Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos \"mundos da arte\", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp. / The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven\'s cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler\'s cycle. The documentary research at the orchestra\'s archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp\'s musicians. This thesis proposes, using Howard Becker\'s theory of the \"art worlds\", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp\'s musical path.

Within user modeling there are various methods for representing targeted users. Persona for example is a user archetype which is given a face and name, and is carefully described in terms of goals, needs, and tasks (Blomquist & Arvola, 2002). Personas are widely used, but have been criticized for often not being based on empirical data (McGinn & Kotamraju, 2008). In this thesis I explore the use of the Repertory grid technique (RGT) in a user modeling context, an approach deriving from George Kelly’s (1955) Personal construct theory, which elicits both idiographic (i.e. the subjective dimensions of one individual) and nomothetic (i.e. a populations behaviours and traits) empirical data from individuals by analysing both qualitative and quantitative data. Furthermore, the possibilities and difficulties that the RGT offers in the context of user modeling are investigated. An online survey is crowdsourced (n = 28) containing five vignettes which are based on structured interviews and are used to elicit the participant’s personal constructs. The results are presented in the form of bertin plots and a biplot along with the Importance (the order of a constructs elicitation), and Dominance (the relative elicitation percentage of a construct) measures. The results suggest that the technique employed could be used in a number of user modelling processes. The weaknesses of RGT when done remotely in a user modelling context are also discussed.

People diagnosed with Borderline Personality Disorder (BPD) have been subjected to stigma and told that their difficulties are untreatable. Although recovery is now understood to be possible for this client group, much controversy exists around whether BPD is, in fact, an illness. The implications of this belief have not yet been explored from the perspective of the client. Furthermore, little research has attempted to deconstruct what constitutes the therapeutic alliance for people diagnosed with BPD and their clinicians from a Personal Construct Psychology (PCP) perspective. The present research study therefore aimed to explore what impacts on the recovery of people diagnosed with BPD. This included investigating the impact of the construct of illness and the therapeutic relationship. The research employed a correlational and non-randomised design, using a cross-sectional approach. The Repertory Grid technique was used among a sample of 20 clients diagnosed with BPD and their clinicians. Relevant questionnaires were also administered to ascertain BPD symptomatology and the perceived quality of the therapeutic relationship. Among findings, a statistically significant correlation is presented for the association between a poor therapeutic relationship and increased BPD symptoms. Evidence (in the form of a borderline significant correlation) is also revealed to suggest that clients diagnosed with BPD construe fewer benefits from psychological therapy when they consider the well-ill construct to be more important (i.e. superordinate). The results provide new information with regard to the treatment of people diagnosed with BPD.

In the overall academic study of the saxophone and its history there is a considerable lack of integration in how the technological advances of the saxophone enabled the eminent virtuosi of the repertory to accomplish the challenges of saxophone technique and style. This dissertation explores the technological development of the saxophone from when the instrument was first invented in the 1850s to the 1950s. Concurrent with this investigation, the trajectory of the major repertory of the saxophone is also plotted with the technological developments of each era. This dissertation aims to synthesise and study these two aspects contemporaneously to achieve viable theories to explain the effect that saxophone manufacturers of their particular eras had on the expansion of the classical saxophone repertory. As saxophone manufacturers expanded and diversified their approach in instrument construction, the players started to gain more facility with aspects like altissimo and intonation to aid them to play the repertoire proficiently. As a result, standards in the course of the first century of the saxophone’s existence gradually become higher. This dissertation is grounded in an assortment of secondary historical sources and the concepts that surround them. This work aims to aid saxophone players to not only understand the development of their instrument and repertory, but also the concepts and utilisation of vintage saxophones of previous eras. / Dissertation (MMus)--University of Pretoria, 2014. / lk2014 / Music / MMus / Unrestricted

