Experiences of attunement, a deeply felt and embodied state of consciousness that results from tuning in to oneself, others, events, energies, and the environment, are the basis for realization of innate human capacities for connection and growth (Kossak, 2015). In an educational context, the process of 'tuning in' fosters the development of relationally based and embodied knowledge (Blades and Bester, 2013; Lutzker, 2014). Though rarely referenced and never studied comprehensively in counselor education, attunement contributes to the development of relational qualities and creativity necessary to provide effective counseling services (Duffey, Haberstroh, and Trepal, 2009; Kossak, 2015). Based on a synthesis of knowledge from diverse fields, this study was an exploration of attunement in counselor education involving several forms of measurement and the expressive arts as vehicles through which to foster attuned states. The researcher explored attunement as it occurred among master's level counselors-in-training engaging in improvisational group drumming, an intervention that has been shown to promote attunement (e.g., Kossak, 2008a). Perceptual, behavioral, and physiological measures were used to identify an occurrence of attunement. Audio and video data were used to contextualize the overall drumming experience and the process of 'tuning in' that led to attuned states. Findings from this study increase understanding of the phenomenon of attunement in the context of improvisational group drumming. Results shed light on how relational qualities and creativity develop and may promote more relational-responsive pedagogical practices in counselor education. Ultimately, results may contribute to the development of counselors with greater capacities for relating to diverse clients, responding to the complexities of their work, and creating meaningful change within their communities and society at large. / Ph. D.

Drumming behavior is described for the first time in 33 North American Plecoptera species, and signals of an additional five species, Pteronarcys pictetii, Acroneuria abnormis, Paragnetina media, Clioperla clio and Isogenoides zionensis, are further detailed. An out-group comparison of behavioral characters in all 104 world species whose drumming is known showed that the behavior is more advanced in the Arctoperlaria Group Systellognatha than in the Group Euholognatha. In general, tapping, monophasy, touching, sequenced exchange and less than 50 taps/answer are ancestral states, and rubbing, grouping, phasing, tremulation, interspersed exchange and equal or more than 50 taps/answer are derived states. There has been some co-evolution between abdominal structure and drumming behavior. Scanning Electron Micrographs of 30 species showed that the primitive state of tapping is ascociated with three classes of abdominal structure: (1) absence of derived structures, (2) lobes or vesicles, and (3) hammers. The derived behavior of rubbing, however, occurs only in species with derived structures, and is predominant in species having vesicles and hammers. Drumming can be used as a line of evidence to aid in defining genera and species, since the behavior has a variable degree of specificity or exclusiveness in all species, particularly in groups of species I have studied in the genera Isoperla, Pteronarcys and Taeniopteryx. Typical and variant computer-synthesized male calls of three stonefly species were tested with live females. They responded at high levels in such a way that the important informational content conveyed was identified as: (1) a minimal threshold of beat numbers, and (2) a discriminant window of beat intervals. Rub frequency and bibeat calling were critical informational parameters in two species.

Samba drumming and dance traditions work in New Orleans in ways that they do not elsewhere. Casa Samba, a drumming and dance troupe in the tradition of the Brazilian escolas de samba, shows how it works. Integral to this analysis of Casa Samba are the ways in which the group's identity and the identities of its individual members are processual, mutable, and "unfinished, always being remade" (Gilroy 1993:xi). This thesis examines how Casa Samba has situated itself in the New Orleans music scene. This work seeks, through ethnographic interviews with long term members, to identify what makes Casa Samba attractive to New Orleanians who choose to join this musical troupe as opposed to the myriad of other musical organizations available. Finally, this thesis looks at Casa Samba's post-Katrina rebirth and the ways in which the group's willingness to continuously evolve throughout its history has made this rebirth possible.

The field of popular music studies currently lacks effective and extensive discourse on drumming and rhythmic parameters in general. Some important preliminary work exists primarily due to significant contributions by relatively few authors. This thesis serves to expand this literature by providing a detailed explanation of many of the primary elements involved in the intricate practice of rock drumming. Additionally, it expands the literature on the music of Jimi Hendrix by thoroughly exploring the musical contributions Mitch Mitchell made as the drummer for the Jimi Hendrix Experience. Mitchell's stylistic approach to rock drumming is illuminated through analysis of the drum parts in four of the group's songs. An explanation of rock drumming in general and one effective individual approach are present within the work.

