Thesis (Ph. D.)--Columbia University, 1942. / Published also without thesis note. Vita. Bibliography: p. [217]-224.

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

xxi, 222 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / When published 1836, Chopin's first Ballade in G minor, Op. 23, was not only the first instrumental ballade of his own, but also the first ballade ever written without words. Since Chopin himself never disclosed any literature behind his idea, a question arises: how did he express the narrative nature of the Ballades in his purely instrumental music? The purpose of this dissertation is to explore Chopin's logic and the coherence that governs and connects every detail of the piece and how he "narrates" without words in his instrumental works. I use two compositional and analytical ideas established by Schoenberg-- Grundgestalt and tonal network--to explore Chopin's compositional idea. According to Schoenberg, the real compositional idea of tonal music is how balance is restored. The Grundgestalt becomes the source of conflict and unity throughout the Ballades while the story unfolds, and the balance is restored in a unique way in each Ballade. I attempt to apply two features of Grundgestalt : functional Grundgestalt , which is responsible for the piece's structural development, and motivic Grundgestalt , which creates thematic development. Another focus of the dissertation is how Chopin's excursion to the outskirts of the tonal boundary, the manifestation of octatonic pitch collections, was created and later assimilated into the tonal structure. Traditionally, the use of octatonic scales was considered a tool for much later compositions, typically in the early twentieth-century works of Russian composers such as Stravinsky. However, recent research reveals that the application of the octatonic scale goes back considerably farther. Chopin's use of the octatonic scale is for the most part manifested by tonally ambiguous chords, such as diminished 7th chords and modal mixtures, to lengthen octatonic pitch-sets already existing in diatonic scales. Although Chopin's application of octatonic scales is subtle, it usually relates to other sections of the piece motivically and is smoothly integrated into his tonal scheme and graceful style of writing. / Committee in charge: Jack Boss, Chairperson, Music; Stephen Rodgers, Member, Music; Timothy Pack, Member, Music; Hal Sadofsky, Outside Member, Mathematics

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

Made available in DSpace on 2014-06-11T19:29:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-07Bitstream added on 2014-06-13T18:35:21Z : No. of bitstreams: 1 strapasson_ba_me_bauru.pdf: 1164985 bytes, checksum: 424773843fc67023595f677feefdaa31 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O prestar atenção é um conceito que vem sendo estudado desde a fundação do primeiro laboratório de psicologia até hoje e é comumente entendido como um processo cognitivo que seleciona os estímulos aos quais um organismo deve responder. A Análise do Comportamento de B. F. Skinner (AC) é conhecida por negar o status casual atribuído às instâncias cognitivas, mas tem, ao mesmo tempo, que lidar com o fato dos organismos não responderem a todos os elementos presentes no mundo que os cerca. Este trabalho pretendeu avaliar as propostas interpretativas de autores da AC quanto ao fenômeno do prestar atenção. Num primeiro momento, foram avaliados os padrões de publicação de artigos sobre esse tema em periódicos da AC e foi avaliado o grau de comunicação entre as áreas de pesquisa aplicada e básica. Num segundo momento, empreendeu-se uma reconstrução conceitual do prestar atenção. Os resultados alcançados apontam uma pobre comunicação entre as pesquisas básica e aplicada, o que ganha certo apoio na reconstrução conceitual onde se sugere que as duas áreas fazem usos diferentes do termo nos textos analisados, de modo que a literatura aplicada não parece estar preocupada com o estudo de um processo psicológico básico sob o rótulo de prestar atenção. Na reconstrução conceitual indentificaram-se duas possibilidades conceituais para a expressão prestar atenção, ambas coerentes com o Behaviorismo Radical: o prestar atenção poderia ser entendido como (a) o componete comportamental encoberto precorrente que facilita/possibilita o controle de estímulos ou como (b) uma classe ampla de processos comportamentais que compreende desde a simples verificação de existência de controle de estímulos... / Paying attention is a concept which has been studied from the fundation of the first experimental psychology laboratory to today and is usually understood as cognitive process which selects stimuli that organisms must respond to B. F. Skinner's Behavior Analysis (BA) is well known for neglecting the casual status attributed to that cognitive instances, however, it needs to deal with the fact that organisms do not respond to every element of the world that surrounds it. This work intent to evaluate the interpretative proposals of BA to the paying attention concept. In a first moment, the articles publishing patterns about this subject matter in BAS journals and the degree of communication between basic and applied research fields were evatuate. In a second moment, a conceptual reconctruction of pay Attention was made. The results reached point to a poor communication between basic and applied fields, what receives some support in the conceptual reconstruction where it is suggested that the two areas use the expression diffrenty in the analised texts, in a way that the applied literature seems not to do any reference to paying attention as basic psychological process. In the conceptual reconstruction were identified two possibilities of conceptualization for pay attention, both coherent whit Radical Behaviorism: The paying attention can be understood as (a) a covert precorrent behavioral component that improve/allows the formation of stimulus control or as (b) a large class of behavioral process which includes from the simple verifcation of stimulus to observation of the emission of precorrent responses that improve/allows the formation of stimulus control, to the inference of the ocurrence of these behaviors but in a covert level. It is suggested that the second posibility is more adequate given the politic role... (Complete abstract click electronic access below)

