Denna kvalitativa studie har med utgångspunkt i det sociokulturella perspektivet undersökt fenomenet samspel mellan kollegor. Studiens syfte var att undersöka uppfattningar om gott kollegialt samspel, utifrån några undersköterskors perspektiv, och urvalsgruppen bestod av sju yrkesverksamma undersköterskor från fem olika arbetsplatser. För att genomföra studien användes en fenomenologisk ansats och metoden fokusgruppssamtal och empirin analyserades tematiskt. Studiens resultat utgjordes av fem gemensamma teman, som kallades samspelsnycklar: Att investera och se varandra i arbetet, Att sträva efter att vara ett lag, Att arbeta utifrån tillit och jämlika samspelsvillkor, Att kunna förmedla och variera arbetsattityd, Att kunna ge och be om hjälp med respekt. Resultatet analyserades med begrepp från Wengers teori Communities of practice och genom det framkom att uppfattningar om ett gott kollegialt samspel i omvårdnadspraktiken kan sägas innehålla samma grundfaktorer som utgör en etablering och utveckling av en praktikgemenskap. Detta på grund av att det i alla samspelsnycklarna förekommer utsagor som kan förstås genom Wengers begrepp område, gemenskap och praktik. Resultatet kan även förstås utifrån det sociokulturella perspektivets antagande att språket är ett centralt medierande redskap för lärande i en social kontext. / This qualitative study has, on the basis of the sociocultural perspective, examined the phenomenon of interaction between colleagues. The study's purpose was to examine perceptions of good interaction, based on some enrolled nurses ' perspective and the selection group consisted of seven professional enrolled nurses from five different workplaces. The study used a phenomenological approach and focus group discussions, and the research data was thematically analyzed. The results of the study consisted of five core themes, called interaction keys: Investing and see each other at work, To endeavor to be a team, To work on the basis of trust and equal interaction terms, To convey, and vary work attitude, To be able to provide and receive assistance with respect. The results were analyzed using the concepts from Wenger's theory Communities of practice, and thru that it was revealed that perceptions of a good collegial interaction in enrolled nursing practice can be said to contain the same basic elements that constitute and develops a Community of practice. This is because all interaction keys include statements that can be understood by Wenger's concept area, fellowship and internship. The result can also be understood on the basis of the sociocultural perspective's assumption that language is an essential mediating tool for learning, in a social context.

The purpose of these studies was to examine mediation and moderation processes for the influence of early adversity and current stressful circumstances on maternal sensitivity. Evidence of mediation was found in Study 1 where maternal depression and mothers’ negative appraisal of their infant mediated the influence of early adversity and low family income on maternal sensitivity. Study 1 also examined the influence of the neighborhood. A moderate-mediation model was tested where the mediating influence afore-stated was hypothesized to vary across levels of neighborhood quality. Partial evidence of moderation was found. In the context of a high quality neighborhood, mothers’ early adversity was not associated with maternal depression. Across levels of neighborhood quality, complex relationships emerged between the variables low family income, maternal depression and mothers’ appraisal of infant temperament. In a context of low neighborhood quality, there was no evidence of a direct association between low family income and maternal sensitivity, rather, low family income operated indirectly through maternal depression. In a context of high neighborhood quality, there was evidence for a direct and indirect association between low family income and maternal sensitivity. Study 2 examined associations between variation in the Arginine Vasopressin 1a receptor gene (AVPR1a) and maternal sensitivity, and whether variation in this gene moderated the influence of mothers’ early adversity on sensitivity. Mothers homozygous for the long alleles of the RS3 microsatellite were significantly less sensitive than mothers heterozygous for the long alleles and those homozygous for the short alleles. Homozygosity for the RS3 long alleles moderated the influence of mothers’ early adversity on their sensitivity; the influence of early adversity on maternal sensitivity was most pronounced for mothers with the RS3 long/long genotype. These results suggest that variation in the AVPR1a gene may be important not only for human maternal behavior, but also for stress reactivity.