Drug use poses a serious threat to the quality of life for many Kentuckians and their families. Recent statistics indicate drug offenders account for a significant portion (in one year, 52,597 arrests were made for drug violations statewide) of individuals within thecriminal justice system, directly affecting the economic vitality within our state (Bunn & Slavova, 2012; Federal Bureau of Investigation, 2012). These statistics signify an overwhelming need for effective prevention efforts and innovative treatment alternatives. This study provides an innovative alternative treatment for drug offenders that infuses social and emotional coping strategies using percussion as a context. During the innovative program participants were able to express, recognize, articulate and evaluate themselves and their peers’ emotional coping strategies while developing peer camaraderie. They did so while being introduced to rudimentary drumming skills, fusing emotional intelligence with the art of drumming. The hypothesis is that this innovative program will enhance participant emotional intelligence to express, learn an effective coping skill, and establish camaraderie with their peers.

Submitted by ROBERTA DO AMARAL FORTE (roberta@robertaforte.com.br) on 2018-10-09T21:51:04Z No. of bitstreams: 1 A Música Corporal na Educação Musical Brasileira .pdf: 1897818 bytes, checksum: 274b7090f80636da83d6257ed7dab16a (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-10-09T23:38:22Z (GMT) No. of bitstreams: 1 forte_ra_me_ia.pdf: 1897818 bytes, checksum: 274b7090f80636da83d6257ed7dab16a (MD5) / Made available in DSpace on 2018-10-09T23:38:23Z (GMT). No. of bitstreams: 1 forte_ra_me_ia.pdf: 1897818 bytes, checksum: 274b7090f80636da83d6257ed7dab16a (MD5) Previous issue date: 2018-07-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente pesquisa visou conhecer as histórias de vida dos músicos educadores Fernando Barba e Stenio Mendes, suas ideias e contribuições para o cenário artístico e educacional brasileiro relacionadas às Práticas da Música Corporal. A investigação baseou-se na metodologia de História Oral de Vida, por meio de entrevistas com os referidos músicos educadores, cujas análises fundamentaram-se nos conceitos da Construção da Identidade Profissional segundo os pensamentos de Selma Garrido Pimenta e Antônio Nóvoa, com o intuito de compreender os princípios e referências que nortearam a elaboração das práticas educacionais da Música Corporal propostas por Barba e Stenio. O estudo também buscou dados a respeito da compreensão e disseminação dessas práticas dentro do cenário da educação musical brasileira que constantemente sofre transformações por conta das inúmeras mudanças nas políticas educacionais do país e dos desafios apresentados pela sociedade contemporânea. Para tanto, analisou-se os relatos de doze educadores musicais que tiveram contato direto com as práticas mencionadas e que as aplicam em seus ofícios, assim como publicações acadêmicas relacionadas ao tema, para esclarecer o alcance da disseminação dessas práticas no país e a consciência de suas utilizações. A fundamentação teórica do presente estudo, sustentou-se nas propostas de reforma do ensino, pautadas no senso comunitário e humanista, com ideias de superação da fragmentação dos saberes concebidas por Edgar Morin e Paulo Freire, e no conceito de comunidades de aprendizes e de aprendizados expostos por José Pacheco e Murray Schafer. / The present research seeked to know the life stories of the musicians educators Fernando Barba and Stenio Mendes, their ideas and contributions to the Brazilian artistic and educational scenario related to the Practices of Corporal Music. The research was based on the Oral History of Life methodology, through interviews with these educators, whose analyzis were based on the concepts of the Construction of Professional Identity according to the thoughts of Selma Garrido Pimenta and Antônio Nóvoa, with the purpose of figure out the principles and references that oriented the elaboration of the educational practices of Corporal Music proposed by Barba and Stenio. The study also searched data about the understanding and dissemination of these practices within the scenario of Brazilian music education that constantly undergoes transformations due to the several changes in the educational policies of the country and the challenges presented by contemporary society. For this purpose, we analyzed the reports of twelve musical educators who had direct contact with the practices mentioned and applied them in their occupations, as well as academic publications related to the subject, to clarify the scope of the dissemination of these practices in the country and the awareness of their uses. The theoretical foundation of this study was supported on the proposals of the educational reform, guided on the communal and humanist sense, with ideas of overcoming the fragmentation of the knowledge conceived by Edgar Morin and Paulo Freire, and the concept of communities of apprentices and learning exposed by José Pacheco and Murray Schafer. / CAPES:1662933

Drumming behavior is described for the first time in 16 North American species of Plecoptera, and signals of a 17th species, Isogenoides zionensis, are further detailed. The effective distance over which drumming signals may be transmitted was tested for four communication modes. Results indicate that substratum vibrations are far superior to sound in the transmission of drumming signals, and that dense substrates such as rocks are poor channels for signal transfer. Long communication periods between stonefly pairs of Taeniopteryx burksi resulted in some alterations from initial signaling characteristics.

