Building on Donald and Patricia Stewarts' The Life and Legacy of Fred Newton Scott (1997), this dissertation addresses aspects of Scott's life which have been ignored or left underdeveloped in the work of composition historians, including Scott's early education at the Indiana State Normal School and at Battle Creek College, along with his personal, academic and professional relationships with Dr. John Harvey Kellogg, John Dewey, and Joseph Villiers Denney. This examination, providing a more precise knowledge of Scott's academic and professional life, clarifies the significance and originality of Scott's contributions to the discipline.At the Indiana State Normal School, Scott was exposed to an innovative adaptation of Pestalozzian and Herbartian educational philosophies. The philosophy and methodologies employed at the school likely influenced Scott's thinking about teacher training, while encouraging his adaptation of psychology in the teaching of English.Scott again was exposed to a reform-minded educational agenda at Battle Creek College. There, Scott encountered an holistic educational program that sought to improve the intellectual, physical, and spiritual components of students' lives.Through his long friendship with Dr. John Harvey Kellogg, Scott gained an intimate knowledge of the medical profession, an awareness Scott utilized in his own writing about understanding student errors in composition. Scott's academic and professional relationship with John Dewey at the University of Michigan demonstrates their multiple shared interests and activities. The Thought News newspaper project illustrates their attempt to implement philosophy into practical arenas. Their working relationship, as well as Scott's educational background at the Indiana State Normal School and at Battle Creek College, suggests that Dewey has been erroneously viewed as the source of Scott's innovative approach to composition.Finally, Scott's collaborative relationship with Joseph Villiers Denney, the writer with whom Scott wrote his most popular textbooks, illustrates the importance Scott placed on collaboration as well as the competence of those with whom he collaborated. Denney's own scholarly work in composition demonstrates his originality and resourcefulness as an equal partner in their collaborations. / Department of English

Mastering the physical aspect of piano technique has long been a topic of great interest and importance to pianists. This is borne out in the numerous pedagogical approaches on the topic of piano technique. Despite the many contributions from pedagogues and scholars in developing an understanding of piano technique, many conflicting approaches often cause more confusion than clarity. After reviewing the literature on pedagogical approaches to piano technique, this study determined that problematic language might lie at the root of the confusion. Core concepts identified in the review of literature as recurring areas of misunderstanding were tension, relaxation, co-contraction, arm weight, and hand and finger shape. The purpose of this study is to seek where issues of language exist in contemporary piano pedagogical approaches and to show how these problems may contribute to the systemic confusion in piano technique. To do this, the language that is used to describe and define the core concepts identified in the review of literature is analyzed in five modern pedagogical approaches. Five authors who have developed approaches that reflect current trends in piano technique have been selected for this study: Barbara Lister-Sink; Dorothy Taubman; Thomas Mark; Fred Karpoff; and Alan Fraser. The first step of this study entails collecting data from each of the five pedagogical approaches. The data is then analyzed for consistency and accuracy. Problems in language that contribute to the inconsistencies and inaccuracies are examined and illustrated with material from the data collection. This study concludes by identifying the main sources of confusion in the use of language: inconsistent and inaccurate use of terms; wavering between scientific, common, and invented language; challenges in describing opposing qualities that come from tension and relaxation; and failing to discern between the individual subjective experience and the mechanics of movement. By recognizing where the problems in language exist, this study represents an important first step for the pedagogical community to reach a common understanding of the language used to describe the physical aspect of piano technique.

Thesis (Ph. D.)--University of Sydney, 2001. / "... The letters, postcards and photographs that Jessie, Fred and Will sent home to their mother and family, as well as Fred's fourteen diaries, form the foundation of this thesis..." -- p. 2. Title from title screen (viewed Apr. 23, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Clinical Nursing, Faculty of Nursing. Includes bibliography. Also available in print form.

Thesis (Ph. D.)--Georgia State University, 2006. / Thomas L. McHaney, Pearl A. McHaney, committee co-chairs; Matthew Roudane, committee member. Electronic text (170 p.) : digital, PDF file. Title from title screen. Description based on contents viewed July 3, 2007. Includes bibliographical references (p. 158-169).

