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Submitted to the FaCUlty of Education in fulfilment of the requirements of MASTER OF EDUCATION In the Department of Educational Planning and Administration of the University of Zululand, 1988. / The investigator had noted that performance of pupils, especially in standard 10, had not expectations despite the application of measures supervision, inspection, guidance, in-service circulars and distance training of teachers. Secondary risen to such as training, It became clear to the researcher that factors within society in relation to achievement of secondary school pupils should be researched so as to form a basis on which measures at guidance, pupil assistance, instruction, teaching and supervision can be carried out.

Written to fulfill a partial requirement for the Masters of Fine Arts degree from the University of Iowa, this is an exploration of Kevin Argus' journey as an actor. It is a personal text that documents his relationship with: the present moment, the state, and mask, which are the necessary requirements for great acting. He asks, "How can you drop into the present moment? How can you expand the state to give others a visceral feeling? How can you create a specific character?" It goes on to recount pitfalls in the rehearsal process and the performance that are frequently encountered.

Preface and play text of AND I WILL HOLD YOU/WHEN YOU ARE BROKEN.

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The purpose of this dissertation is to explore the contingencies that alter the link between entrepreneurial orientation (“EO”; a strategic posture characterized by behaviors and attitudes that display innovativeness, proactiveness, and risk-taking) and firm outcomes. While conceptual claims unite on the belief that firms largely benefit from emphasizing innovation through proactive and risky initiatives, the empirical findings on a positive link between EO and performance are inconclusive. As such, several scholars have explored the contingencies that illuminate the boundary conditions to EO, however, most of this research has focused on external contingencies, i.e. those connected to the environment, while internal contingencies, i.e. those connected to the firm, have been fairly disregarded. Not only will the industry and market play a significant role in a firm’s ability to effectively carry out their desired strategic initiatives, so too will firm characteristics, such as communication and culture, as these internal factors are directly related to the level of value created from strategic actions. Therefore, this dissertation is an attempt to further clarify the boundary conditions of EO by focusing on these firm specific attributes. Chapter two, titled “Family communication patterns and entrepreneurial orientation in family firms” exposes the impact of specific family communication patterns on the performance outcomes from an entrepreneurial orientation. This chapter contributes to the corporate entrepreneurship literature, by confining the positive effects of EO to certain firm specific characteristic, as well as to the family business literature by further demonstrating the heterogeneity between family firms. Thereafter, chapter three, titled “Entrepreneurial orientation, organizational culture, and firm performance: The importance of a balanced approach”, argues and tests the importance of organizational culture, as defined by the competing values framework, as a contingency variable of the EO-performance relationship. This empirical chapter exploits a configurational approach, using fuzzy set Qualitative Comparative Analysis (“fs/QCA”) to analyze the arrangements of different entrepreneurial orientation and organizational cultures that yield superior performance. Through this exploration, I advance research on the EO-performance relationship by integrating the firm’s corporate culture as a means of alleviating concerns with resistance by certain stakeholders to the ambiguity associated with entrepreneurial ventures. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.

When performances engage with their set design, they become more powerful, more intricate. The atmosphere gets woven into every element on the stage. The performance arts have the ability to surpass the conventional as they begin to mold with other disciplines, immersing the audience into a multi-faceted experience. Many performances today are conceptualized, rehearsed, and performed on "blank canvasses" - from one small wooden room with a mirror to one large wooden room with hundreds of new faces staring back. Imagine architecture created in this manner: without site as a constraint, without site as an inspiration. Our surroundings are essential in the design process, and when that is taken away, our designs become placeless, lacking grounded conviction. By implementing a stage design that will become the site for the artist's work, one challenges the artist by providing them with a set of rules they can abide by or dispute. This will in turn make their work stronger as their concept gets applied in various mentions. Architecture has the potential to become that site for performance. Artists constantly find inspiration in daily life: Paul Taylor choreographs from the pedestrian movement of the busy urban corridors; John Cage composes music from the ambient noise of an airport. Inspiration is everywhere, and can be particularly compelling when discovered in daily life. Just as the pedestrian can be conceived as the performer, architecture can be conceived as the stage. Once this is realized, one begins to question the role of the theater. Is the theater just a container for the stage? If the stage design is constantly being reconfigured, what if the architecture of the theater began to respond to this? By inverting the norm and placing the stage on the envelope of the building, one begins to fully experience the architecture as the stage and, in turn, the world as the theater. / 0 / SPK / specialcollections@tulane.edu

The Master’s Thesis Recital documented on the accompanying compact disc consists of three works that each use folk song. William Schuman’s Chester Overture and Ralph Vaughan William’s English Folk Song Suite use actual folk songs as their main compositional foundation, while Gounod’s Petite Symphonie uses folk song like material as a model. These extended program notes explore the use of folk songs as a unifying device throughout this recital program.

Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01