PAPER COPY ACCOMPANIED BY A DVD OF CHILDREN'S PARTICIPATION IN THE WORKSHOPS. This research project investigated the potential of African drumming to enhance the emotional and social well-being of children in residential care. Sixteen children from the Epworth Children’s Village in South Africa were purposively selected to participate in the study. The majority of participants had been exposed to some form of neglect and/or abuse and displayed high levels of anger, anxiety, depression and/or disruptive behaviour. Mixed in terms of gender and ethnicity, they fell within the middle childhood stage of development. The participants attended weekly sessions of African djembe drumming over a period of four months. Principles and practices of indigenous African music making formed the foundation of the drum circle facilitation approach used. Gestalt theory, as applied in Gestalt play therapy, provided the theoretical framework from which the therapeutic dimensions of African drumming were explored. A mixed methods approach, using both quantitative and qualitative methods of data collection and analysis, was employed. For the quantitative component, participants completed the Beck Youth Inventories, measuring self-concept, anxiety, depression, anger and disruptive behaviour, before and after the project. Concerning the qualitative aspects, focused observations were conducted wherein all video-recorded workshops were regularly and systematically analysed to assess the children’s emotional and social functioning. Furthermore, semi-structured interviews and focus groups were conducted with relevant staff members and children, respectively, in an attempt to explore the value and feasibility of presenting such a programme within the residential care setting. According to the Inventories’ pre- and post-test results, the intervention did not appear to significantly impact upon the participants’ self-concept or levels of depression, anger or disruptive behaviour. Anxiety, on the other hand, increased. Qualitative findings nevertheless suggest that the workshops substantially enhanced the children’s emotional and social functioning, albeit only for the duration of the sessions. The workshops markedly improved participants’ self-esteem and self-confidence, pro-social behaviour, enjoyment, concentration and manifestation of musical capacity (aspects which reflect Gestalt concepts of awareness, contact, self-regulation, self-expression and mastery). Reasons for the failure of these improvements to transfer to the children’s everyday functioning may involve the severity of their socio-emotional difficulties as well as limitations within the drumming intervention itself. / Thesis (DMus)--University of Pretoria, 2012. / Music / unrestricted

付記する学位プログラム名: 霊長類学・ワイルドライフサイエンス・リーディング大学院 / 京都大学 / 新制・課程博士 / 博士(理学) / 甲第23406号 / 理博第4741号 / 新制||理||1680(附属図書館) / 京都大学大学院理学研究科生物科学専攻 / (主査)教授 平田 聡, 教授 村山 美穂, 教授 伊谷 原一 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DFAM

Jag hör och jag glömmer. Jag ser och jag kommer ihåg. Jag gör och jag förstår. - Konfucius Denna studien har sin grund i att befästa sitt trumspel genom att använda rösten, som i denna forskningen definieras med; att numeriskt räkna pulsslag och underdelningar samt onomatopoetiskt1 ljuda trummor med munnen. I undersökningen visualiseras trumspelet mentalt utan trumset-, eller parallellt med trumset - för att förena det mentala med det fysiska. Med hjälp arv loggbokföring och inspelning undersöks huruvida de olika definitionerna av röstens användning fungerar på mig själv samt informanter. I resultatkapitlet visar det sig att jag och mina informanter har blivit bättre på att spela trummor genom att internalisera trumspelet - med hjälp av rösten. / This study has its basis in consolidating drumming by using the voice, which in this research is defined; to numerically count pulse beats and subdivisions as well as onomatopoetically sound like drums using your voice. In the study, the drumming is visualized mentally without the drum set - or in parallel with the drum set - to combine the mental with the physical. Using journals and recording, I examine whether the different definitions of the use of voice work on myself and students, to see if we get better at playing drums by internalizing the drumming - using the voice.