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Physical education classrooms often have low levels of moderate to vigorous physical activity levels. This is a problem since many young elementary students are not building a foundation of fundamental movement skills necessary to be lifelong participants in physical activities. This study investigated how elementary physical education teachers used auditory modalities in their classrooms. The research question explored the emergence of rhythmic competency in fundamental movement skills to increase overall moderate to vigorous activity levels. This concurrent, mixed-methods, multiple case study used a constructivist paradigm using the schema and dynamic system theories as the underlying motor system theoretical framework. Two research sites were selected: a suburban Maryland public school system and a private liberal arts college located in the same county. The participants included 21 elementary physical education teachers and 6 physical education or exercise science majors from nationally recognized programs. Data were collected from a focus group, interviews, classroom observations, and a 10-item response Likert style survey designed for elementary physical education teachers to recognize current trends in the field of auditory modalities and rhythmic competency. The data were analyzed to identify auditory modality instructional methods for the emergence of rhythmic competencies. The results consisted of a list of best practices for use such as musical rhythms, verbal cues, and sound cues by physical education teachers and specialists. This research promotes positive social change by providing information for successfully planning interventions in the discipline of motor skill and rhythmic development that can lead to overall increased more-vigorous physical activity.

Personality disorders have traditionally been considered refractory to psychological interventions. Two of the most common, and potentially harmful personality disorders are antisocial personality disorder / psychopathy, and narcissism. Although a great deal of conceptual overlap exists between psychopathy and narcissism, the empirical study of these constructs has proceeded largely independently of one another. Further complicating the discrimination of these constructs is the identification of the bi-factorial nature of psychopathy - conceptualised as primary and secondary psychopathy - as well as the identification of two distinct forms of narcissism, overt and covert. The recent resurgence of interest in the sub-clinical manifestations of these two constructs has led to the development of a number of easily administered instruments to measure each of the psychopathy and narcissism constructs, as dimensional traits, within normal populations. This has provided empirically validated and reliable instruments to further explicate these two overlapping constructs. The first of the two studies reported sought to discriminate between psychopathy and narcissism through the recharacterisation of these constructs in terms of the early maladaptive schemas outlined in Young’s early maladaptive schema theory (Young, 1999). Two hundred and ninety one participants completed questionnaires measuring primary and secondary psychopathy, overt and covert narcissism, and early maladaptive schemas. Findings are consistent with the hypothesis that psychopathy and narcissism are discriminable in cognitive-interpersonal terms, as operationalised by early maladaptive schemas. Findings also call into question the earlier observed hierarchical structure of the Young Schema Questionnaire. The current analysis identified a two-factor structure to the schema questionnaire, rather than the previously stated 5-factors. Having demonstrated the usefulness of understanding psychopathy and narcissism in cognitive-interpersonal terms, the second study sought to further clarify the association between psychopathy and narcissism through the reconceptualisation of these constructs in cognitive terms, through the identification of the cognitive distortions operative in each disorder. One hundred and thirty two participants completed a cognitive distortions questionnaire developed by the author, along with the same measures of primary and secondary psychopathy, and overt and covert narcissism, as those administered in study 1. Findings were interpreted as providing support for the notion of psychopathy representing a sub-category of narcissism. Findings also provide further supportive evidence for the validity of the primary / secondary psychopathy, and overt / covert narcissism distinctions. The further clarification of the factor structure of the Young Schema Questionnaire, and the replication of the reliability and construct validity of the measure of cognitive distortions developed for this research are highlighted as areas for future research.

Existe na musicologia luso-brasileira uma tese de que a música litúrgica composta para celebrações religiosas nas igrejas brasileiras e portuguesas apresenta uma grande interpenetração dos estilos teatral e eclesiástico. Tal fato é interpretado não só como uma necessidade de exibição simbólica do poder monárquico, mas também como um atraso musical por parte dos compositores luso-brasileiros, por não serem mais decorosos na escrita da música sacra. Desta forma, a questão do decoro vem sido revisitada por pesquisas recentes, que já enxergam não uma falta de decoro musical no ambiente litúrgico luso-brasileiro, mas sim uma interpretação errônea do contexto cultural na qual esta música está inserida. O objetivo geral deste trabalho é o de discutir o decoro musical lusófono a partir do estudo da tratadística setecentista dedicada à averiguação do três estilos musicais (teatral, de câmara e eclesiástico), e de um estudo de caso das partes de solo das missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal. Neste estudo, utilizaremos a teoria dos esquemas musicais como forma de averiguação do discurso musical, da capacidade comunicacional dos compositores e, consequentemente, seu decoro. / It exists in Luso-Brazilian musicology a thesis that the liturgical music composed for religious celebrations in Brazilian and Portuguese churches presents a great interpenetration of theatrical and ecclesiastical styles. This fact is interpreted not only as a need for symbolic display of monarchical power, but also as a \"musical backwardness\" of the Luso-Brazilian composers, for not being more decorous in writing sacred music. Thus, the question of decorum has been revisited by recent research, which denies the existence of a \"lack\" of musical decorum in the Luso-Brazilian liturgical settings, and sees the problem as a misinterpretation of the cultural context in which this music is inserted. The aim of this study is to discuss the Lusophone musical decorum from the study of eighteenth-century treatises dedicated to the investigation of the three musical styles (theater, chamber and church), and a case study of the solo parts in the Requiem Masses of José Maurício Nunes Garcia and Marcos Portugal. In this study, we use the theory of musical schema as a way of investigating the musical discourse, the communicative capacity of composers and consequently their decorum.

