Research examining language in written and oral trauma narratives indicates that exposure and cognitive processing are important processes responsible for therapeutic change. Bio-informational theory, which defines emotions as the activation of response, stimulus, and meaning units in memory, provides a meaningful structure for evaluating language in traumatic and neutral essays. This study examined the effects of imagery training procedures designed to prime activation of response or stimulus units on word usage. The effect of writing instructions on activation of meaning units was also investigated. Unscreened undergraduates (n=246) were randomly assigned in a 2 writing condition (traumatic or neutral) x 3 training condition (response-training, stimulus-training, or no-training) design. Word count dictionaries were used to capture the effects of training and instructions on language. Overall, results supported predicted effects of stimulus training and trauma writing, but anticipated effects of response-training were inconsistent. Implications for theory and the use of language to measure emotion are discussed.

Techniques of Artificial Intelligence and Human-Computer Interaction have empowered computer music systems with the ability to perform with humans via a wide spectrum of applications. However, musical interaction between humans and machines is still far less musical than the interaction between humans since most systems lack any representation or capability of musical expression. This thesis contributes various techniques, especially machine-learning algorithms, to create artificial musicians that perform expressively and collaboratively with humans. The current system focuses on three aspects of expression in human-computer collaborative performance: 1) expressive timing and dynamics, 2) basic improvisation techniques, and 3) facial and body gestures. Timing and dynamics are the two most fundamental aspects of musical expression and also the main focus of this thesis. We model the expression of different musicians as co-evolving time series. Based on this representation, we develop a set of algorithms, including a sophisticated spectral learning method, to discover regularities of expressive musical interaction from rehearsals. Given a learned model, an artificial performer generates its own musical expression by interacting with a human performer given a predefined score. The results show that, with a small number of rehearsals, we can successfully apply machine learning to generate more expressive and human-like collaborative performance than the baseline automatic accompaniment algorithm. This is the first application of spectral learning in the field of music. Besides expressive timing and dynamics, we consider some basic improvisation techniques where musicians have the freedom to interpret pitches and rhythms. We developed a model that trains a different set of parameters for each individual measure and focus on the prediction of the number of chords and the number of notes per chord. Given the model prediction, an improvised score is decoded using nearest-neighbor search, which selects the training example whose parameters are closest to the estimation. Our result shows that our model generates more musical, interactive, and natural collaborative improvisation than a reasonable baseline based on mean estimation. Although not conventionally considered to be “music,” body and facial movements are also important aspects of musical expression. We study body and facial expressions using a humanoid saxophonist robot. We contribute the first algorithm to enable a robot to perform an accompaniment for a musician and react to human performance with gestural and facial expression. The current system uses rule-based performance-motion mapping and separates robot motions into three groups: finger motions, body movements, and eyebrow movements. We also conduct the first subjective evaluation of the joint effect of automatic accompaniment and robot expression. Our result shows robot embodiment and expression enable more musical, interactive, and engaging human-computer collaborative performance.

The objective of educational innovation, wherever it takes place, at school or at national level, is to improve current practices. In its recent attempt to improve the quality of education in Malawi, the national government in 2001 embarked on curriculum reform and adopted an Outcomes Based curriculum which was implemented in 2007. The design features of the Malawi Outcomes Based Education were influenced by South Africa’s Curriculum 2005. Following the implementation of the curriculum reform, the purpose of this study was to investigate the enactment of Expressive Arts, its theme-based design and content, facilitative pedagogy and continuous assessment in a selection of six state primary schools – three urban and three rural in Zomba district where teachers were first trained to teach Expressive Arts. The study is framed by the theory of Illuminative evaluation (Parlett and Hamilton, 1976) and Productive Pedagogies (Lingard et al., 2001). Following a qualitative research design, data were collected through observation and post-observation interviews. Data analysis showed limited productive pedagogies in most lessons. The majority of lessons were characterised by lower intellectual quality, a focus on instrumental knowledge, integration at a superficial level, dominance of communalising practices, gendered practices, prevalence of localising discourses and a pedagogy aimed at national examinations. The overall picture from these findings is that classroom atmosphere in the twelve classrooms gave students limited opportunities for the acquisition of knowledge and development of skills, values and attitudes required for them to actively participate in the changing Malawian context and to be able to compete successfully in other contexts. It appears that dominant pedagogic practices in the Expressive Arts classroom serve to position learners in parochial orientations and issues. Therefore, there was an obvious discrepancy between the state’s intended curriculum and the teachers’ enacted curriculum. The implications of these findings for Malawi education have been raised. The most salient of these implications include the need for Malawi Institute of Education, the main change agent of primary school curriculum in the country, not only to consider revising the Expressive Arts curriculum but also to focus on the development of teachers in line with their needs for deeper content knowledge and productive pedagogic strategies.

