Inaug.-Diss.--Berlin. / Vita. "Die vollständige arbeit ist als II. band der Schriften zur praktischen psychologie ... veröffentlicht." "Literaturverzeichnis": p. 6-9.

Thesis (D.M.A.)--University of Maryland, 1984. / Typescript. Vita. Includes bibliographical references (p. 107-116).

This thesis describes the measurement of high g-forces, in the range of 400-800g's occurring in a spinal construct during the breaking of the set-screw head using a manual torquing instrument. The measurements were validated using a high speed camera. The design torque (11 N-m) required for breaking the set-screw was compared with the torque calculated from the distortion energy theory for material fracture (9.9 N-m) and an actual measurement using a torque wrench (11.3 N-m). A comparison between the manual and powered instruments showed a 27.68% reduction in g-forces and a 36.42% reduction in die-down time while using the powered instrument. 8.52% less energy was felt on the adjoining screw. The consistency in the powered instrument is higher because the standard deviation using the manual instrument is 8.46, compared to the powered instrument which was 8.31. Also 25g's was recorded on the surgeon's wrist and elbow. Based on previous work done, the external work done by the surgeon was about 60-120 KJ. The onset of fatigue was apparent in consecutive break events as illustrated by the change in EMG parameters over time.

Syftet med den här studien är att synliggöra hur musiken används i förskolan och vilken uppfattning förskollärare på fyra förskolor har angående musik. Studien grundar sig i kvalitativa intervjuer. Denna studie är skriven och anpassad för att besvara hur förskollärare planerar musiken i förskolan, hur det kan kopplas till lärande och utveckling samt hur musikalisk bakgrund kan påverka musikanvändandet i förskolan. Resultatet visar att förskollärare ser musik som både en spontan och planerad aktivitet i förskolan där flera inslag såsom instrument, rörelse och sång utgör helheten. Musiken uttrycker först och främst glädje och ses även som ett sätt att främja annat lärande enligt förskollärarna. Förskollärarna är överens om att ett intresse för musik är mer betydelsefullt i arbetet än musikalisk kunskap. Slutsatserna som studien visar är att musik som ämne planeras med barnens intresse som huvudsyfte och att annat lärande blir sekundärt. Lärandet som kan gynnas av musik är beroende på vad förskolläraren vill förmedla med den.

The serpent, an extinct musical instrument, was important to the development of contemporary low brass. Its characteristics, performance problems, and literature give insight into its development as well as reasons for its ultimate demise and replacement with technically more advanced instruments.

The purpose of this study is to determine an evaluative instrument for evaluating a modern school program.

I mitt arbete har jag undersökt och ifrågasatt mina invanda arbetsmetoder och rutiner när jag producerar musik. Jag har tidigare, i min gamla arbetsmetod, arbetat med mycket mjukvaruinstrument och sällan spelat in fysiska instrument. Detta trots att jag själv lyssnar på musik med fysiska instrument och strävar efter att nå det soundet. Jag har arbetat på det sättet eftersom jag trott att det är omständligt och tar mycket tid att spela in fysiska instrument. Syftet med studien är att utmana och problematisera mina invanda arbetsmetoder och rutiner samt mentala föreställningar. Detta för att ge nya insikter om hur jag vill jobba i framtiden som musikproducent. I min undersökning producerade jag två låtar enbart med fysiska instrument. Jag begränsade arbetet med att jag inte fick använda mig av mjukvaruinstrument. Jag började med att arrangera låtarna. Efter det tog jag kontakt med musiker och spelade in dem. Jag kom fram till att den nya arbetsmetoden gav mig mer kreativitet och en tryggare grund. Med min gamla arbetsmetod arbetade jag mycket på impuls, medans jag nu hade större överblick på produktionen tack vare arrangeringsfasen. Jag insåg också värdet av att spela in musiker. De gav en till dimension i produktion och präglade soundet. Den nya arbetsmetoden var mer tidskrävande, men det skiljde sig inte så mycket från den gamla arbetsmetoden som jag trodde. Den extra tid det tog var dock värt det, eftersom jag blev mer nöjd av slutresultatet. / <p>I mitt examensarbete har jag producerat musik skapat av Wilma Åkesson och Lukas Berkemar. Låtarna finns i bifogad mapp vid namn "Ölund Johan 2021-04-22".</p>