The purpose of these studies was to examine mediation and moderation processes for the influence of early adversity and current stressful circumstances on maternal sensitivity. Evidence of mediation was found in Study 1 where maternal depression and mothers’ negative appraisal of their infant mediated the influence of early adversity and low family income on maternal sensitivity. Study 1 also examined the influence of the neighborhood. A moderate-mediation model was tested where the mediating influence afore-stated was hypothesized to vary across levels of neighborhood quality. Partial evidence of moderation was found. In the context of a high quality neighborhood, mothers’ early adversity was not associated with maternal depression. Across levels of neighborhood quality, complex relationships emerged between the variables low family income, maternal depression and mothers’ appraisal of infant temperament. In a context of low neighborhood quality, there was no evidence of a direct association between low family income and maternal sensitivity, rather, low family income operated indirectly through maternal depression. In a context of high neighborhood quality, there was evidence for a direct and indirect association between low family income and maternal sensitivity. Study 2 examined associations between variation in the Arginine Vasopressin 1a receptor gene (AVPR1a) and maternal sensitivity, and whether variation in this gene moderated the influence of mothers’ early adversity on sensitivity. Mothers homozygous for the long alleles of the RS3 microsatellite were significantly less sensitive than mothers heterozygous for the long alleles and those homozygous for the short alleles. Homozygosity for the RS3 long alleles moderated the influence of mothers’ early adversity on their sensitivity; the influence of early adversity on maternal sensitivity was most pronounced for mothers with the RS3 long/long genotype. These results suggest that variation in the AVPR1a gene may be important not only for human maternal behavior, but also for stress reactivity.

Against the background of previous research regarding the interplay between pictures and text in teaching materials and picturebooks which shown an ambivalent approach to the use of pictures in narrative texts (Carney & Levin 2002) (Jonsson 2006) I set off to investigate the interplay between pictures and text in childrens litterature with the aim to illuminate how different interplays could be used in teaching. The study proceeded from the following questions: In which ways do pictures and texts interplay in some newly published reading textbooks? In which ways do pictures and texts interplay in some commonly read picturebooks for 8 year-old children? Which didactic consequenses could derive from this? Through a multimodal literacy-theory I analyzed three commonly read picturebooks for eight year-olds and three newly published reading textbooks in which I labeled the pictures using an analyzing-tool created by Joel R Levin, professor of Educational Psychology vid Department of Educational Psychology, University of Arizona where the relation between text and picture can be representative, decorative, organizing or informative, or interpretive as Levin puts it (Levin 1981). The total result showed that most text-picture-interplays are representative och informative, two interplays in which the reader is invited to interpret, make predictions, and make connections to own experiences or other stories. The organizing interplays create preconceptions and invites the reader to summarize the content and retell sequences or the whole story. The decorative interplays could through a multmodal literacy-theory rise questions about genres and social codes. The interplays between pictures and text are found being a great resource rather than an obstacle.

In this thesis, the interplay between the soloist and drummer in a post-bop jazz setting is examined, studied, and implemented in my playing.    The basis for the work is six transcriptions of soloists and the accompaniment of the drummer, put side by side. Three of the transcriptions are from the 1960s, and the three are from the period 1998 to 2020. To further develop the interplay in this setting, exercises with emphasis on interplay and collective improvisation were done in a quartet featuring electric guitar and tenor saxophone. In this work, I write about the transcriptions, their implementation on the drum set, and the ensemble work to develop the concepts found in the material.   Concludingly, despite the sample size being small, I find that the drummer’s role has moved even further into a counterpoint state of mind since the 1960s. Together the soloist and the drummer create textures of sound, and they react to each other in a less immediate way, prolonging the scope and tension of the music. The vocabulary has moved further away from the idea of the ride cymbal as the centerpiece of timekeeping. Instead, drummers treat the drum kit even more as one voice whilst creating melodic structures that move the music forward.   This work could be of value to any jazz musician wanting to learn more about the drummer’s role in the jazz setting and especially to drummers and soloists wishing to develop their interplay within the band. / <p>På konserten framfört material:</p><p>"Blues to You" (J. Coltrane)</p><p>"I'll Be Seeing You" (S. Fain)</p><p>"Upper Manhattan Medical Group" (B. Strayhorn)</p><p>"Sandslott" &amp; "HJ7" (egna kompositioner)</p><p></p><p>Medverkande musiker:</p><p>Marius Zeeberg - tenorsaxofon</p><p>David Kontra - elgitarr</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>