Musical dynamics- loudness and changes in loudness - forms one of the key aspects of expressive music performance. Surprisingly this rather important research area has received little attention. A reason is the fact that while the concept of dynamics is related to signal amplitude, which is a low-level feature, the process of deriving perceived loudness from the signal is far from straightforward. This thesis advances the state of the art in the analysis of perceived loudness by modelling dynamic variations in expressive music performance and by studying the relation between dynamics in piano recordings and markings in the score. In particular, we show that dynamic changes: a) depend on the evolution of the performance and the local context of the piece; b) correspond to important score markings and music structures; and, c) can reflect wide divergences in performers' expressive strategies within and across pieces. In a preparatory stage, dynamic changes are obtained by linking existing music audio and score databases. All studies in this thesis are based on loudness levels extracted from 2000 recordings of 44 Mazurkas by Frederic Chopin. We propose a new method for efficiently aligning and annotating the data in score beat time representation, based on dynamic time warping applied to chroma features. Using the score-aligned recordings, we examine the relationship between loudness values and dynamic level categories. The research can be broadly categorised into two parts. The first investigates how dynamic markings map to performed loudness levels. Empirical results show that different dynamic markings do not correspond to fixed loudness thresholds. Rather, the important factors are the relative loudness of neighbouring markings, the inter-relations of nearby markings and other score information, the structural location of the markings, and the creative license exercised by the performer in inserting further interpretive dynamic shaping. The second part seeks to determine how changes in loudness levels map to score features using statistical change-point techniques. The results show that significant dynamic score markings do indeed correspond to change points. Furthermore, evidence suggests that change points in score positions without dynamic markings highlight structurally salient events or events based on temporal changes. In a separate bidirectional study, we investigate the relationship between dynamic mark- ings in the score and performed loudness using machine learning techniques. The techniques are applied to the prediction of loudness levels corresponding to dynamic markings, and to the classification of dynamic markings given loudness values. The results show that loudness values and markings can be predicted relatively well when trained across recordings of the same piece, but fail dismally when trained across a pianist's recordings of other pieces. The findings demonstrate that score features may trump individual style when modelling loudness choices. The analysis of the results reveal that form|such as the return of the theme - and structure - such as repetitions -influence predictability of loudness and markings. This research is a first step towards automatic audio-to-score transcription of dynamic markings. This insight will serve as a tool for expression synthesis and musicological studies.

A fim de motivar alunos dos Ensinos Fundamental e Médio a atentarem para o cunho expressivo dos fatos da língua e buscarem conhecer os grandes nomes da música nacional, este trabalho objetivou um estudo estilístico dos recursos linguístico-expressivos de textos musicais de Luiz Gonzaga do Nascimento Jr. o Gonzaguinha. Destacou-se, primeiramente, o viés social da música. Em seguida, pretendeu-se uma aproximação entre textos musicais e o conceito de poesia para, então, tratar mais cuidadosamente do papel didático da canção. Considerando a concepção de contracultura, defendida por Marilena Chauí (1990) como o contexto histórico do momento das produções musicais, partiu-se para explanações acerca da Estilística: sua história, seus âmbitos, seu alcance e possibilidades. Por fim, adentrou-se nas relações lingüísticas a partir de canções de tom ora de protesto inconformado, ora nacionalista-apaixonado do artista mencionado. Desenvolveu-se, portanto, uma abordagem estilística individual do autor a partir de apontamentos teóricos sobre aspectos sonoros, léxico-semânticos, morfossintáticos e enunciativos do processo discursivo expressivo. Com esse intento, elegeram-se composições que ilustraram as marcas lingüísticas e seu entrelaçamento com o plano do conteúdo / In order to motivate Junior High School and High School students giving attention to the expressive character of the language facts and trying to know the great names of the national music, this work had as an objective a stylistic studying of the linguistic-expressive resources of the musical texts of Luiz Gonzaga. First of all, the social character of the music was highlighted. Next, an approach between musical texts and the concept of poetry was intended so that the didactic side of the song could be handled carefully. Considering the conception of contracultura defended by Marilena Chauí (1990) as the historical context of the musical production moment, it was given attention to the explanations around Stylistic: its story, range, comprehensiveness and possibilities. To end up, it went into the linguistic relations from either non conformed outcry or passionate-nationalistic songs of the mentioned singer. It was developed then, an individual stylistic approach of the author from the theoretical notes about voiced, semantics-lexicon, morph syntax and enunciative aspects of the expressive speech process. With this purpose it was elected compositions which show the linguistic impressions and their relationship with the plan of the content

Having a meaningful system for expressing common needs and thoughts is important for overall quality of life for students with intellectual disability and limited expressive language. The current study was conducted to evaluate whether one communication system, Proloquo2Go ($249.99) or SwiftKey Symbols (FREE), is more effective in the acquisition of targeted expressive phrases in one student with intellectual disability who exhibited expressive communication difficulties. The student was provided with instruction in both systems using task analytic instruction and system of least prompting and encouraged to use each system at different times in a single case, alternating treatment design. Results indicated that Proloquo2Go led to faster acquisition of targeted phrases, although gains were shown with both devices. Although, given the cost difference, teachers and parents may want to consider free options, like SwiftKeys, given the student made gains with this device. Future research is needed to provide generalizability of these results.