The goal of this paper is to provide classroom teachers a more unified theory of cognition. The current cognitive theories of information processing, schema theory, and constructivism exhibit limitations and a lack of cohesion that make their implications for teachers unclear. This paper will be presented in five sections. 1) The first describes problems with current cognitive theories and the need for a unified theory of cognition 2) The second provides a review of the literature of current cognitive theories. 3) The third section consists of research in the history of cognitive theory both in philosophy and psychology. 4) The fourth describes how a fresh look at the philosophy of Immanuel Kant can provide a more unified cognitive theory to educational psychology. 5) Finally, the paper offers specific implications for instruction under these headings: Teachers should describe the concept to be taught as a rule. Teachers should introduce the concept rule by experience or by example. Teachers should use the concept rule as a framework for effective questioning. Teachers should describe the rule with abstract language only after students have understood the rule.

Existe na musicologia luso-brasileira uma tese de que a música litúrgica composta para celebrações religiosas nas igrejas brasileiras e portuguesas apresenta uma grande interpenetração dos estilos teatral e eclesiástico. Tal fato é interpretado não só como uma necessidade de exibição simbólica do poder monárquico, mas também como um atraso musical por parte dos compositores luso-brasileiros, por não serem mais decorosos na escrita da música sacra. Desta forma, a questão do decoro vem sido revisitada por pesquisas recentes, que já enxergam não uma falta de decoro musical no ambiente litúrgico luso-brasileiro, mas sim uma interpretação errônea do contexto cultural na qual esta música está inserida. O objetivo geral deste trabalho é o de discutir o decoro musical lusófono a partir do estudo da tratadística setecentista dedicada à averiguação do três estilos musicais (teatral, de câmara e eclesiástico), e de um estudo de caso das partes de solo das missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal. Neste estudo, utilizaremos a teoria dos esquemas musicais como forma de averiguação do discurso musical, da capacidade comunicacional dos compositores e, consequentemente, seu decoro. / It exists in Luso-Brazilian musicology a thesis that the liturgical music composed for religious celebrations in Brazilian and Portuguese churches presents a great interpenetration of theatrical and ecclesiastical styles. This fact is interpreted not only as a need for symbolic display of monarchical power, but also as a \"musical backwardness\" of the Luso-Brazilian composers, for not being more decorous in writing sacred music. Thus, the question of decorum has been revisited by recent research, which denies the existence of a \"lack\" of musical decorum in the Luso-Brazilian liturgical settings, and sees the problem as a misinterpretation of the cultural context in which this music is inserted. The aim of this study is to discuss the Lusophone musical decorum from the study of eighteenth-century treatises dedicated to the investigation of the three musical styles (theater, chamber and church), and a case study of the solo parts in the Requiem Masses of José Maurício Nunes Garcia and Marcos Portugal. In this study, we use the theory of musical schema as a way of investigating the musical discourse, the communicative capacity of composers and consequently their decorum.

Syftet med denna studie var att undersöka upplevda förväntningar för de två biologiska könen bland gymnasieelever. Syftet preciseras i tre frågeställningar vilka behandlar om och hur dessa förväntningar tar sig uttryck samt hanteringsstrategier och konsekvenser kopplade till dessa. För att undersöka detta genomfördes åtta semistrukturerade intervjuer med gymnasieelever från tre olika län och tre olika inriktningar. Resultatet analyserades via en tematisk analys och mynnade ut i totalt åtta teman och 15 subteman vilka visade att de förväntningar som upplevdes bland eleverna kunde kategoriseras upp i beteende, utseende och känslomässiga förväntningar. Hanteringsstrategierna handlade om antingen anpassning eller normbrytande och i vissa fall båda två. Konsekvenserna innebar bland flera individer ett försämrat mående och oförmågan till att kunna vara sig själva. I diskussionen presenteras sammanfattningen att gymnasieflickor upplevs behöva vara tillgängliga för pojkarna på flera olika plan, samt den heteronormativitet som tydligt existerade bland gymnasiepojkarna. Studien kan hjälpa till att ge en förståelse för unga människors agerande och mående med könsrollsanknutna förväntningar som utgångspunkt.

This study describes a set of salient formal norms for the eighteenth-century Spanish keyboard sonata through an application of Hepokoski and Darcy's sonata theory, William Caplin's form-functional theory, and Robert Gjerdingen's schema theory. It finds that particular thematic types, intra-thematic functions, and rhetorical markers characterize this repertoire. In order to trace the development of these norms throughout the eighteenth century, this work is organized into two parts. The first part (Chapters 2 and 3) examines the mid-century Spanish keyboard sonatas of Sebastián de Albero (1722–1756), Joaquín Ojinaga (1719–1789), and their contemporaries. The second part (Chapters 4 and 5) examines the late-century Spanish keyboard sonatas of Manuel Blasco de Nebra (1750–1783) and his contemporaries.

This thesis describes a pilot study for a new cultural anthropology initiative at Team One, a US-based premium and luxury brand advertising agency. In this study, I explore the role and meaning of technology among a population of affluent individuals in Southern California through diaries and ethnographic interviews conducted in their homes. Using schema theory and design anthropology to inform my theoretical approach, I discuss socioeconomic and cultural factors that shape these participants' notions of affluence and influence their presentation of self through an examination of their technology and proudest possessions. I put forward a theory of conspicuous achievement as a way to describe how the affluent use technology to espouse a merit-based model of affluence. Through this model of affluence, participants strive to align themselves to the virtuous middle-class while ascribing moral value to their consumption practices. Lastly, I provide a typology of meaningful technology artifacts in the affluent home that describes the roles of their most used tech devices and how each type supports conspicuous achievement.