Univ., Diss.--Düsseldorf, 2005. / Literaturverz. S. [387] - 423.

Thesis (Ph.D.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.S.)--University of Michigan, 2003. / Includes bibliographical references.

Thesis (Ph. D.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

Masterarbeit, Univ. Bern, 2004. / Masterarbeit Nachdiplomstudium Management im Gesundheitswesen Medizinische, Rechts- und Wirtschaftswissenschaftliche Fakultät der Universität Bern.

Thesis (doctoral)--Universität, Düsseldorf, 2005. / Includes bibliographical references (p. [387]-423).

A pesquisa clínica patrocinada no Brasil vem crescendo cada vez mais e gerando conhecimento científico em diversas áreas da saúde. O desenvolvimento desses ensaios clínicos envolve aspectos que vão além da geração de fármacos e produtos mais avançados. O grande alicerce da pesquisa clínica está também nos pacientes que aceitam participar de um estudo científico. Estes precisam passar por um processo de consentimento que envolve ter conhecimento sobre todos os aspectos que envolvem a sua participação no ensaio clínico. Dentro desse contexto, surge um grande desafio na área que é como realizar o processo de consentimento de maneira adequada. É preciso levar em consideração aspectos como compreensão, motivações, influências, coerção, benefícios, riscos, entre outros aspectos. O objetivo deste trabalho foi identificar quais os fatores vivenciados pelos participantes de pesquisa clínica durante o processo de consentimento. Foram aplicados questionários a respeito da sua percepção no que envolve a participação na pesquisa clínica. Com os dados gerados foi possível desenvolver um conjunto de recomendações visando o aprimoramento do processo de consentimento em projetos de pesquisa clínica. / Clinical research sponsored in Brazil has been increasing and generating scientific knowledge in several areas of health. The development of these clinical trials involves aspects that go beyond the generation of drugs and more advanced products. The key of clinical research is also in patients who accept to participate in a scientific study. These need to undergo a consent process that involves having knowledge about all aspects that involve their participation in the clinical trial. Within this context, a great challenge arises in the area that is how to carry out the consent process in an appropriate way. It is necessary to take into account aspects such as understanding, motivations, influences, coercion, benefits, risks, among other aspects. The objective of this study was to identify the factors experienced by clinical research participants during the consent process. Questionnaires were applied regarding their perception regarding the participation in clinical research. With the data generated, it was possible to develop a set of recommendations aimed at improving the consent process in clinical research projects.

For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels of fame or recognition, had comparatively little chance to record their story. Detailed histories of the instrument are therefore scarce, incomplete, or riddled with inaccuracies and misunderstandings. This thesis presents a clear and detailed history of the instrument, from its beginnings to its early form in the mid 1930s. I then examine how the early drum kit was represented at the time through recordings, one of the most important methods of documenting how this instrument was used. Finally, I investigate how drummers performing on early drum kits today approach their playing, and how they deal with the problems identified in this thesis. In doing so I used optical character recognition (OCR) on digital archives, newspapers, interviews, magazines, catalogues and photographs from the early twentieth century, much of which has only become available in the past few years. Using these primary sources, I have constructed a reliable history and have unearthed new sources that shed light on the history and development of the instrument. Furthermore, through my own experiences and interviews of current early drum kit players, I have shown how this instrument in its early form is played, and how it differs from the instrument we know today.

abstract: Technology is rapidly evolving, and mental health professionals are increasingly using technology in their clinical work. In reaction to this shift, it is important that research examines the ethical implications of online behaviors. The current study examined the online practices of graduate students in the mental health field and generated prediction models for online client searches and best practices in informed consent and online disclosure. The sample consisted of 316 graduate students in counseling, clinical, and school programs. Of those with clinical experience, a third had utilized the Internet to find information about their client. Progress in the participants' program, as measured by credits completed or in progress, and years of social networking experience were positively related to online client searches. The vast majority (over 80%) of individuals who conducted an online search did not obtain informed consent prior to the search. Curiosity was the most frequent reason given for conducting a client search. Previous professional discussions and belief that information online is private were not significant predictors of obtaining informed consent. The final analysis examined disclosure of client information and found that lower scores on ethical decision-making and years of social networking experience predicted online disclosure. This study is an important step in understanding the implications of the intersection of technology use, ethics, and clinical practice of graduate mental health professionals. / Dissertation/Thesis / M.C. Counseling Psychology 2012

Este trabalho compara as duas gravações realizadas pelo pianista András Schiff em 1984 e 2011, respectivamente, do Cravo Bem-Temperado de J. S. Bach, e discute as entrevistas concedidas pelo pianista à imprensa especializada, nas quais ele expõe sua abordagem com relação à interpretação da música de J. S. Bach. O objetivo do trabalho é corroborar a hipótese de que o pianista adota, na sua gravação mais recente, uma abordagem mais próxima ao estilo de performance da música barroca denominado estilo retórico, conforme proposto por Haynes (2007) e Golomb (2004; 2008). Conclui-se, através da análise das gravações e das entrevistas supracitadas, que Schiff adota princípios do estilo retórico na sua execução, além de reconhecer implicitamente, nas suas entrevistas, a relevância dos princípios retóricos para a execução da música de Bach. Também são discutidos os argumentos do pianista a favor do uso do piano como instrumento apropriado para a execução da música de Bach e da rejeição do uso do pedal de sustentação deste instrumento, e a relação de Schiff com o movimento da Performance Historicamente Informada. / This paper compares the two recordings made by the pianist András Schiff in 1984 and 2011, respectively, of the First Book of The Well-Tempered Clavier by J. S. Bach, and discusses the interviews granted by the pianist to the specialized press where he exposes his approach to the interpretation of Bach's music. The paper aims to support the hypothesis that the pianist adopts in his latest recording an approach called Rhetorical Style by Haynes (2007) and Golomb (2004; 2008) which, according to the authors, is closer to the Baroque Music performance style. By analyzing the aforementioned recordings and interviews, it is concluded that Schiff adopts principles of the Rhetorical Style in his performance, and also implicitly acknowledges in his interviews the relevance of rhetorical principles for the execution of Bach's music. Also discussed are the pianist's arguments in favor of using the piano as an appropriate instrument for the execution of Bach's music and against the use of the instrument' sustain pedal, in addition to Schiff's relationship with the Historically Informed Performance movement.