For keyboardists, touch is a paradox. It refers to the physical actions that constitute performance, yet to be “touched” by music is also to consider the immaterial relationship between performance and our psychology. In this dissertation, Touch and Modernity in French Keyboard Pedagogy, 1715–1915, I explore this dual notion of touch, deciphering how performers, teachers, analysts, and critics described the keyboard as a unique interface between body and mind. I track the notion of touch through an undertheorized corpus of instruction manuals for harpsichordists and pianists written in France between 1715 and 1915. The authors of these manuals outline several strikingly flexible theories of touch, described as some combination of action, sense, and metaphor. They use touch to construe the keyboardist as a modern ideal, dedicating their pedagogical programs to “newness,” configured to varying degrees as edification through rationalization, social development through institution building and urbanization, industrialization, culminating in the themes of alienation and solipsism. The musicians who wrote and used these manuals found unlikely interlocutors across a diverse field of thinkers. These interlocutors included philosophers and encyclopedists, bureaucrats, technologists, anthropologists, anatomists, psychologists, and others. Venturing explanations for the body’s relationship to sensory impressions, aesthetic judgments, and knowledge acquisition, these figures joined music pedagogues, using the keyboard and its various iterations—from instruments to telegraphs and typewriters—as a grounding object for touch. They delineated the stakes of an array of ideologies, positing an artistic, intuitive, discerning, or efficient touch as a benchmark by which to calibrate their modern subject, idealized as inhabiting an interface between historicity and progress. Their definitions for touch shuttle between public and private spheres, the exterior world and the interior psyche, the self and the other. This dissertation’s methodology treats four broad topics as lenses through which we discern modern modes of theorizing, deriving, and disseminating knowledge through touch. These include sensibility, or the condition for subjective knowledge; empiricism, or knowledge by way of experience; physiology, or knowledge acquisition through study of the interaction between mind and body; and psychology, or the potential for variable knowledge based on perception and attention. I argue that, animated by the aforementioned topics, touch enacts a dialectic of musical “work”—connoting preparatory labor, polished performance, and an object for contemplation and analysis—through which keyboardists came to represent modern subjectivity more broadly, the concept for which concretized over the course of the Enlightenment and Romantic eras. Touch thus affords a unique framework which we may use to study historical definitions of selfhood, denoting the materials, practices, and ethics of experiencing our bodies and articulating our relationship to culture and society.

The purpose of this research was to establish the validity and reliability of the scores on an instrument which assesses attitudes toward seeking help for financial problems . Content, criterion-related, and construct validit y and internal consistency reliability of the scores on the instrument were examined. The Hughes' conceptual model of the Family in Financial Crisis provided the theoretical basis for this study . The sample size of this study was 510. The instrument evaluated was based on a scale developed by Rimm (1975) to assess attitudes toward seeking help for financial problems. Total scores on the 16-item inst rument ranged from 8 to 46, with a mean of 28.71, and were normally distributed. content validity of the attitude scale was confirmed by a jury of financial counseling professionals. Criterion-related validity was examined using an analysis of variance (ANOVA) to assess the relationship between total scores on the attitude scale and responses to three criterion questions. A significant relationship was found between responses of two of the three questions and attitude scores. Construct validity was confirmed by evaluating the relationship between attitude scores and the demographic variables of gender and socioeconomic status (SES) using an ANOVA. Females and respondents with higher SES had more positive attitudes toward seeking help. An ANOVA was also used to compare the demographic variables, age and religion, and attitude scores. No relationship was found between these variables and attitude scores. Using factor analysis, three factors were identified: confidence/willingness to seek help (7 items), stigma tolerance (6 items), and self-sufficiency (3 items). Internal consistency reliability of the scale, measured using Cronbach's Alpha, was .82. Based on comments from the jury and the data analyses, a revised instrument, the Financial Counseling Attitude Scale, was developed.

No description available.