Submitted by Bruno Sterza Baggio (bruno.sterzabaggio@gmail.com) on 2018-05-21T02:37:38Z No. of bitstreams: 1 Dissertação Bruno Sterza Baggio.pdf: 1235693 bytes, checksum: cedd716b0f17cdcf5893ad961387701e (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-22T17:23:58Z (GMT) No. of bitstreams: 1 baggio_bs_me_bauru.pdf: 1192026 bytes, checksum: 099e1c79aff74fce48626b72bdc47c98 (MD5) / Made available in DSpace on 2018-05-22T17:23:58Z (GMT). No. of bitstreams: 1 baggio_bs_me_bauru.pdf: 1192026 bytes, checksum: 099e1c79aff74fce48626b72bdc47c98 (MD5) Previous issue date: 2018-03-29 / As concepções de causa do comportamento humano estão intimamente ligadas com as práticas sociais. O determinismo é uma doutrina filosófica amplamente adotada dentro do Behaviorismo Radical e presente na obra de seu fundador, B. F. Skinner. Contudo, críticos alegam que quando o determinismo é aplicado a assuntos morais, este não permite a responsabilização do indivíduo por suas ações. Os conceitos tradicionais de liberdade esbarram na postura científica do behaviorismo, uma vez que não levam em consideração as causas do comportamento ao afirmar que o indivíduo possa deliberar livremente sobre suas ações sem dependência de eventos externos a ele. O objetivo deste trabalho é conceituar e discutir os conceitos de determinismo e responsabilidade moral na obra de Skinner. Para tanto, um percurso arqueológico guiado por um método de leitura epistemológico hermenêutico foi utilizado para investigação da obra do autor. Como objetos de estudo desse trabalho, foram selecionados os textos de Skinner posteriores à década de 50 até o final da sua produção, com a adição do livro Walden II. A análise realizada sugere uma defesa de noções deterministas na obra de Skinner que, contudo, são também ambíguas. Há afirmações passíveis de serem conciliadas com concepções de ciência indeterministas que compartilham espaço na obra do autor. Foi também identificada uma ampla rejeição ao conceito tradicional de responsabilidade individual na sua obra, sem a construção explícita de uma nova definição. Ao invés de privilegiar as teses relacionadas à liberdade, o autor demonstra como a ciência poderia participar da melhora significativa das condições de vida do homem. A análise permitiu estabelecer conexões com teses alternativas de responsabilidade de matriz pragmática. Uma definição de responsabilidade convergente com a obra atenta para o contexto em que esta é formada e a utilidade de impor contingências para o comportamento individual. / Cause conceptions of human behavior are intimately linked with social practices. Determinism is a philosophical doctrine widely adopted in Radical Behaviorism and present in the work of its founder, B. F. Skinner. However, critics claim that when determinism is applied to moral issues, it does not allow individual accountability for their actions. The traditional concepts of freedom are averse to the scientific position of behaviorism, since they do not take into account the causes of behavior by affirming that the individual can deliberate freely on his actions without dependence on external events. The objective of this work is to conceptualize and discuss the concepts of determinism and moral responsibility in Skinner's work. For that, an archaeological approach guided by a hermeneutical epistemological reading method was used. As an object of study of this work, the texts of Skinner were selected after the 50's until the end of its production, with the addition of the book Walden II. The analysis suggests a defense of determinist notions in Skinner's work, which, however, are also ambiguous. There are statements that can be reconciled with indeterministic conceptions of science that share space in the author's work. A deep rejection of the traditional concept of individual responsibility in his work was also identified, without the explicit formation of a new definition. Instead of focusing on the themes related to freedom, the author demonstrates how science could participate in the significant improvement of man's living conditions. The analysis allowed to establish connections with alternative theses of responsibility of pragmatic conception. A definition of responsibility compatible with Skinner's work alert to the context in which it is formed and the utility of imposing contingencies on individual behavior.

