Thesis (Ed.D.)--Boston University.

No description available.

The overall aim of the thesis was to appraise critically the role that rhythm can play as an effective focus for high level athletic performance. This aim was realised through a series of staged objectives. In a desktop study, the potential importance of rhythm was investigated across the performance spectrum (chapter 2). Having established the scope and potential utility of the construct, it was necessary to determine whether it was possible to isolate rhythm, to establish whether it was associated with skilled execution, and whether it was a genuine, naturally occurring, phenomenon (chapter 3). Having established significant differences in recalled movement patterns between skilled and non-skilled participants, the third objective was to determine the impact of differing mental sets on elite competitors in a performance environment (chapter 4). Interestingly, low levels of movement variability in horizontal jumps were positively associated with jumps of greater distance in the majority of athletes studied. This finding has implications for the way performers should be instructed, how high performance interventions are designed, and it questions the pre-eminent perceptual paradigm in this area of human performance. Finally, the thesis aimed to determine if rhythm can be applied and manipulated as a performance aid. To this end, two case studies are presented (chapters 5 & 6) which outline the varied means through which rhythm can be manipulated according to the performance needs of the athlete, both in terms of reducing movement variability, and improving overall performance.

No description available.

Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A dissertation in conducting." Advisor: William A. Everett. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 132-137). Online version of the print edition.

Grinding is integral to tacking and gybing manoeuvres in America’s Cup sailing. Grinding is a standing position cyclic upper body task requiring manual arm cranking of winches, which control movement of the mast and sails. Limited information exists on biomechanical factors involved in grinding performance. This thesis determined technique and muscular performance characteristics of sailors related to grinding performance, and effects of a training intervention on grinding performance. Reliability of grinding ergometer performance testing was evaluated across direction, load and heel conditions. In all conditions relative performance between individuals was consistent (r = 0.84-0.99) and the grinding performance test differentiated well between individuals. External work had lower overall variation (1.6-3.9%) than peak power (1.3-5.4%), especially when grinding against greater loads. Grinding performance was less consistent in heeled conditions (4.6-6.9%) than on the flat, but grinding direction did not affect reliability. Performance changes over 4% could be interpreted with confidence. Peak torque occurred at 95° (77 N m) and 35° (69 N m) for forward and backward grinding respectively (0° = grinding crank vertically up). Torque of >50 N m was maintained through 72% of the cycle during forward grinding but only 47% for backward grinding. Differences were attributed to a greater spread of active muscles throughout the cycle for forward grinding, and contrasting movements contributing most to torque – upper body push for forward grinding and pull for backward grinding. Variant characteristics of the two grinding directions provide some explanation for the significant advantage (+8.0%, p<0.001) when grinding in pairs with an anterior-posterior heel compared to a medio-lateral heel. Movement characteristics did not readily explain why an anterior-posterior heel may be more advantageous under higher grinding loads (1.0%, p = 0.254), while medio-lateral heel is better at lower loads (2.0%, p = 0.017). Muscular performance of sailors, examined using an instrumented Smith machine, showed force and 1RM strength were greater in the bench press by ~17%. Velocity and power output were greater for the bench pull across the range of loads with the difference increasing exponentially as load increased to over 400% higher at 1RM load. Bench press 1RM and maximum force capability demonstrated strongest correlations with forward grinding performance (r = 0.88-0.99 and 0.87-0.99 respectively) with the relationship increasing with grinding load. There was a strong relationship for backward grinding with bench pull maximum power (r = 0.85-0.98) in addition to 1RM (r = 0.90-0.95) and maximum force (r = 0.87-0.95). Backward grinding performance showed greater improvements in the power-focussed training group than the control group for moderate (+1.8%) and heavy load (+6.0%) grinding in the intervention study. Changes in maximum power output and power at 1RM had large correlations (r = 0.56-0.61) with changes in both moderate and heavy load grinding performance. Time to peak force explained 70% of the change in heavy load grinding performance. Performance benefits from the training intervention were not entirely clear, but the likelihood of a detrimental effect was low (<5%), therefore further training intervention was recommended.

Animal group formation has often been studied by mathematical biologists through PDE models, producing classical results like traveling and stationary waves. Recently, Eftimie et al. introduced a 1-D PDE model that considers three social interactions between individuals in the relevant neighborhoods, specifically re- pulsion, alignment, and attraction. It takes into account the orientation of the neighbors when consider- ing if they can communicate. This has resulted in exciting new movement behaviors like zig-zag pulses, breathers, and feathers. In this work, we translate the Eftimie model into a Lagrangian implementation. Currently, the results from the Lagrangian formulations show many of the results displayed by Eftimie’s original PDE model, producing patterns like the zig-zag, breather traveling, and stationary pulses. In addi- tion, we model animal movement with an ODE approach to complete the investigation regarding the role of direction-dependent communication mechanism in discrete-space. / Applied Mathematics

Inaugural dissertation - Zürich. / Curriculum vitae.

This dissertation critiques the preaching of the revisionists within the emerging church arguing that they redefine truth and displace the authority of Scripture. This argument is presented by defining biblical preaching, the issues of truth and authority, as well as demonstrating the postmodern influence on the emerging church. The argument of this dissertation is further elucidated by the disparity between the stances on key doctrinal issues between the revisionists and reformed evangelicals. The defining area in which the revisionists' redefinition of truth and displacement of the authority of Scripture is demonstrated is in a critique of numerous sermons by prominent revisionists within the emerging church.

A Rough Journey is a single movement for orchestra with an approximate length of 14 minutes. The orchestra consists of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players), piano and strings. The piece is inspired by Alfred Schnittke's musical language and features a variety of elements representing different styles. The harmonic language for instance, consists of pure triads (mostly augmented triads) in both tonal and atonal textures, triads with added dissonances as well as clusters. Although for the most part the piece does not follow a traditional harmonic language, I introduce unstable tonal centers occasionally to strengthen the tonal aspect of the music in contrast with its contemporary textures. The composition includes a few monograms as the main thematic materials which include B-A-C-H and D-S-C-H. However, I add extra notes to these motives to make them slightly longer and more unique. For example, I almost always end the B-A-C-H with the starting note, making it B-A-C-H-B. The Shostakovich motive is also extended to DS-C-H-(B flat-A flat-G). These motives are developed and transformed as the piece progresses, and appear with various rhythms. Dodecaphony is another compositional technique which is used in my work. I use "quasi dodecaphonic" rows against other materials as one of the musical layers. Piano is one of the instruments that features this particular technique by playing all twelve notes in a variety of forms. In addition to tone rows with consecutive notes, I also use dodecaphonic approach in a macro level which is a more unique way of using the technique. For example, the first section of the piece features the two discussed main monograms starting from each and every note of all twelve pitch classes, exploring a vast spectrum of notes at the very beginning. At the same time, I make allusions to traditional harmonic progressions by creating triadic structures in this imitative texture. The pivot note F# is introduced against the discussed texture and maintains its prominence throughout the composition. This pivot note serves as the ending point of some sections, including the string introduction.