work for the composer, and a formal analysis. The main focus is on the expressive results of the performance, supported by the indications the score has to offer, as well on the aesthetics revealed by the musical text. A recording of the piece at the end of each stage of the study was made to verify the results. In this manner, and because this is an artistic means of communication, this study is also supported by two chapters of the book The Science and Psychology of Music Performance (2002) by Richard Parncutt and Gary McPherson. The authors comment on structural and emotional communication in performance. It is the intent of this study to evaluate the similarities and differences of expression at the end of each phase by a qualitative comparison of the recordings.

Foi escolhida uma obra musical inédita no meu repertório sobre a qual detalho os mecanismos utilizados na preparação para a sua execução em público. Este trabalho divide-se em três etapas: análise a partir de conhecimentos adquiridos ao longo da minha experiência como intérprete, entrevista e execução da obra para o compositor, e análise formal. O foco concentra-se no resultado expressivo obtido na execução, apoiado nas informações contidas na partitura e na estética revelada pelo texto musical. Para empreender a verificação de resultados apresento uma gravação da obra realizada ao final de cada etapa. Dessa forma, por se tratar de um meio de comunicação artística, esta pesquisa está apoiada em dois capítulos do livro The Science and Psychology of Music Performance (2002) de Richard Parncutt e Gary McPherson que abordam este tema: Comunicação Estrutural e Comunicação Emocional na execução musical. Esta dissertação pretende avaliar as semelhanças e diferenças expressivas obtidas ao final de cada etapa mencionada através da comparação qualitativa das gravações. / The purpose of this study is to detail mechanisms utilized in the preparation of an unknown piece for public performance. It is divided into three stages: analysis, in which I use my prior experience and knowledge as a pianist, interview and performance of the work for the composer, and a formal analysis. The main focus is on the expressive results of the performance, supported by the indications the score has to offer, as well on the aesthetics revealed by the musical text. A recording of the piece at the end of each stage of the study was made to verify the results. In this manner, and because this is an artistic means of communication, this study is also supported by two chapters of the book The Science and Psychology of Music Performance (2002) by Richard Parncutt and Gary McPherson. The authors comment on structural and emotional communication in performance. It is the intent of this study to evaluate the similarities and differences of expression at the end of each phase by a qualitative comparison of the recordings.

The objective of this thesis is to provide theoretical and empirical insights on the subject of group communication and perceived performance within work teams. The theoretical section provides a definition and outlines the importance of work teams, it references selected psychological aspects and factors. This study details aspects of communication and performance in the context of work teams. It reveals opportunities to increase performance in the subject of learning teams, especially, where communication is its foundation. In addition, this thesis describes and interconnects new knowledge regarding the possibilities of improving performance, whilst exploring the relationship between communication and performance. At the same time, it presents an overview of the approaches and methods of measuring these aspects. The empirical section details the various the relationships of various communication parameters and the perceived performance within teams. The empirical section is devoted to the study of relations of communication parameters and perceived performance in teams. It is a built-in measuring tool for measuring three team constructs: group communication, team-member exchange quality and perceived performance. It provides analysis of psychometric properties, reliability and constructive...

This study employs the Theory of Planned Behavior (TPB) to understand the role of attitudes, subjective norms, and perceived behavioral control on students’ intent to orally cite sources using complete, rather than partial, citations. Undergraduates (N = 326) enrolled in general education oral communication courses completed a self-report survey testing the TPB variables and students’ citation intentions. Findings demonstrate that subjective norms and perceived behavioral control predict student intention to cite sources and do so completely. Tensions between credibility gains and time constraints are also evident. Implications for teaching students in basic courses about oral citations are discussed.

Video modeling was used to establish descriptive norms for proper oral citation performance in a general education public speaking class (N = 191). Three conditions—a control, a peer model video, and a nonpeer model video—were compared for influence on proper citation usage and completeness. Results indicated that students viewing any video performed more complete citations than students not viewing a video. Results were mixed when comparing the effects of the peer model video against the nonpeer model video. Findings suggest norms for proper oral citation behavior can be established through modeling videos.

Narrative inquiry provides an opportunity to humanize the human sciences, placing people, meaning, and personal identity at the center of research, inviting the development of reflexive, relational, dialogic, and interpretive methodologies, and drawing attention to the need to focus not only on the actual but also on the possible and the good. In this chapter, we focus on the intellectual, existential, empirical, and pragmatic development of the turn toward narrative. We trace the rise of narrative inquiry as it evolved in the aftermath of the crisis of representation in the social sciences. The chapter synthesizes the changing methodological orientations of qualitative researchers associated with narrative inquiry as well as their ethical commitments. In the second half of the chapter, our focus shifts to the divergent standpoints of small-story and big-story researchers; the differences between narrative analysis and narratives under analysis; and narrative practices that seek to help people form better relationships, overcome oppressive canonical identities, amplify or reclaim moral agency, and cope better with contingencies and difficulties experienced over the life course. We anticipate that narrative inquiry will continue to situate itself within an intermediate zone between art and science, healing and research, self and others, subjectivity and objectivity, and theories and stories.