The purpose of this study was to determine if a difference exists between mean standard scores of the Peabody Picture Vocabulary Test - Revised (PPVT-R) (Dunn and Dunn, 1981) and the Expressive One- Word Picture Vocabulary Test (EOWPVT) (Gardner, 1979) for children in several diagnostic categories. The subjects used in this study were 45 preschool children ranging in age from 36 to 47 months. These subjects were divided into groups of normal, expressively language-delayed (ELD) and normal children with a history of expressive language delay (HELD).

While a growing evidence base suggests that expressive writing about a traumatic event may be an effective intervention which results in a variety of health benefits, there are still multiple competing theories that seek to explain expressive writing’s mechanism(s) of action. Two of the theories with stronger evidence bases are exposure theory and cognitive processing theory. The state of this field is complicated by methodological limitations; operationalizing and measuring the relative constructs of trauma narratives, such as coherence, traditionally requires time- and labor-intensive methods such as using a narrative coding scheme. This study used a computer-based methodology, latent semantic analysis (LSA), to quantify narrative coherence and analyze the relationship between narrative coherence and both short- and long-term outcomes of expressive writing. A subsample of unscreened undergraduates (N=113) who had been randomly assigned to the expressive writing group of a larger study wrote about the most traumatic event that had happened to them for three twenty-minute sessions; their narratives were analyzed using LSA. There were three main hypotheses, informed by cognitive processing theory: 1) That higher coherence in a given session would be associated with a more positive reported valence at the conclusion of that session, 2) that increasing narrative coherence across writing sessions would be associated with increasing reported valence at the conclusion of each session, and 3) that increasing narrative coherence over time would be associated with a decrease in post-traumatic stress symptoms. Overall, initial hypotheses were not supported, but higher coherence in the third writing session was associated with more negative valence at the conclusion of the session. Furthermore, relationships between pre- and post-session valence strengthened over time, and coherence, pre-session valence, and post-session valence all trended over time. These results suggest a collection of temporal effects, the implications of which are discussed in terms of future directions.

Research on expressive art interventions for bereavement has burgeoned in recent years. Studies have supported their effectiveness in facilitating participants’ adjustment to loss (e.g., Rosner, Kruse, & Hagl, 2010; Uttley, 2015) and have revealed the frequency with which they are clinically implemented (Thompson & Neimeyer, 2014). Clinicians and recipients of expressive art interventions advocate for their helpfulness in grief processing (e.g., Gamino, 2015). Publications have highlighted particular visual art modules that facilitate adaptive adjustment to loss by providing avenues for self-expression, meaning making and continuing bonds with the deceased (Neimeyer, 2016), but few studies have quantitatively investigated whether they improve bereavement outcomes. Efficacy of treatment modalities are especially warranted for bereaved subgroups at elevated risk for developing symptoms of complicated grief, such as socioeconomically vulnerable older adults, as they are among those most likely to benefit from intervention but face the most barriers to accessible treatment (Ghesquiere, 2013; Newson et al., 2011). This longitudinal study investigated the feasibility and efficacy of a 4-week grief support group with visual art modalities for bereaved older adults residing in government subsidized independent living facilitates in the community. Measured outcomes included meaning made from the loss, continued bonds with the deceased, perceived social support, personal growth, and negative bereavement experiences such as symptoms of complicated grief and depression. Findings from this study support the feasibility and acceptability of implementing an art-based grief support group for socioeconomically vulnerable older adults. Significant improvement was found in meaning made from the loss, personal growth, and negative grief symptoms. Depressive symptoms significantly decreased immediately following completion of the group, but these levels returned closer to baseline levels at one-month follow up. Participants who screened positively for complicated grief at baseline reported greater improvement in their negative grief symptoms and depression, consistent with the extant literature that the bereft in highest distress receive the most benefit from grief intervention. As complicated grief is more prevalent in the older adult population than other age groups, further investigation on the efficacy and effectiveness of targeted bereavement support is warranted.

Attending college is often so stressful that as many as 40% of students leave without earning a degree. Many students desert during their first and second years of study. Emotional intelligence has been associated with effective coping skills, student achievement, and psychological well-being. The act of expressing emotions through writing has been shown to engage many capabilities associated with emotional intelligence. Few studies have examined the effects of expressive writing on emotional intelligence. The theory of emotion regulation provided theoretical framework. The purpose of this quantitative experimental study was to examine the effects of expressive writing on emotional intelligence and perceived stress. A sample of 58 first and second year of college students participated in the study. Data were analyzed using paired t-test. Differences in emotional intelligence and perceived stress scores were not significant after 4 weeks of expressive writing sessions. However, at one-month follow-up, emotional intelligence scores were significantly higher for those who engaged in expressive writing. Given that emotional intelligence increased after an extended period of time, expressive writing could be easily implemented by students to improve coping skills and achieve academic goals.