Children with profound hearing impairments are receiving cochlear implants at an increasingly younger age resulting in the need for early therapeutic support and intervention. Besides the obvious concerns regarding speech and language development, children with cochlear implants are also at risk for motor and balance deficits. This was a retrospective, longitudinal, experimental holistic single case study. The aim was to determine the impact of Ayres Sensory Integration® on occupational performance in a child with bilateral cochlear implants within the first four years after implantation. Six objectives were addressed. Quantitative and qualitative methods were used including designing an observation tool, administering stardardised tests, conducting a parent interview and obtaining perspective from the cochlear team to obtain rich in-depth knowledge and perspective. Pre- and post-intervention results were compared to determine changes in sensory perception, sensory reactivity, motor development and participation in occupations. Intervention adhered to the fidelity requirements of Ayres Sensory Integration®. Results indicated that there were positive changes in the child’s sensory processing and participation in occupations. Ayres Sensory Integration® was therefore an effective therapeutic approach for this child with cochlear implants. The cochlear team gained valuable insights and the parents indicated that occupational therapy intervention had a significant impact on the whole family unit. This study can contribute to the professional body of knowledge by building onto the knowledge base and skills repertoire regarding the application of therapeutic principles to children with cochlear implants. The occupational therapist can make a valuable contribution to the cochlear team. Optimal integration of sensory input can assist with promoting cochlear usage, not only for acquiring language, but also for developing age-appropriate skills at a critical stage of development to facilitate successful participate in childhood occupations. / Dissertation (MOccTher)--University of Pretoria 2020. / Occupational Therapy / MOccTher / Unrestricted

Thesis (MBA (Business Management))--University of Stellenbosch, 2010.

Recently, musicologists Linda Austern and Suzanne Cusick have examined the socio-cultural implications of gender issues in Renaissance music. Drawing on Cusick's research on gender-based binary oppositions in Italy and Austern's studies of women and music in England, I propose a related set of gender binary oppositions in English society. I apply these oppositions in detail to two specific works from the Elizabethan madrigal and lute song repertoire, then examine the remaining pieces from these collections as a whole and find that an overlap of four particular oppositions better captures the contradictory nature of the music. Examining pieces that fall into each category, I observe how the composer manipulates each to complicate the piece's gender character. I conclude that while binary oppositions grasp the artistic and political trends of an era, a closer look at the tensions at work between them provides a more nuanced view of the music's gender character.

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Title of diploma thesis: Sensory integration and praxis - literature review Summary: The aim of the literature review is summary of academic findings and information from foreign sources about the basic concepts of sensory integration by Dr. A. J Ayres. To describe the mechanism of sensory integration during the physiological development of the child and to discover the possibilities of dysfunction of sensory integration with focusing on Sensory Integration and Praxis Tests (SIPT) by Dr. Ayres. Furthermore, it aims to make an analysis of studies in which was used SIPT to identifying dysfunction of sensory integration and praxis, find the characteristic features and specifics of dysfunctions in children with Asperger's syndrome (AS) and autism spectrum disorder (ASD), with attention deficit hyperactivity disorder (ADHD), with learning disorders, in delinquent - prone individuals and institutionalized children against to control group, compare the results with studies using imaging equipments and evaluate the possibilities to use the information for physiotherapy. Methods: Diploma thesis is compiled from an accessible literary sources as a theoretical work in the form of literature review and it has two parts. In the first part is summarized theoretical background dealing with the basic concepts of...

The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.