Interteaching has emerged as one of the newest behaviorally-based pedagogical approaches in recent research. The present study evaluated the use of interteaching as a pedagogical approach in the context of an undergraduate behavior analysis class. 24 participants were alternated in a counterbalanced manner between interteaching classes and standard lecture format classes throughout the duration of the class. No significant differences were found between mean class quiz scores between the two conditions. However, 16 of the 24 students did have significantly higher mean quiz scores following interteaching than lecture when comparing mean quiz scores at the individual level.

[pt] A mulher leitora: o compromisso entre ler e ver traz como referência inicial o exercício de leitura de doze obras representativas da pintura de doze artistas, inscritas na galeria das artes entre 1640 e 1944. Os exercícios de leitura vêm como resposta à pergunta O que se lê em um quadro? e, num sentido mais amplo, busca apreender a produção pictórica em torno da temática “leitura” como regime representativo de determinados momentos da história da leitura e das possíveis associações com outros momentos socioculturais da história da mulher. O ato de ler, embora fundado no acontecimento que ocorre no encontro entre leitor e obra, pelo contexto e experiência do leitor, pode resultar na construção de sentidos tanto pessoais quanto coletivos. Sobre os exercícios de leitura, aponta-se, para além do repertório do leitor, a memória social de certas práticas de leitura representativas da condição da mulher, refletidas nos modos de ler, disposição do corpo e da mente, que, aos olhos do leitor-pesquisador, esboçam uma assunção social ilustrada pela relação com o livro. Lendo, as mulheres dão a ver concepções de leitura e dão a ler seu lugar na sociedade de sua época. Efetivamente a leitura é um acontecimento, mas simultaneamente é experiência e uma expressão política. / [fr] La femme lectrice: le compromis entre lire et voir emmène comme référence initiale l´exercice de lecture de douze oeuvres représentatives de la peinture de douze peintres, inscrites dans la galerie des arts entre 1640 et 1944. Les exercices de lecture viennent comme réponse à la question Qu´est-ce qu’on lit dans un tableau? et, dans un sens plus large, cherche à appréhender la production picturale autour de la thématique lecture comme régime représentatif de certains moments socioculturels de l’histoire de la femme. L´acte de lire, quoique fondé dans l’événement qui a lieu dans la rencontre entre le lecteur et l’oeuvre par le contexte et l’expérience du lecteur, peut donner naissance à la construction de sens aussi bien personnels que collectifs. A l’occasion des exercices de lecture on en vient à rappeler, au délà de l’expérience du lecteur, la memoire sociale de certaines pratiques de lecture représentatives de la condition de la femme, reflétées dans les manières de lire, dans la disposition du corps et de l´esprit, qui, aux yeux du lecteur-chercheur, ébauchent une ascension sociale illustrée dans la relation avec le livre. Lisant, les femmes laissent voir des conceptions de lecture et laissent lire leur place dans la société de leur époque. Effectivement la lecture c’est un événement, mais simultanément c’est une expérience et une expression politique.

In Sweden there is a long ongoing discussion about computer and cellphone usage during lectures in school. The discussion has mainly covered elementary school up to college students, but this topic is at least as relevant for university students. Today cellphones are so advanced; you can do everything with one that you previously only could do with a computer, the difference is that everyone is carrying one with them all the time. This study shows how concentration during lectures is affected by the cellphone accessibility and usage. With this study we want to find out how university students perceive cellphone usage affects their own concentration during lectures. Our goal with this paper is to enlighten both teachers and students about cellphone usage, and give them suggestions on how lectures possibly can be improved. The research question in this study is: In what way do university students believe their cellphone usage affects their concentration capabilities during lectures? The data we have collected is compiled from three surveys from three different universities in Stockholm. We have also interviewed students in a group interview and one individual interview. The results show that the students are affected negatively to some degree by their cellphone usage during lectures. But the level of concentration is also affected by the subject of the lecture, level of difficulty and the teacher’s way of lecturing.

There are several concerning issues with passwords today; one of them being weak passwords, but password management also plays a big role e.g. when the users reuses passwords over several services or don't change their passwords on a regular basis. With the usage of passwords for several aspects of our daily lives comes the responsibility of trying to mitigate these issues, a role that often falls on to the users themselves. The usage of guidelines has proved helpful in this regard but still lacks important aspects. This paper suggests the usage of education in the form of a lecture to help with the problem. In this paper we conducted a study of password leaks, a literature analysis of the area around passwords and perform some qualitative interviews with different kinds of people with varying education and usage of passwords. The results from these studies will then lay the foundation for the lecture in the experiment part of the paper, two experiment groups will be used, one given a lecture as education on the matter and one control group not given any education. The study has showed that the usage of a lecture can help increase the entropy, average length of user‟s passwords. These results can be interpreted together with another study that did a similar experiment to that a lecture can be a more efficient way to teach users about passwords.

Au lycée professionnel, l'école peut-elle être le vecteur de l 'expérience de lecture? Pour répondre à cette question nous avons favorisé la lecture subjective d'élèves et observé leurs lectures personnelles. Une recherche comparative sur trois ans et sur deux classes permet de mettre en lumière ce qui unit lecture scolaire et lecture ordinaire. Dans toute lecture nous trouvon s le besoin de récits qui offrent une voie d'accès à la connaissance, celle que Claude Lévi-Strauss nomme la p ensée my thique. Nous identifion s trois usages du texte scolaire dont un subtil mélange perm et l'entrée dans la lecture littéraire et 1'avènement du sujet lecteur / In vocationa l schools, can the school become a vector for the enhancemeht of the reading experience ? To answer this question, we encouraged the pupils to read subjec tively and analysed the persona!readin gs of each student. A comparative study over three years took place in two different classes which allowed us to highlight the links between school reading and everyd ay literature. In each case, we find the need for stories which provide the means to access knowledge, the very knowledge Claude Lévi-Strauss termed the mythical thought. We identify three uses of school texts which, once subtly mixed, allow access to literary reading and the birth of the subject-reader.

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.

No description available.

The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed

The main purpose of this paper is to discuss Carlos Chávez's use of ancient Aztec instruments in several of his compositions. Several pieces in which he called for the use of these native instruments or their modern equivalents will be discussed in general, with as specific a listing as possible of the instruments required for each work. Musicologists have identified at least thirty different pre-conquest Aztec instruments. The instruments for which Chávez calls in these pieces will be discussed in detail, with illustrations when possible. Chávez is undoubtedly the most outstanding figure in the Mexican musical scene in the twentieth century. His nationalism was a unique combination of a deep entrenchment in the European tradition, an almost congenital exposure to native Indian music and complete immersion in the Hispanic-mestizo musical heritage which surrounded him daily. This study will examine the sources of these influences and how Chávez created his own musical language from them.

The violin works of Igor Stravinsky form an integral and vital part of the contemporary violin repertoire. The violin works fall into two categories: original compositions and transcriptions of previous compositions. Included in these transcriptions are orchestral suites and selections from ballet and opera. Many similarities can be noted among the compositions of this genre. The majority were composed or transcribed during a fifteen year period of Stravinsky's career and they exhibit a particular style of composition utilized by Stravinsky at that time. These violin works also generate from an amiable association between Stravinsky and a young violin virtuoso, Samuel Dushkin. During this time, Stravinsky was changing the focus of his career from that of being primarily a composer, to composer, conductor and performer. This necessitated compositions which Stravinsky could perform on tours with Dushkin. This study will be primarily concerned with Stravinsky's compositions for violin written during the years 1931 to 1935. In order to put these compositions in perspective, it is beneficial to investigate earlier events in Stravinsky's life.