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

Orientador: Josué Pereira da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T02:01:08Z (GMT). No. of bitstreams: 1 Rangel_EduardoAzanha_M.pdf: 905988 bytes, checksum: 3a71f807d22998edca3e268838dacc52 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa busca apresentar a construção do conceito de ideologia em Fredric Jameson, discutindo as principais referências teóricas utilizadas pelo autor e as especificidades de sua análise, como a dialética da ideologia e da utopia. A partir destes objetivos, retomamos, primeiramente, a distinção entre ideologia e utopia feita por Karl Mannheim, na tentativa de pensar os conceitos em relação à sociologia enquanto prática analítica e ao historicismo enquanto método e as influências da ideologia na cognição e na epistemologia. Posteriormente, há o resgate do conceito de pós-modernismo em Jameson, com o intuito de fixarmos seu diagnóstico da contemporaneidade e refletir sobre suas relações e críticas às concepções de ideologia de Louis Althusser e Theodor Adorno. Por fim, abordaremos as principais temáticas jamesonianas relativas à ideologia, como os limites estruturais da produção simbólica, as formas de mediação entre indivíduo e sociedade e a ideologia enquanto consciência de classe, para apoiar a necessidade teórica de Jameson de fundar uma hermenêutica positiva em sua análise ideológica, a perspectiva da utopia / Abstract: The purpose of this research is to present the construction of the concept of ideology in Fredric Jameson, discussing the main theoretical references used by this author and the specificities of his analysis, such as the dialetics of ideology and utopia. From these objectives, we will resume, at first, the distinction between ideology and utopia as made by Karl Mannheim, in an attempt to ponder on the concepts related to sociology as an analytical practice, and historicism as a method, as well as the influences of ideology on the cognition and epistemology. Subsequently, there will be a resumption of the concept of postmodernism in Jameson, with the purpose of engraving his diagnosis into contemporaneity, and pondering on his relations and criticism to Louis Althusser's and Theodor Adorno's conceptions of ideology. Finally, we will approach the main jamesonian themes related to ideology, such as the structural limits of symbolic production, the forms of mediation between individual and society, and ideology as class consciousness, to support Jameson's theoretical need for establishing a positive hermeneutics in his ideological analysis, the perspective of utopia / Mestrado / Sociologia / Mestre em Sociologia

It has been said that the character of an institution is largely determined by its history and the personalities that shaped it. If this is so, the Frederic Wood Theatre has much to draw on, for it was founded in the spirit of cooperation and promise. This thesis traces the beginning of the university from the original petition for its formation, through its early struggle to be established. Concurrent with this expansion is the growth of theatre at the university, a development which helped to introduce the institution throughout the province. The current Frederic Wood Theatre is the outgrowth of a tradition of theatre at the University of British Columbia. The beginning of this historical retrospective is the original petition for the founding of the university. Subsequent to that initial and failed attempt, the University of British Columbia was created by legislation through the efforts of Henry Esson Young, the "Father of the university", and by organization through the works of Frank Fairchild Wesbrook, its first President. Professor Frederic Wood, a founding member of the faculty in 1915, formed the Players'Club which provided the university its theatrical foundation for the next thirty years. Dorothy Somerset, a Director of the Players'Club and the Vancouver Little Theatre (also co-founded by Prof. Frederic Wood) established accredited theatre courses at the university and founded the Summer School of the Theatre. In 1952, these achievements won her the university's first legitimate theatre: the Frederic Wood. With single-minded purpose, Dorothy Somerset further established the Department of Theatre in 1958, building the present 410 seat Frederic Wood Theatre five years later in 1963. More than a physical building, the Frederic Wood Theatre is a dynamic process responding to the energies and influences of its principals. Seven individuals (out of hundreds) who were fundamental in contributing to the accomplishments of the Frederic Wood Theatre are introduced: Henry Esson Young, ''Father of the University'; Frank Fairchild Wesbrook, first President of the University of British Columbia; Professor Frederic G.C. Wood, founder of the Players' Club; Dorothy Somerset, founder of the Department of Theatre; Jessie Richardson, in whose honour years later, the Jessie Awards were created; Norman Young, stage manager, publicizer and lobbyist, and John Brockington, Head of the Theatre Department for 23 years, the man who guided and developed its academic and degree granting programs. Few people realize how great a role the theatre has played in the establishment of the University of British Columbia. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Orientador : Sergio Goldenberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-18T12:45:34Z (GMT). No. of bitstreams: 1 Lima_LuziaMaraSilva_M.pdf: 13140395 bytes, checksum: c3378e1f1a4b901b61ba520d430bf6ac (MD5) Previous issue date: 1993 / Resumo: BURRHUS FREDERIC SKINNER é, sem dúvida, um dos mais controvertidos cientistas do comportamento humano e, também sem dúvida, grande parte do preconceito à sua obra advém de interpretações falseadas de suas propostas. Na tentativa de resgatar tais propostas, apresentamos, nesta pesquisa de caráter bibliográfico, um panorama sobre a vida do autor, os principios básicos da sua Análise Funcional do Comportamento, bem como as aplicações de seu sistema explicativo no processo ensino aprendizagem, analisando detalhadamente a obra "Tecnologia do Ensino" - indiscutivelmente, o principal trabalho do autor a respeito da agência educacional. As reflexões pessoais da autoria desta dissertação apresentadas na conclusão do trabalho. Pretendemos que a presente pesquisa se torne mais uma fonte de informações àqueles que lidam com o processo ensino aprendizagem, no sentido de ajudá-Ias na compreensão dos mecanismos pelos quais se dá o comportamento do sistema educacional, e, conseqüentemente, de aula. na resolução dos problemas que enfrentam em sala de aula / Mestrado / Psicologia Educacional / Mestre em Educação