Thesis (MPhil (General Linguistics))--University of Stellenbosch, 2009. / This study examined how different words and phrases used within the media may portray a certain image of an individual, ultimately impacting the perception that the reader forms of such individual. Specifically, the manner in which Fred van der Vyver was portrayed by both an Afrikaans language newspaper and an English language newspaper in the Fred van der Vyver-Inge Lotz murder case was examined. This was a highly publicized case from March 2005, when Inge Lotz was found murdered, to November 2007, when Fred van der Vyver, who was suspected of killing Inge Lotz, was acquitted. The aim of the study was to compare two South African journalistic cultures, namely the ones represented by Cape Times and Die Burger, respectively, in their construction of Fred van der Vyver as newsmaker. The rationale for the study was that newspaper coverage of a murder as well as of the investigation and trial which follow creates a certain perception among its readers, and that this perception is based on the information that readers accumulate by reading various published articles. The hypothesis was that both newspapers treated Fred van der Vyver as a newsmaker, and as a murdered in particular, by making use of various linguistic devices. The data analyzed were a selection of articles published between March 2005 and November 2007 in the online versions of Cape Times and Die Burger. A focal point of the study was to show how different aspects of newspaper reporting – specifically headlines and the text itself – construct a particular view or image of the case in general and of Fred van der Vyver in particular. It was found that neither the Cape Times nor Die Burger wrote that Fred van der Vyver was the murderer but both suggested it throughout by making use of linguistic devices. Loaded words, for example, were used to describe certain aspects of the case, and these aspects were then associated with Fred van der Vyver. Fred van der Vyver`s identity had been presented as that of a murderer within the press by means of linguistic tools and language use. The hypotheses was therefore borne out by the data, as both newspapers had indeed portrayed the identity of Fred van der Vyver as that of a murderer. What we read in the papers does have an influence on what we perceive to be true, objective or accurate and on how we ultimately form an opinion. In this case, the public automatically accepted Fred van der Vyver’s identity as portrayed in the press, namely as that of a murderer, and assumed that he was guilty once he was arrested.

Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-03Bitstream added on 2014-06-13T21:07:45Z : No. of bitstreams: 1 carvalho_dc_dr_arafcl.pdf: 1364642 bytes, checksum: dd8051b521d4e7f3ca3471ba61978257 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho pretende investigar a formação do conceito de Warfare State, traduzido para o português como Estado Militarista (no livro de F.J.Cook) e como “Estado beligerante” (no livro A ideologia da sociedade industrial. O homem unidimensional de Herbert Marcuse.) A pesquisa tenta mostrar como Cook formulou originalmente tal conceito e como ele foi configurado em sua obra, a fim de mostrar, em seguida, como H Marcuse se apropriou dele em sua obra para conceber uma das dimensões da sociedade unidimensional. Após a análise comparativa das duas obras e do confronto entre elas, que as esclarece mutuamente, a pesquisa tentará ainda mostrar tanto como deve ser entendido o conceito de sociedade unidimensional quanto à atualidade do conceito de Estado Beligerante. / This research studies the nature and the history of the concept The Warfare State in the book The Warfare State, writing by Fred J.Cook in 1962 and in the book of Herbert Marcuse One dimensional-man, writing in 1964.

Denna kvalitativa idéanalytiska uppsats har behandlat och analyserat Olof Palmes internationella engagemang och ideologi. Den har beaktat hans främsta politiska idéer och principer: demokrati och mänskliga rättigheter, folkrätten, fred och säkerhet samt jämlikhet ur ett internationellt sammanhang. Dessa universellt erkända politiska idéer och principer som Olof Palme var en anhängare av har var och en belysts i anslutning till hans engagemang i två internationella frågor och företeelser. Demokrati och mänskliga rättigheter har analyserats utifrån diktaturregimerna i Europa och apartheidsregimen i Sydafrika; folkrätten utifrån avkoloniseringen och Vietnamkriget; fred och säkerhet utifrån kalla kriget och konflikten i Mellanöstern; samt jämlikhet utifrån solidaritet med utvecklingsländer och jämlikhet i industriländerna. Syftet med uppsatsen var att identifiera Olof Palmes internationella ideologi, i anslutning till det besvarades följande frågeställningar: · Vilken analys gjorde Olof Palme av de internationella frågor och företeelser han engagerade sig i? · Vilka var de ideologiska motiven till att Olof Palme engagerade sig i just de internationella frågor och företeelser han de facto gjorde? · Vilken slags världsordningen förespråkade Olof Palme? Som analysram för att klargöra och kategorisera Olof Palmes internationella ideologi nyttjades de tre mest etablerade teorierna i analysen av internationella relationer och världspolitik: realismen, liberalismen och marxismen. Denna teoretiska analysram bidrog till att tillmötesgå idéanalysen vars hörnstenar utgjordes av begreppen: verklighetsbeskrivning, värdering och handlingsnorm, vilka således var i linje med uppsatsens frågeställningar. Genom de tre begreppen i idéanalysen och den teoretiska analysramen genererades svaren på frågeställningarna. Där framgick det att Olof Palme i sin analys av de frågor och företeelser han engagerade sig i beklagade över att världssamfundet inte agerade tillräckligt för att uppnå eftertraktat förbättring. För han menade att ett konstruktivt engagemang av omvärlden kunde bära frukt. För honom själv var det relevant att engagera sig i internationella frågor och företeelser eftersom han konstaterade att Sverige och socialdemokratin hade en lång och fruktbar tradition i det. Mer explicit hänvisade han gärna till den socialdemokratiska ideologin och värderingarna som motiv för sitt engagemang. Den samlade bedömningen av Olof Palmes internationalism var att han förespråkade en blandform av liberalistisk och marxistisk världsordning. Det innebar en värld där demokrati och mänskliga rättigheter, folkrätten, fred och säkerhet samt jämlikhet ovedersägligen skulle respekteras och präglade internationella relationer. Således förespråkade han en världsordning bestående av demokratiska stater som respekterade mänskliga rättigheter; att folken som tillhörde ett land fick självbestämmanderätt och utformade sin framtid utan främmande staters inblandning; att stater upphörde med sina militära upprustningar och den misstänksamma hållning visavi varandra och istället upprätthöll dialog och diplomati med varandra för att uppnå försoning och fred; samt att misären och orättvisorna genom solidaritet skulle bekämpas i såväl inom stater som mellan stater.

