published_or_final_version / Music / Master / Master of Philosophy

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This is a study of pedagogue’s perspective on children's opportunities for relaxation and contact in preschool. Relaxation and contact are important for all, especially in today's society when stress goes farther and farther down the ages. The stress is what has been in the centre, both in research, discussion and media. The children need to rest and the preschool curriculum says that children should be offered a balanced daily rhythm and environment. The CRC says that States Parties recognize the right of children to rest and leisure. A qualitative method was used and the data material was collected through four open interviews. The interview persons were selected randomly and the interviews were recorded on tape and transcribed. The question asked was how the pedagogue see the children's opportunities for relaxation and contact in preschool and in which situations the opportunity is given. The pedagogues that I spoke to beliefs relaxation is important for the children, they have long days at preschool and it's a different tempo there than at home. Relaxation can be very individual for each individual. The pedagogues in the study mention the environment as an important factor for relaxation, that the environment is welcoming and that the children are allowed to go away and sit down for themselves. Massage in combination with rest is a popular method to use in preschools. It is appreciated by the children and the pedagogues. The result of the massage is that the kids accept that someone comes close and can speak up when they do not want something. Furthermore, it becomes calmer in children groups.   Keywords: Relaxation, Contact

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OBJECTIVE: To appraise the patients’ aesthetic awareness following an implant restoration in the anterior maxilla as compared to dentists and laypeople. MATERIALS AND METHODS: Patients (n=139) restored with an implant-retained crown in the anterior maxilla were invited to rate their satisfaction. Projected magnified images of the crowns were appraised by dentists (n=8) and laypeople (n=6) in room settings. The laypeople judged also printed 10x15cm photographs. Differences in the levels of satisfaction between the actual patient, dentists, and laypeople were compared. PES/WES and Jemt papilla scores were also assigned. RESULTS: Laypeople were less critical than the dentists when judging from printed photographs and vice versa when same images were magnified and projected onto screen. CONCLUSION: Patient satisfaction and awareness of aesthetic appearance following an implant treatment in the aesthetic zone appears to differ from dentists’ and laypeople’s observations. Laypeople’s evaluation is influenced by the method used for appraising the aesthetic outcomes.

<p> I (Andrew Jamieson) discuss my creative process, centered around the transcendence of structures, or the dialogue between them. I define structures broadly, from musical meter and texture to political structures and life circumstances. My core inspiration is black Pentecostal worship. I illustrate black Pentecostalism with examples from City of Refuge United Church of Christ in San Francisco. Visiting this church, I experienced music and communal interaction with a clear structure that facilitated presence of the Holy Spirit and even the ability challenge oppressive circumstances. In a similar way, experimental musicians, such as Sun Ra and John Oswald, present and challenge established structures, from jazz grooves to preexisting recorded music and the institutional structure it represents.</p><p> My own work, <i>Where Perhaps It's Worse,</i> presents structures from preexisting musical material against which musicians perform their own material and express my own ideas. The primary structural backdrop is the third movement of Luciano Berio's Sinfonia, itself a quote collage. I explore the various ways my work challenges both musical and extramusical structures.</p>

<p>A central question in aesthetics is whether aesthetic judgment is subjective or objective. Existing approaches to answering this question have been unsatisfying because they begin with the assumption of an individual observer that must then be communalized through the introduction of a transcendent object or the transcendental reason of the subject. </p><p> Rather than introduce a vertical transcendence to account for the ideal observer, I propose an alternative account based on the anthropology of the Japanese philosopher W<p style="font-variant: small-caps">ATSUJI</p> Tetsur&omacr;. According to Watsuji, human existence is a movement of double negation whereby we negate our emptiness in order to individuate ourselves and we negate our individuality in order to form communal wholes. Human beings are empty of independent existence, and thus open to create ideal aesthetic subjects in historically and regionally situated communal contexts. </p><p> I propose an account of aesthetic experience as a double negation in which we negate our surroundings in order to create a sense of psychical distance and negate our ordinary selves in order to dissolve into the background of primordial unity. I examine aesthetic normativity and find that the subject of aesthetics is active and plural rather than passive and individual. Aesthetic judgment and taste are, respectively, individual and communal moments in the process of double negation. Artistic evolution is a process by which the context of artist, artwork, and audience develop into a meaningful historical milieu. Genius is the ability to make public one&rsquo;s private values through the creation of objects that can travel beyond their original contexts and create new contexts around them. Such an ability is the result of a double negation played out between the genius and critical receptivity. </p><p> Extended examples taken from Noh theater, Japanese linked verse, tea ceremony, and <i>The Tale of Genji</i> are also used to illustrate my arguments. </p>

<p> The music of Scott Walker (b. Noel Scott Engel, January 9, 1943) continues to influence multiple generations of respected figures in popular music from David Bowie to Radiohead, yet Walker has not set foot on stage to perform since the 1970s. Instead, the singer-songwriter-producer's latter-day reputation has instead thrived upon the basis of his recorded works. Following a radical self re-invention on the Walker Brothers' farewell album <i>Nite Flights </i> (1978) Walker has pushed the boundaries of his chosen media to the extent that his recorded tracks belong more to the aesthetic sphere of fixed art forms such as films rather than performance-oriented forms such as music as it is traditionally categorized among the liberal arts. In the same manner that Sergei Eisenstein and Orson Welles abandoned the rules of theatrical formalism to create works native to the cinematic medium itself, Walker has likewise approached his work in recording studios as a Phonographic Auteur. To abstract Walker's works by discussing them as "songs" detached from their recorded "track" form would be as detrimental to their analysis as would the discussion of <i>Citizen Kane</i> outside of the form language of the cinema. As deconstructions of the binary opposition between track and song the problems surrounding the analysis of Walker's post-1978 works are largely those confronting the analysis of Euro-American popular music that arise from its troublesome relationship with the recorded format. Further, Walker's career evidences how a number of artists in Euro-american contexts have come to regard the recorded, studio intensive format of music as a solution to the problems they are confronted within the the modern public concert spectacle. In doing so these individuals have given birth to a burgeoning autonomous art form, and by extension, a new model of the composer-listener-performer dynamic.</p>