Thesis (M.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains vii, 119 p. Includes abstract. Includes bibliographical references (p. 100-105).

Thesis (M.A.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains vi, 133 p. : ill. Includes abstract. Includes bibliographical references (p. 107-109).

Thesis (M.S.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 42-45).

Thesis--Wisconsin. / Includes bibliographical references (leaves 20-21).

Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 89-92).

No description available.

This study presents a framework for categorization of the imagery used in solo piano practice. The framework sorts imagery into two large category: pianistic and non-pianistic and further subdivides into three groups: auditory, kinesthetic, and visual. Given such a range of function for imagery, such as a “view” of the score, instrument, or the space in which performance takes place, a number of terms have emerged to describe imagery within musical practice, terms such as mental rehearsal, mental practice, aural or internal representations, inner hearing, visualization, and finger practice. My goal for this study is not only to investigate the potential of imagery and to devise a framework in which such terms could be defined with more consistency across the whole scope of piano performance studies; but also to apply such findings by suggesting ways in which the framework could be used in practice. With an understanding of imagery and the benefits it may bring, this study suggests paths for further exploration, paths that can impact how music educators might assist music enhance expression, music appreciation and learning, as well as technique in performance practice.

Because of their obvious value in plot-complication, disguise-devices were very popular amongst Renaissance play-wrights; occasionally they were used with freshness and originality, but more often did not escape the dullness of convention. Disguise figures prominently in Jonson's comedy, and a close examination of the way in which the dramatist employs disguise demonstrates that he endows it with a particular significance that is consistent throughout his dramatic career. Jonson's affection for Stoic doctrine is well known, and he is especially concerned with that part of the doctrine that sees it as a man's moral duty to create an identity for himself and to remain constant to it. The foolish or vicious man is characterized by his unwillingness to accept such identity, or his inability to create it, by his preference for the mask. Putting this metaphor into action, Jonson creates a satiric world of disguisers and role-players, of men who create an illusion of themselves by a change in appearance, or by verbal disguise. But there is always a moral weight attached to the use of disguise: a disguise is criticized for that very activity. A chronological examination of the plays demonstrates how critical the disguiser, looking real identity, is to Jonson's moral vision, and further demonstrates how little this vision changed throughout his career. More important, an understanding of the function of the disguiser is helpful, and often crucial, for an understanding of the ethical direction of the plays. For Jonson's world is generally a world without norms, a world entirely made up of villains, where wit rather than morality seems to be triumphant. But the disguiser himself implies a norm, insofar as he implies the alternative possibility of Stoic integrity and authenticity. And although this Stoic figure rarely appears in the plays, he is prominent in Jonson's poetry. An understanding of Jonson's attitude toward the play-actor also helps explain our uneasiness in accepting apparent norms like Truewit and Quarlos, whose triumph is one of wit rather than superior morality; for by their implication in the general role-playing they prove themselves to be, finally, as empty as those they mock. This study substantiates the view that Jonson is always moralist, even when there are no moral spokesman in his plays, and that a clear understanding of his plays requires an understanding of his subtly ironic viewpoint. Indeed, it is those plays which have a moral spokesman that are his least successful. Further, it underlines the unity of his vision, not simply in individual plays, but throughout the body of his work. Finally, it helps explain the disturbing ambiguity which Jonson shows toward his chosen medium, the stage. / Thesis / Doctor of Philosophy (PhD)

Pages 1-9 are missing Subjects The subjects in this experiment vrere 172 intrcductory psychology students at the University of Massachusetts who received course credit for their participation. Desif^n The study employed a3x2x2x2 before-after design involving three response sets ( role-plajdng, communicating and passive reception), proattitudinal vs. coxinterattitudinal message, high vs^, la-: communicator credibility, and message contents advocating special or general education. All manipulations and measurements were accamr^lished vdthin a single experimental session. Equal numbers of Ss were randomly assigned to receive the three resr^onse sets, high or low credibility sources, and messages advocating special or general education. Because Ss' own positions on the attitudinal issue viere not kno'-m to the experimenter -until the session was completed, the identity and number of Ss forvhom the message was pro-and counterattitudinal were not experimentally controlled.

No description available.