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This thesis explores the use of adapted Dialectical Behaviour Therapy (DBT) with individuals with Intellectual and Developmental Disabilities (ID/D). DBT is a multi-modal psychological intervention that aims to increase skills in interpersonal effectiveness, distress tolerance, emotional regulation and mindfulness. It was initially developed for individuals who presented with parasuicidal behaviours, and is recommended for the treatment of Borderline Personality Disorder (BPD). This thesis is presented in five papers; a systematic literature review, three empirical papers (a, b &c), and a critical review and reflection of the research process. The systematic literature review provides a narrative review of published research regarding the adaptations and outcomes of DBT for individuals with ID/D. Seven studies were reviewed using the Evaluative Method for Determining Evidence Based Practice (EBP) (Reichow, 2011). The findings detail the adaptations, results and critical appraisal of the research to date. The empirical papers consider the outcomes of adults with ID/D who received adapted DBT in a community psychological therapies service. The papers present different methodologies, and combined produce a consilience of evidence regarding the suitability of DBT for this population. Paper 2a found significant reductions on measures of depression, anxiety and anger, and increased mindfulness skills amongst 18 participants following DBT. Paper 2b uses repertory grid technique to explore the psychological changes that occur following DBT for seven participants, and found overall changes in personal construing and improvements in self-esteem. Paper 2c considers the psychological changes that occur in further depth through the presentation of two case studies. The case studies consider the complexity and idiosyncrasy of the individuals and gives consideration to the use of repertory grids to identify implicative dilemmas as part of clinical assessments. The final paper provides a critical review with personal reflections of the thesis. The author considers the research and clinical implications of the study.

The purpose of the present investigation was to investigate the relationship of cognitive complexity, as measured by a quantitative index of human movement responses, and the number of different constructs in one psychological system.

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The Swedish singer Elisabeth Olin was the first star of Swedish opera, but very little is known about her today. The theoretical part of this study gives a historical background to her life and the music that she performed, music that is rarely performed today. Further, this study discusses the subject of Historically Informed Performance Practice (HIP) and the most common arguments for and against it, with examples connected to the repertoire in focus. The results of the study show that although HIP does not give clear answers or solutions, it offers tools for interpretation and performance, which help the musician to make artistic choices. The artistic part of this study is a performance about Olin based on music that she performed. The object of the artistic part is to present Olin and the music of her time, particularly the music of Gustavian opera, to a modern audience. / <p>G. B. Pergolesi (1710–1736) Salve Regina i c-moll</p><p>F. A. Uttini (1723–1795) ”Öde, dina dolda lagar” ur Thetis och Pelée (1773)</p><p>F. A. Uttini ”Min tunga känner intet tvång” ur Aline, drottning av Golconda (1775)</p><p>P-A Monsigny (1729­-1817) ”Il ne faut pas vous alarmer” ur La belle Arsène (1773, Stockholm 1779)</p><p>C. W. Gluck (1714-1787) “Armez-vous d’un noble courage” ur Iphigénie en Aulide (1774, Stockholm 1778)</p><p>J. G. Naumann (1741–1801) “Mitt minne fåfängt återför…I berg som krönen denna tract” ur Amphion (1777)</p><p>E. Olin (1740–1828) ”En liten sårland bäck” (ur diktsamlingen ”Gustaviade”, 1768)</p><p>Medverkande: Elisabeth Hellström, sopran; Karolina Weber Ekdahl, barockviolin; Sandra Marteleur, barockviolin; Boel Hillerud Nyman, barockviola; Johanna Niederbacher, barockcello; Sofia Winiarski, kistorgel och cembalo; Klara Hellström, blockflöjt; Alex Gullberg, blockflöjt</p><p>Ljudupptagning från examenskonsert i Kungasalen 2023-03-22 med ovanstående program och medverkande.</p>

The aim of this thesis is to compare two different interface approaches for pervasive gameswith a focus on immersion. We designed and created two small pervasive games and implemented bothon two different platforms; smartphone and wearable device. We created four pervasive gameprototypes which we tested with a group of fourteen testers. We subsequently conducted interviewsusing the Repertory Grid Technique. The findings suggest that our testers appreciated wearable devicesmore than smartphones in the context of immersion, while they identified characteristics theyassociated with each platform; Smartphones were considered familiar, inconspicuous, casual but notvery exciting. Wearables were considered a new experience and fun but also strange and attention-drawing.