Mastering the physical aspect of piano technique has long been a topic of great interest and importance to pianists. This is borne out in the numerous pedagogical approaches on the topic of piano technique. Despite the many contributions from pedagogues and scholars in developing an understanding of piano technique, many conflicting approaches often cause more confusion than clarity. After reviewing the literature on pedagogical approaches to piano technique, this study determined that problematic language might lie at the root of the confusion. Core concepts identified in the review of literature as recurring areas of misunderstanding were tension, relaxation, co-contraction, arm weight, and hand and finger shape. The purpose of this study is to seek where issues of language exist in contemporary piano pedagogical approaches and to show how these problems may contribute to the systemic confusion in piano technique. To do this, the language that is used to describe and define the core concepts identified in the review of literature is analyzed in five modern pedagogical approaches. Five authors who have developed approaches that reflect current trends in piano technique have been selected for this study: Barbara Lister-Sink; Dorothy Taubman; Thomas Mark; Fred Karpoff; and Alan Fraser. The first step of this study entails collecting data from each of the five pedagogical approaches. The data is then analyzed for consistency and accuracy. Problems in language that contribute to the inconsistencies and inaccuracies are examined and illustrated with material from the data collection. This study concludes by identifying the main sources of confusion in the use of language: inconsistent and inaccurate use of terms; wavering between scientific, common, and invented language; challenges in describing opposing qualities that come from tension and relaxation; and failing to discern between the individual subjective experience and the mechanics of movement. By recognizing where the problems in language exist, this study represents an important first step for the pedagogical community to reach a common understanding of the language used to describe the physical aspect of piano technique.

Le présent mémoire analysera la version orale d’Il faut prendre le taureau par les contes ! de Fred Pellerin sous forme auditive et son adaptation en conte littéraire. L’étude des deux actualisations médiatiques se fera en trois temps qui correspondent aux moments significatifs de la performance du conte tels que définis par la théoricienne Jeanne Demers. Le premier moment est la formation du cercle du conte et représente un espace instauré hors du réel qui offre aux spectateurs ou aux lecteurs la possibilité d’adhérer sans retenue aux événements exposés dans le récit grâce à l’ouverture, la fermeture et le maintien du cercle. Le deuxième moment du conte se produit quand le conteur crée et consolide un lien de connivence avec son public, ce qui capte son attention en le liant au contenu. Pour ce faire, Pellerin cherche à répondre aux attentes de son public, à jouer avec la frontière entre vérité et fiction et à provoquer des réactions. Le troisième et dernier moment du conte, c’est le showing, qui rapproche d’abord l’auditoire ou le lecteur de l’action et l’action de ceux-ci, et ensuite qui permet au conte de se matérialiser grâce à leur imagination. À ce moment-là, le but du conte est atteint, car le plaisir de l’auditoire ou du lecteur est indéniable. Cette recherche tente de voir le corpus comme un tout malgré les différents moyens mis en œuvre : la mise à l’écrit fait bénéficier le spectacle originel de nouvelles significations et permet, à ceux qui en profitent, de vivre une expérience différente, mais tout aussi réussie. / This dissertation will analyse the oral tale of Il faut prendre le taureau par les contes ! by Fred Pellerin and the written tale adaptation. The study of both versions will be demonstrated using three instances that correspond to significant moments of the tale’s performance according to theoretician Jeanne Demers. The first moment is the formation of the "circle of the tale" which represents a space established beyond reality that allows the audience or the reader to adhere without restraint to the events exposed in the story due to the opening, the closing and the conservation of the circle. The second moment of the tale occurs when the storyteller creates and consolidates a complicit link with his audience which attracts and holds their attention by linking them to the story. To achieve this effect, Pellerin tries to answer his public’s expectations, manipulates the border between fiction and reality and provokes reactions. The third and final moment of the tale is the "showing", which initially helps to bring the audience or the reader closer to the action and the action closer to them, then to allow the tale to materialize with the aid of their imagination. At which point, the tale reaches its ultimate goal, as the pleasure of the audience or the reader is infallible. This research aims to see Pellerin’s work as a whole despite the different means: putting the oral tale in writing benefits the original show as it brings forth, to those who experience it, new meaning and offers a different perspective, which is every bit as successful.

Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.