In this thesis, I have examined, analyzed and studied the interplay between the soloist and drummer in a jazz context.To understand it better I have chosen to study some of the masters in the history of jazz on this very subject. By analyzing legendary jazz drummers such as Elvin Jones, Tony Williams and Ari Hoenig, I have transcribed excerpts from recordings on which they are comping the soloist, and with that analyzed the topic of communication and interplay. Doing that I have gained a clearer picture of what these drummer’s concepts were, regarding the subject. With the conclusion that the vocabulary has moved further away from the idea of timekeeping. Instead, drummers developed the vocabulary to a more melodic and interactive way of playing. It has also been important to choose the right music and musicians to explore different interaction techniques. Together we have questioned the drummer's role and his/her relationship to the role of accompaniment. Finally, I did a concert where these techniques were put to the test, to see if our learning method had evolved the way we interacted with each other. In conclusion, what you can clearly see is that the concept of tension and release, dramatic dynamics and an open approach are consistently techniques of communication that all the drummers I have chosen to study have mastered. It is something rebellious and innovative that I have really taken a liking to, and look forward to explore further myself in the future. This study could be interesting to the jazz musician wanting to learn more about the drummer’s role in a contemporary jazz context. Especially to the drummer wishing to develop their interplay. / <p>På konserten framfört material:</p><p>"Untitled Original 11383" (J. Coltrane)</p><p>"Gingerbread Boy" (J. Heath)</p><p>"In Walked Bud" (T. Monk)</p><p>"Chim Chim Cheree" (J. Coltrane)</p><p> "Song Of Praise" (J. Coltrane)</p><p></p><p>Medverkande musiker:</p><p>Isac Schillberg - altsaxofon</p><p>Milos Lindegren - piano</p><p>Anton Brodin - elgitarr</p><p>Anton Berndts - kontrabas</p><p>Richard Andersson Rasheed - trummor</p>

Interplay has always been a key characteristic of jazz and improvised music. The ability to communicate in real-time and to build on each other's ideas is essential in this genre, where the very essence of the music lies in the musical conversation between musicians. The purpose of this essay is to investigate different methods for developing a beneficial foundation for collective creativity, and to discern how the various qualities of the guitar affect the resulting interplay within the group - in this case a guitar trio with bass and drums. In addition to this, I have also worked with a specific method for composing, with the aim to write new music for the specific musicians in this group. Through the usage of ensemble exercises we investigated parameters such as dynamics, contrasts, and motifs. We noticed that it wasn’t mainly the exercises that led to progress, but rather the conversations about the music we had just played. The composing method was a highly tangible and creative way of capturing the trio’s musical nature. Since the ideas for the compositions came straight from the musicians themselves, the music I wrote came to properly reflect the group and our particular sound. / <p>Medverkande musiker: Agnes Persson; elgitarr, Jakob Ulmestrand; kontrabas, Ludwig Aronsson; trumset, Maja Svantesson; sång. Repertoar:"Låt 1", "Låt 4/Kvarnen", "Låt 5", "Låt 3", "Jordens Hjärta" (Dikt av Peter Curman). Samtliga kompositioner skrivna av Agnes Persson med band.</p>

京都大学 / 新制・課程博士 / 博士(農学) / 甲第23962号 / 農博第2511号 / 新制||農||1092(附属図書館) / 学位論文||R4||N5397(農学部図書室) / 京都大学大学院農学研究科地域環境科学専攻 / (主査)教授 星野 敏, 教授 藤原 正幸, 教授 秋津 元輝 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

This thesis began as an exploration of the idea of home, a study that revealed the importance of place. Seeking to understand what makes a successful place, I studied neighborhoods with which I was familiar, identifying characteristics of both the vital and the lifeless. As a foundation for architectural exploration, this study helped me to recognize the dynamic qualities of denser, more urban neighborhoods, and to establish rowhousing as the vehicle through which to undertake my exploration of urban living. While providing the genesis for the project and further defining certain elements as worthy of further study, this initial exploration was nonetheless lacking. I had to do more than just speak of the conditions I hoped to achieve and of the characteristics of the elements with which to make the conditions manifest. I had to make the conditions, make the elements. It was essential for me to establish a clear order, so that these conditions could be brought together to form a cohesive whole. I was able to arrive at a fully conceived expression of the project by structuring the conditions that I identified through the application of three dimensional grids. The interrelationships among the grids helped structure the relationships among various conditions, ensuring that they enhanced one another, and were, in fact, stronger together than separately. Working with the grids taught me that in order for them to be effective regulators the grids had to be intelligible while still being flexible; that they should help define but never dictate. It exposed the tension between the regulating devices we, as architects, utilize as tools for design and the three-dimensional material with which the designs are constructed, as well as the obligation of reconciling the two. Not only must the device accommodate the material and the material reveal the device, but indeed all facets of the design must be considered in relation to one another and to the whole. When philosopy, device, and material work in service of one another the possibility for architectural expression rather than simple building is created. One does not revere great architects solely for their philosophies of design, the functionality of the spaces they create, the materials with which they construct them, or the regulating devices they employ, but rather for the complexity with which these elements are brought together to form a whole so well designed that it seems that it could have been done no other way. / Master of Architecture

Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.